BLOOD WORK: THE SAGA OF THE KING OF THE MONSTERS ~ PART 11: GODZILLA VS THE SMOG MONSTER (1971)

Of the fifteen Godzilla films from the Showa Era (first series) only four different directors were employed by Toho Studios to make them. Foremost among these four directors was Ishiro Honda, seven films to his credit. Jun Fukuda directed five films of the Showa Era. That leaves two films left, each with a different director. Motoyoshi Oda directed Godzilla Raids Again in 1955. And Yoshimitsu Banno directed the 1971 entry GODZILLA VS HEDORAH a.k.a. GODZILLA VS THE SMOG MONSTER.

There is no other film in the entire franchise quite like Godzilla Vs The Smog Monster. Pegging this film into a genre is an interesting endeavor too: It has elements of a Euro-Horror film from the 1970's. There's the overt environmental messages and the theme song "Save The Earth." 1960's psychedelic imagery and hippie characters. Two musical numbers, animated cartoon sequences, outer space science fiction theories, giant monsters, and super hero action. I said that there is no other Godzilla film like it but I'll go as far to say that there is no other film like it at all.

Godzilla films have always had environmental messages attached to them either overtly or as mere undertones. These messages have been the most poignant in the original GOJIRA, MOTHRA, and Smog Monster. Although with Smog Monster director Banno beats us over the head with it. Even watching this film as a child I was left feeling that pollution was bad and our planet was doomed. I really enjoyed this film as a child. As an adult I still enjoy this film for many of the same reasons but now for many more.

THE PLOT

Mankind has polluted the air, the water, and the earth. Creatures of unidentified origin have appeared in the ocean, attacking ships and consuming crude oil and other pollutants. These creatures, named Hedorah, have merged together creating an even larger and deadlier threat. Expelling toxic sludge and corrosive sulfuric gases, everywhere this creature roams it leaves a wake of death and decay behind. Earth's scientists have a plan to stop Hedorah's menace but the monster proves to be an overwhelming force. They need help if they're going to end the Smog Monster's threat. And the king of the monsters is just the help they need.

THE GOOD

Hedorah. With the Smog Monster Toho delivers a kaiju unlike any other. Combining suitmation, glowing red apertures in the skin and eyes, animation, and real life mud and black sludge all to bring this new kaiju to life. The result is something special and unique to the Showa Era kaiju. Hedorah is also the first kaiju since Mothra to undergo a multi-metamorphosis. Hedorah goes through four different forms adapting to sea, land, and air, all of which to better pollute the earth. The fourth form is a colossal form evoking images of the Grim Reaper in his hooded death shroud. All four stages of Hedorah are well designed and are done with a purpose. This multi-form kaiju design would characterize most of the adversarial monsters in the Heisei and Millenium era Godzilla films.

Horror. The threat of Hedorah to not only the cities and the earth but to people is shown with horrific realism. We see a graphic sequence of garbage floating along the water multiple times. There's what looks like a Barbie doll cut in pieces, naked, and covered in muck meant to evoke thoughts of a dead body. There's countless dead and rotting fish carcasses. A real life cat covered in toxic sludge. A real life baby drowning in mud. And human bodies melting away until they are merely skeletons dripping with putrefied flesh. Never before has there been as striking and graphic images in a Godzilla film as there are here. Add in the proto-Jaws like underwater sequence and a horror-film inspired score for the first reel and one is given a glimpse at what a 70's horror Godzilla film might look like.

Humanity's Punishment. The message of the 1954 original Gojira film was either changed or completely lost by this point in the series. Throughout the previous five films in the series Godzilla's identity has changed as well from Destroyer to Savior. Director Banno expertly returns the series to its point of origin through Hedorah. The Smog Monster takes up Godzilla's original identity as the Punisher of humanity for its mistreatment of the Earth. The focus was updated from the invisible horror of radiation to 1970's environmental concerns. Of all the films in the Showa era Godzilla series Hedorah is the only entry to have successfully maintained the original film's ethos.

THE BAD

Godzilla. Sadly our hero and main reason for watching the film is probably the weakest aspect of the film. Godzilla receives rather minimal screen time in this film and when he is in the film he is often beaten to the ground by Hedorah, either choking on toxic fumes or rolling around in toxic sludge. Then often times the score of the film is absent when Godzilla appears on screen. One of the defining traits of the Godzilla series are the triumphant musical entrances of the king of the monsters. It's an odd choice by director Banno which in many ways mutes Godzilla's impact in the film.

A Gamera of a different kind. His role in the narrative is more akin to Mothra's character as well as Gamera. In fact he's more like Gamera here than in any other film even so far as to say, "Gamera can fly? Well so can I!" Godzilla flying is a truly ludicrous moment in the film most likely borne out of direct competition between Daiei Studios' Gamera. The film also once again employs a child as one of the leads and the only character who seems to see the solution, as is the case with most of Gamera's Showa films.

THE VERDICT

This movie is a great example of one that keeps giving. As a child I never noticed the deficiencies of Godzilla's character in the film. As an adult the film loses something in Godzilla but gives more in terms of themes and inspirations. While a rather strange and unusual film in any genre or series it is one of the strongest films from the 1970's entries. Hedorah is a wonderful and deadly new addition to the kaiju roster and through Hedorah the series finally returns to its roots albeit in a very 70's psychedelic way.