|
Invasion of Astro-Monster
is probably one of the most unique and eclectic
entries in the Showa Timeline. It works as somewhat
of a direct sequel to the previous movie, which,
in turn, was somewhat of a direct sequel to the
movie prior, effectively creating something of
a trilogy. As far as a Godzilla movie is concerned,
especially one in the mid 60's, this film most
definitely sets itself apart. With a cast of interesting
monsters, a powerful array of Akira
Ifukube's themes, good special effects, and
a solid plot, this film is truly a highlight.
The story begins with the discovery
of a planet located behind Jupiter. The planet's
peculiar magnetic disturbance prompts the World
Space Authority to send two astronauts to investigate.
Astronauts Fuji and Glenn land on the planet and
are taken under the surface by the planet's mysterious
inhabitants. The Controller of Planet X tells
them that their planet is in peril from Monster
Zero, known to humans as King Ghidorah. The astronauts
are told that the Xiliens are in need of Godzilla
and Rodan in order to defeat the rampaging King
Ghidorah, since the monsters' combined efforts
had previously defeated King Ghidorah, as well.
They wish permission to operate freely on Earth,
and in return promise a medical cure-all. The
astronauts bring this message back to the planet,
and meet with no objections.
Lake Myojin and Washigasawa were
revealed by the aliens as the locations of Godzilla
and Rodan respectively, and this is confirmed
through the use of field studies. Shocking everyone,
a UFO suddenly ascends from Lake Myojin, and it
is realized that the aliens were already on Earth!
The aliens casually explain away their deception,
and proceed to transport the dormant Godzilla
and Rodan into the air. Glenn, Fuji, and Dr. Sakurai
from the World Space Authority join the Controller
on the return trip to Planet X. They witness a
remarkable battle between Godzilla, Rodan, and
King Ghidorah. The two Earth creatures combine
their efforts and defeat the three-headed monster.
Leaving the monsters behind, the
two astronauts and Dr. Sakurai return to Earth,
bringing with them the tape that supposedly contains
the cure to all diseases. Upon returning to Earth,
the astronauts realize with horror that the tape
does not contain medical information, but instead
contains a warning of invasion. The Controller
threatens to send Godzilla, Rodan, and King Ghidorah
(each under his control) to destroy civilization
on Earth, unless the planet agrees to become a
Xilien colony.
Luckily, solutions are found to
this catastrophe. Since the monsters are controlled
remotely by magnetism, the "a-cycle light-ray
gun" is developed in order to stop the magnetic
waves. At the same time, Glenn's girlfriend, whom
is revealed to be a spy for Planet X, slips Glenn
a note before she is exterminated for showing
too much emotion toward him. The note reveals
that a certain sound is the weakness of the Xiliens.
Before these solutions can be put
into place, the invasion begins. The special sound
is soon broadcast, and the instruments on the
Xilien UFOs go haywire. The Xiliens are also physically
disabled by the sound. Simultaneously, the a-cycle
light-ray gun is fired, and the Xilien's control
over the monsters fails. With the Xiliens defeated
and the mind control thwarted, Godzilla and Rodan
fight King Ghidorah once more. Ultimately, all
three crash into the ocean, and only King Ghidorah
emerges. King Ghidorah escapes for space, and
peace returns to the planet.
This film is very eclectic, as
it represents both the contemporary space sci-fi
adventure and the contemporary kaiju flick. Unfortunately,
the monsters sometimes seem out of place as the
alien invasion plot occasionally overshadows them.
Luckily, most of the time it's easy to see the
harmony between the two different subcategories
of sci-fi.
Somewhat of an oasis in the mid
1960s, this movie boasts some solid acting, free
from any serious gaps from any of the major characters.
Nick
Adams skillfully plays the suave, inquisitive,
and no-nonsense character and truly brings the
text on the script to life. Kumi
Mizuno brings to the surface sympathy from
the audience, due to her internal struggle between
love and logic. Akira Kubo portrays the bumbling
inventor out to prove himself, and creates a goofy
(yet believably goofy) character. Yoshio Tsuchiya,
as the Controller of Planet X, lifts the cold,
logical villain to the screen in a way that, while
still falling under the contemporary alien stereotype,
seems to reach a plane just above the norm. As
for the remaining characters, there are no performances
that either break out of the mold or warrant scrutiny.
