A Fúria dos Monstros

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.

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.

As a longtime fan of Godzilla movies, I'm at a loss to explain why this film in particular is so hated. I loved this film as a child (perhaps I was already moving towards my love of tragedy), partly due to the coolness of the original Mechagodzilla, partly due to the fact I thought Titanosaurus was cool. There was also the part where I dug the little story of the mad scientist bent on his revenge for being laughed out of academia, and the whole love story angle between the scientist and the mad scientist's daughter. As you can see, there's a lot going on in this film, probably too much, but I enjoyed the attempt to have a more serious subplot going on in a Godzilla flick. The line from the horribly cut American version "But I can't love you, I'm a cyborg", is highlarious. Anyways, I finally tracked down a subtitled, uncut copy, and I was amazed to discover that the american distributors cut the scenes that explain a major character's sacrifice of her life-in the american version it just seems a senseless act. Anyways, don't expect much except a goofy star crossed lovers plot combined with a mad scientist plot and kaiju beating on one another and enjoy.

Just as good as its predecessor, if not better. Last time we saw Godzilla teaming up to take down one monster. This time, he has to take down two, by himself. This is a great end to the original series, as it contains all the great elements. Awesome fights, which take us back to more inhabited areas. The country side had become a cheap alternative, but you can't beat city destruction. There is also a lot of heart, as we see a ridiculed scientist and his daughter struggle with their feelings. This film actually contains some human sacrifice. Making us and Godzilla equal again. Very impressed with something that could have been all a little much.

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.