Daikaijû Gamera

It doesn't make sense to give this film a bad rating - but it really doesn't make sense to rate it at all.

Don't assume that means that this film is so ridiculous, it's beyond redemption... well, it IS ridiculous and beyond redemption; but it is certainly enjoyable on its own terms.

If this film is easy to misunderstand, it's because it's really difficult to say what 'it's own terms' really are. It begins clearly intending to compete with the successful Godzilla series; but somewhere about mid-way, it suddenly decides to be about a lonely young boy. In order to salvage its science-fiction credentials, it then comes up with an impossible solution to the Gamera threat to the human race - I can't tell you what it is, but it would take the entire assets of the developed nations of the world to pull off - it might be better to let the big turtle stalk around and just stay out from beneath his feet.

On top of all this wild nonsense, the American release print, which is the only one I know available, adds on some wonderful campy stuff, like the televised debate about the possible existence of the big turtle, and lowest-budgeted attempt to portray a meeting of the UN Security Council you are ever likely to see - even the one in the Adam West Batman movie looks spectacular in comparison.

There is no way to wrap your brain around this one, so don't bother. A guilty pleasure to the max. And one more important point in its favor - unlike most of the other '60s Gamera films, this one moves along at a fine pace and never drags.

So microwave some kettle corn and munch down - you deserve not to take life so seriously you can't enjoy a bit of fluff like this.

This review is of the American version of the film which has additional scenes offering two of the movies favourite scientists, Albert Dekker (Dr. Cyclops) and Brian Donlevy (Prof. Quatermass) together. Once it became obvious that Toho Studios had a hit with Godzilla other studios wanted their own monsters. Daiei came up with a giant fire breathing, flying turtle. Well, why not? Freed from the arctic ice by (what else?) a nuclear explosion Gammera heads for (you guessed it!) Tokyo to cause the usual panic and destruction. Gammera is not a mutation of atomic radiation (like another giant monster who shall go nameless at this point) he comes from a time so remote in Earth's pre-history that his cell structure differs from all other living things. He gets energy from heat and eats fire to survive! This makes all modern weapons useless. What to do? The military comes up with Plan Z which is surely the most outrageous way of getting rid of a giant monster that has ever been used in a movie! Does it work? Well . . .until the sequel it does! Both versions of this film are fun though I have a preference for the original Japanese versions of all movies of this genre. Actually this movie has many incarnations. This version which was done in 1965, another version with different dubbing done by Sandy Frank in the 1980's and the original, subtitled Japanese version. They vary just enough to make each version original. Gammera, and this is the only movie where his name is spelled with two "m"'s, is a villain in this one but he learns rather quickly to become a good guy in the later sequels. There has been talk for the last 10 years about a movie where Gammera battles Godzilla. Toho Studios claims this will never happen. Still, you never can be sure.

1965's "Gamera: The Giant Monster" is notable for three things: Daiei Studio's Gamera, the giant fire-breathing turtle of Atlantean origin, was the only significant rival to Toho Studios' Godzilla; two, this is the only movie in the "Gamera" series of films in which the titular chelonian does not battle another monster; and three, this was the last Japanese monster movie to be filmed in glorious black & white. Godzilla is my favorite movie monster of all time - "Gojira" (1954) is my favorite giant monster movie, period - since I was first exposed to the badly dubbed Japanese "kaiju-eiga" (Japanese monster movie) series of films as a young kid. Gamera was my #2 favorite monster from Japan. I deeply regret that Gamera never really obtained the same sort of recognition that his other fire-breathing rival did, but that does not mean that the movies were not bad.

Directed by Noriaki Yuasa, "Gamera: The Giant Monster" has a plot ripped straight from the original "Gojira," but with a significantly lower budget and lacking a meaningful social and political subtext or emotional resonance: at the height of the Cold War, American and Soviet bombers in the Arctic Circle clash with one another, leading to a Soviet plane being shot down and thus inadvertently detonating its atomic payload. The resulting explosion revives Gamera, who had been imprisoned in the ice for over 8,000 years. Gamera, who breathes fire and can fly, makes a beeline toward Japan where he soon causes great destruction and finds nourishment in fossil fuels such as gasoline and petroleum, and other rudimentary forms of energy. Since Gamera is impervious to conventional weapons and the so-called "nuclear options" are quickly ruled out, only a brilliant scientist, Dr. Hidaka (Eiji Funakoshi), has the means of stopping Gamera's destructive rampage once and for all.

