Distruggete Kong! La Terra è in pericolo

The currently available English-dub print of this film is a frightfully hash-re-edit from UPA, released to TV syndication in 1978. I hope this is not the best surviving print of the film, but it very well may be. It is transferred in grainy pan-and-scan, and there are obvious bits and pieces missing from it - it is certainly possible to follow the story, but not always possible to follow the action. For instance, there's a moment towards the end when Godzilla is knocked over by a blast of Mechagodzilla's light ray; then suddenly, he's up and swinging, and Mecha-G is sparking from a short-circuit - what happened? We may never know.

Quality of surviving prints aside, this is Ishiro Honda's final attempt to remind Godzilla-fans what the series was originally intended to be about. The opening soundtrack is amazing - it begins with a martial snare tattoo; then Akira Ifukube introduces the darkest, most menacing Godzilla music he ever composed - it's really a shame that his "Mechagodzilla theme" was never re-introduced to the later revival-Godzilla films of the 1990s. It is brooding and downright scary without any images - but it enhances some of the stark images of the film very well.

These images include the most frightening moment of Tokyo-destruction ever seen in a Godzilla film, when Mecha-G and Titanosaurus march on the Japanese capitol with a sadistic joy rarely exhibited by rubber monsters from Toho. Although the scene is relatively brief, it leaves a huge impact - The cinematography captures the essence of US military documentary footage of experimental nuclear bomb tests - truly frightening. Also, there are some quirky back-screen shots of the monsters wading through the city that manage to capture how insignificant their human victims are to such gigantic creatures - the over-all effect proves to be every bit as scary as Honda must have wished.

The opening martial tattoo on the snare tells us what this film is really about - it is a puppet-show metaphor for war, in all its hideously dehumanizing violence.

Towards the end, a scientist holds in his arms the dying form of the woman with whom he fell in love, robotized and short-circuited like the Mecha-G. she was used to control, and reassures her(it): "...even if you're a cyborg, I still love you; none of this is your fault - you aren't to blame.' The epitaph of a good chunk of the 20th Century - thank god it's over. The only weird thing is, we survived.

Or, perhaps we didn't; it is Godzilla who wades through this film unscathed. Perhaps only the monsters inherit the earth.

Things did not bode well at the start, with a seven-minute greatest hits sequence that never seemed to end, but by the time it was over I found myself grateful for so much action so early on. When the story proper started it was with some very impressive underwater model work (I couldn't see the seams at any rate).

But what really marked this out as a superior entry is the plot. A reclusive discredited scientist is employed by aliens to use his thought-controlled pet Titanosaurus to destroy Tokyo along with the newly-rebuilt Mechagodzilla, their combined might certain to overcome that pesky Godzilla. Meanwhile an Interpol agent and a marine scientist investigate the disappearance of an exploratory submarine, the trail leading them to the scientist's beautiful but non-too-helpful daughter.

It might sound like the usual gubbins on paper but there's genuine tension in many of the scenes, it's logical and exciting, and rather than feeling like drawn-out filler while we wait for the real action to begin it's successful on its own terms, even managing to pull off genuine pathos bordering on tragedy at the end.

When it does begin it's hands down the best destruction I've seen so far in the series. They're right in the centre of Tokyo surrounded by skyscrapers ready to be demolished and incinerated. The camera pans across the cityscape as whole swathes of it are destroyed, and it truly is spectacular. What makes it even more powerful is that it's not a fight sequence for the most part - it's just two big boys laying waste to the city.

Godzilla himself is given a wonderful entrance, and in those moments it's a thrill to see this (of all films) so overtly referencing The Third Man (of all films).

They do escape to the country for the final showdown, but there's still the odd power station to be sat on and let's face it, we've already had our money's worth with the destruction of Tokyo. The fight is lengthy too, with Godzilla on the back foot for most of it, and while we're never unsure of the outcome it does get pretty hairy for the big guy.

For the budget the special effects are often superb and always imaginative (like the alien technician walking inside Mechagodzilla's head or the shot that takes us from his massive, dormant frame as he's being worked on, through a window, and finishes with the aliens and doctor watching the progress from a lab).

The music throughout is excellent, and the female lead is impossibly gorgeous.

