Mothra vs Godzilla (1964)

Director: Ishiro Honda

Written By: Shin’ichi Sekizawa

The writer-director duo from Kong Vs Godzilla returns to duty as Godzilla collides with yet another Kaiju, this time in the form of a benevolent Titan, Mothra.

When savage storms wash Mothra’s egg ashore it is quickly claimed by greedy businessmen who seek to profit from it. Seeking to reclaim her egg Mothra sends two fairy-like emissaries from Infant Island, but they narrowly escape capture themselves until they find refuge with a trio of reporters covering the scene.

When a sleeping Godzilla is awakened, the reporters travel to Infant Island, a once beautiful haven now ravaged by nuclear testing to beg for Mothra’s help. But why should the peaceful Titan offer aid, when her plea fell on deaf ears?

A huge step up in quality from the previous movie, this is a far more engaging affair, showing the pitfalls and dangers of greed and selfishness. Above all, it is the selflessness and courage of Mothra that acts as a beacon of hope amidst the chaos. Coming fresh out of her movie debut four years earlier, Mothra would go on to become a staple character in the Godzilla franchise.

It’s always cool to see Godzilla fight a physically different type of monster. Much like the four-legged Anguirus from Godzilla Raids Again, Mothra’s flight brings new elements to the battle, mighty wings beat hurricane-force winds and the ability to sweep Godzilla off his feet.

Ultimately Mothra sacrifices herself to protect her egg but when all hope is lost, two baby Mothra’s are born! This larval tag-team takes turns aggro’ing Godzilla until he is hopelessly entangled in webs and the day is saved once more.

The MosuGoji suit is widely acclaimed as one of Godzilla's finest, distinct from its predecessor, the KingGoji, much like the KingGoji stood apart from ShodaiGoji and GyakushuGoji. Its physique is sleek, with a bell-shaped body featuring a prominent breastbone and knees. The hands are adorned with slender, menacing claws, each finger distinct. Its dorsal plates closely resemble those of the KingGoji.

Facial features are sharply defined, with pronounced brows and fierce, large eyes capable of movement, although in one scene, Godzilla appears pupil-less as his eyes roll upwards. Notably, during filming, the suit suffered damage when Haruo Nakajima tripped on set, causing the suit's upper jaw to wobble as it moved. Despite this setback, Eiji Tsuburaya chose to repair the suit and retain the scene, impressed by the footage.

This would be Godzilla’s final outing as the villain during the Showa era and his gradual turn from the dark side was soon to begin.

****