This is the exact midpoint of Gamera’s original (or “Showa Era”) film series. Not chronologically, or in any other terms material, but in terms of tone. This is the point where everyone at Gamera’s home studio, Daiei Film, gave up on the daikaiju genre as anything other than a cash cow. You can barely blame them. By 1967, the writing was on the wall and it said, “the only people stupid enough to abandon their TVs and visit some run-down, overcrowded, food-and-drink-stained movie theater are children.” Film as a whole suffered, but few suffered more than our favorite flying turtle, who would go on to star in some of the most notoriously bad films in daikaiju eiga as the seventies rose up to choke us all down with mediocrity, bad music, and even worse clothing.
Things didn’t have to be this way, but the makers of mid-60s Japanese cinema made the same mistake their American counterparts so often make and assumed (A) kids were the only ones watching their films and (B) kids were stupid. But there’s a difference between being stupid and not being able to articulate why you like something. My ten-year-old self knew Gamera was awesome on a molecular level but my current self still struggles to articulate why that is. Why do you think I’m writing these things in the first place? To finally pull back the curtain and figure out why, whenever someone goes, “Gamera? Really?” I always go “Fuck yeah, Gamera! He’s awesome.”
His movies, on the other hand, stopped being the “unbelievable, imaginatively cool” kind of “awesome” and started being the “incredibly cheap and incredibly crappy” kind of “awesome” right in the middle of this film. I can even show you where it happens: it’s the scene where Our Kenny – an incredibly annoying little snot named Eiichi (Naoyuki Abe) – takes a joyride on Gamera’s back. Continue reading Gamera vs. Gaos (1967)
