Twelve years after his debut, Godzilla found himself riding an international wave of giant monster movies, Japanese or otherwise. The previous three films flooded Toho Studios with an admirable amount of cash and an (arguably) even larger amount of prestige. Rival studios began fielding their own monstrous challengers to Godzilla’s crown, but no one really cared about them yet. Why settle for second, third, or even fourth-best when the King of Monsters’ still going strong?
Hoping to cement their market dominance, Toho shook things up behind the scenes, turning director Ishiro Honda’s years of daikaiju movie-making experience towards creating new kaiju with familiar, and thus internationally marketable, names (like “Frankenstein“). Special effects director Eiji Tsuburaya, his work now in high demand, founded the production company that bears his name and set to work creating the next generation of fans through the then-new medium of television…and a little superhero show called Ultraman. You might’ve heard about it.
Then someone got a hot idea: resurrect King Kong and team him up with Mothra for a rollicking kaiju adventure on a (budget-conscious) South Sea island. Then something happened. I’ve heard too many stories to tell you the truth. A dispute erupted over the rights to Kong’s name. Or the rights were all secure and the major sticking point became a cost-effective foreign distribution strategy. Or maybe someone, somewhere, mentioned the idea the became King Kong Escapes. Continue reading Godzilla vs. The Sea Monster (1966)