They do well with what they're given, and they
give a natural performance.
As always, the true stars of the
film are the monsters, and the animation of these
monsters is somewhat sophisticated. The mouths
and eyes of Godzilla and Rodan are frequently
used, and King Ghidorah's jittery necks are quite
organic. The wing motion is terrible; however,
and it gives little impression of lift whatsoever.
The suit material itself looks as though it's
getting cheaper and more raggedy, but at least
it isn't as terrible as it would come to be in
some of the upcoming 1970's movies.
As far as the rotoscoping of the
beams is concerned, the desired effect is accomplished
excellently, for the most part. The emissions
from all of the beam devices are quite sophisticated.
Godzilla's breath, however, is a rotoscoping low
point in this film, appearing thin and flat at
times. Luckily, King Ghidorah's gravity beams
make up for the lapse in the effect of Godzilla's
breath.
Matting and backdrops are handled
relatively skillfully in this movie. The monsters
are flawlessly sewn into scenes, and an illusion
of realism does inch its way here and there. Unfortunately,
the space scenes are lacking, often showing jittery
celestial movements. Also, the Planet X backdrops
are blurry, a side effect of obviously trying
to add miniatures behind an actor.
The
miniatures are pretty well crafted in this film.
The dolls that descend on the rocket's elevator
aren't painful to the eyes, as aren't the lookout
dolls on the tanks. The miniature tanks and buildings
don't have a distracting amount of unrealism,
and it is easy to get into the flow of the movie
and easily avoid the small flaws.
As far as the music goes, it is
a nice sample of Akira
Ifukube's classics. Most of the themes are
recycled from previous movies, including the famous
Godzilla theme, King Ghidorah theme, and Rodan
theme. It appears as though there are a few new
themes in this movie, but they mostly reflect
the "sci-fi space adventure" aspect of the film.
One very intriguing theme plays when Lake Myojin
and Washigasawa are first shown. It's very chilling
and suits the scene nicely. No matter what the
theme, however, there's that endearing quality
of Ifukube, whose music is highly recognizable
and widely enjoyed.
Since this review does concern
the American release, it would be prudent to comment
on the dubbing. Unfortunately, the dubbing is
a little lacking. It's not as bad as it would
come to be some years later, but close-up shots
of the actors talking can easily make one cringe.
Even worse, Nick
Adams' dub drifted at times, and he was dubbing
over his own English in the movie!
Another interesting dubbing note
is that King Ghidorah is called "King Ghidrah"
in this version. It does make sense in the translation
from Japanese phonetics to lose the "o" after
the "d", and in this case especially so, since
the name is originally derived from the word "hydra".
In later movies, however, "King Ghidorah" would
be the preferred spelling and pronunciation.
Atmosphere is one more thing worth
mentioning about this film. Like previous Ishiro
Honda films, and unlike upcoming Jun
Fukuda films, the atmosphere of this movie
is gray and autumnal, creating a serious tone.
Also, the deep notes in the musical scores match
this quality, creating a living environment that
is oddly inviting and very successful as far as
the flow of the film is concerned. The atmosphere
and music create a brilliant synergistic effect.
Ultimately, this movie proves to
be not only a classic work from an objective perspective,
but a truly enjoyable movie as well. Combining
eclectic aspects of sci-fi, good effects, a solid
plot, powerful music, and an excellent cast of
characters (both human and kaiju alike); it isn't
hard to see why this movie is so beloved among
fans. This film neatly wraps up Honda's trilogy
of closely interconnected movies, while adding
mystery for the future. Acting as a transition
to Fukuda's upcoming classics, Invasion of
Astro-Monster doesn't constitute the end of
a "golden age", but instead acts merely as the
continuation of a series whose entries, like this
one in particular, prove to be timeless and entertaining.
|
(4/5)