The international success of King Kong vs. Godzilla ensured it would be a major moment in the careers of its two top-billed stars and the director behind both of them, Ishirô Honda. Prior to directing the original Gojira ten years earlier, Honda specialized in slice-of-life dramas with the occasional break into that new, Hot Genre of the 1950s: the Workplace Comedy. No matter the story, these films were usually quiet pieces set on a slow boil, focused (like his much more famous monster movies) on small groups of ordinary people overcoming something or other through their unwavering hope for a better tomorrow.
These films were a refuge for Honda: small-scale, relatively everyday productions he could always escape to in between monster movies. Then he made the mistake of directing a workplace comedy/daikaiju eiga hybrid. After that, his professional goose was cooked. And thank God. Because, after three mediocre-to-shit sequels, Honda and the metric tons of talent he brought with him finally gave us a Godzilla film I can unconditionally rave about.
This is a return to glory for everyone involved after the gigantic backward step that was Varan. Even uncut versions of that are painfully rehashes of previous Honda monster movies, symptomatic of those Ancient Enemies of all good film: lack of time and a low, low budget.
Mothra is a full-180 turn, the first daikaiju masterpiece of the 1960s. Like Rodan, it follows a small cast of actually-interesting characters. But unlike Godzillaand Rodan, Mothra is more of an urban fantasy than a depressing polemic against the horrors of nuclear weapons and the ethically-challenged March of Progress that overlay this entire age of world history. After all, it’s 1961: JFK, MLK, and Malcolm X are still alive! The Space Race is in full swing! The Rodans are dead and Godzilla was last seen at the bottom of an icy rock slide. All is right with the world! What could possibly go wrong? Continue reading Mothra (1961)→
Reviews with swear words and sociopolitical analysis from David DeMoss