What's not to love?

Toho realized something after their abysmal GODZILLA VS. MEGALON and hence were smart enough to put a bit more effort into their subsequent two films. GODZILLA VS. MECHAGODZILLA suffered from a lot of the same 70's goofiness of the previous films and some serious pacing issues, but overall was certainly a step in the right direction.

Wisely, Toho decided to go old-school with the sequel and brought back Inoshiro Honda to direct and Akira Ifukube to compose one of his best musical scores yet for the series. The result certainly brings this film a level of class lacking in most of the Godzilla films following VS. MOTHRA though unfortunately there's a lot of silliness yet to be had.

Plotwise we get the same tired old formula of aliens plotting to conquer earth with a monster (or two this time - Titanosaurus makes for an interesting newcomer) aided by a mad scientist hot for revenge against "those fools". Fortunately, Godzilla is out to stop them but isn't in full-blown hero mode. Instead, Godzilla seems to be fighting them more out of the fact that he's just plain pi**ed off, and he's got an impressive new suit to show it.

Effects-wise you have to understand that Teruyoshi Nakano was working at 1/3 to 1/2 the budget of what his mentor Tsuburaya had to work with, so in that respect his work is quite impressive. This film features a triumphant return of the city-stomp with a show-stopping sequence involving Mechagodzilla and Titanosaurus laying waste to downtown Tokyo. Don't mind that they blow up the same row of buildings at least 4 times in a row - it's all great fun and showcases a lot of great pyrotechnics.

There's a lot of bizarre moments in the climactic monster-on-monster violence and a lot of iffy continuity. For instance, Godzilla knocks Titanosaurus out of the way and then tackles Mechagodzilla to the ground but in the very next shot, Godzilla is lying down alone and Titanosaurus is suddenly there kicking him in the head. (?) Most likely a case of bad editing more than anything.

Overall a worthy candidate for a way to spend a rainy afternoon. The 70's may have been a Godzilla nadir but this film is the highpoint of that lowpoint.

It was obvious that the filmmakers were running out of inspiration by the time this entry was planned,and as well as tired plots and tiny budgets the films were doing less well at the box office. Of course,films like Godzilla V Gigan and Godzilla V Mechagodzilla were still fun if juvenile,but it was clear that the series was winding down and Godzilla needed a break,so a great deal of effort was put into this one,even to the point of getting Inoshiro Honda,the original and greatest Godzilla director,to return. Terror Of Mechagodzilla is uneven,but it's by far the best of the 70s Godzilla films.

The plot ONCE AGAIN rehashes the aliens-out-to-conquer-Earth-using-monsters plot,but at least here it is augmented by a few interesting elements,such as the tragic female cyborg who still retains human feelings,and it is handled a lot more seriously than before. Honda tones down the juvenile elements and even brings a touch of darkness to the film. The finale has most of the characters killed,and one person's sacrifice appropriately parallels Dr Serizawa's sacrifice in the original Godzilla {incidentally,the current version available in the US cuts so much of the violent and dark elements out that the ending makes little sense}.

Despite the general downbeat feel here is still plenty of monster action,with the best destruction sequence since Monster Zero,while Mechagodzilla is somewhat improved since the last film and Titanosaurus is a memorable new monster {why has he never returned?}. There is the odd shoddy moment,mainly due to the low budget,and signs of carelessness at times-for instance the final shot of Godzilla uses a different and pretty awful looking suit to the rest of the film. However overall this was the best Godzilla film since Destroy All Monsters,and a fairly worthy end to the 'Showa'series.

Terror of MechaGodzilla was pretty much just a way to profit off of Godzilla Vs. MechaGodzilla for a second time. However, we all know why this film is so well known to fans, and that's because of Titanosaurus (which is also the name of a real dinosaur that has no relation). Titanosaurus is a highly loved Monster from the Godzilla series, and to be honest I feel like this film would have worked out just fine if it was just Godzilla vs. Titanosaurus. The monster is humongous and beautifully made, no one could live up to a semi aquatic Kaiju like him. I mean yes, the movie itself is watchable but, it does tend to focus a bit too much on the humans in my opinion, which is a problem a lot of monster movies have. I love Titanosaurus though, He's the centerpiece for this film.