"Gamera: The Giant Monster" is not a perfect film. I'll say that it pretty much pales in comparison to "Gojira." But that's because the "Gamera" series of films often had significantly lower budgets and one of the most nagging problems with these films were the inclusion of annoying little children as the main protagonists, which helped earn Gamera the nickname of "friend of children" and the films were often marketed as such toward children. (1966's "Gamera vs. Barugon," a direct sequel to "Gamera: The Giant Monster," is noteworthy for being the only film in the series to not feature any children as the main protagonists, and is my favorite film in the series after this one.) And although there is a kid here, an implacable young boy Toshio Sakurai (Yoshiro Uchida), he is at least made useful to the plot and does not become the annoying little nuisance that his successors would eventually become. And he is also sympathetic in some regard since he comes to view Gamera as his only friend (the exact circumstances of this "friendship" are actually quite touching if viewed with an open mind), and likewise we identify with this unique little bond.

Having viewed the film for the first time in its original, uncut Japanese format, I can say that "Gamera: The Giant Monster" is a worthy kaiju film, despite its flawed attempts at a pro-environmentalist subtext and as an anti-Cold War message movie (different nations coming together to face a worldwide threat, etc.) The film marked the beginnings of another great movie monster, one who never really got the popularity that he really deserved. But at least since his movies are getting the DVD treatment and are being released in their original Japanese formats, a new generation of Gamera-lovers has the chance to view Japan's heartiest export next since the mighty King of the Monsters himself, Godzilla.

7/10

Gamera's debut film and the rise legendary rival of Godzilla as the King of Japanese monster cinema. I'm going to say this right now, but I'm not much of a fan of Gamera's early films. There were a few interesting ones, like "Gamera vs. Gyaos" and "Gamera vs. Barugon", however, the original series went to sh*t at a much faster rate than the showa Godzilla films. 1968's "Gamera vs. Viras" is a staple to that statement and of course the series would only get worse till the 80s film "Gamera: Super Monster". This film isn't as good as "Gamera vs. Gyaos" and "Gamera vs. Barugon", but is far superior to latter entries.

Positive notes, well for his debut, Gamera looks pretty awesome. The city stomping scenes are well done, of course Japanese studios by 1965 having had lots of practice. The pacing is brisk and believe it or not doesn't drag. Most kaiju films have interesting finales and if you haven't seen this one you'll either laugh or sit in awe. Either way good fun. And the score is far from Akira Ifukube quality, with wildly switching moods, but it hold together.

Bad points, eh, too much borrowed from other monster movies. A monster emerging from the ice, obviously lifted from "Beast from 20, 000 Fathoms" and the black and white look of the film is borrowed, if you will, from the original 1954 Gojira. I suppose that's what happens when you come in that lame in the game. Plus the child character kind of grated on my nerves, a true turtle lover all right. The movie takes itself rather seriously with notions of the Cold War as opposed to the 1965 Toho release "Invasion of Astro Monster" which was light-hearted but more memorable. That film had awesome colorful cinematography, the likes of three monsters (Godzilla, Rodan, and King Ghidorah!!" and a fun and yes zany plot. Plus it was scored by the maestro Akira Ifukube. Comparing it to this film isn't really fair, but Godzilla for the win this round.

However, I still highly enjoy the vintage sci-fi and I recommend the movie to classic sci-fi lovers.

What I loved about this movie is that Gamera is treated as a "bad-ass" villain monster out to destroy Tokyo like Godzilla in his earlier films. The rest of the movies turned Gamera into a child loving superhero. The effects were great rivaling and even surpassing most of the Godzilla films at the time. The scenes of American actors that were shot were actually quite well done. It was fun watching the U.S and Soviet ambassadors arguing at the U.N. Gamera looked pretty cool as well with his glowing eyes and elephant-like roar. Loved the psychedelic glowing animated flying sequences. Got to love that "Plan Z" over-the-top ending. And you can't help but dig that cool theme song. Gameraaaa! Gameraaaaa! Yeah!