After Toho's success with creatures like Godzilla, Mothra, and Rodan, it was only a matter of time before other companies would enter the market with new giant monster creations. GAMERA is introduced in 1966 as a giant fire-breathing turtle that is awoken from his stasis by a misguided nuclear blast, after which he heads to Tokyo to feed on fossil fuels and create a path of destruction of his own. GAMERA goes to show that the same high level of quality that went into the costume design and miniature set work in GOJIRA could be recreated in another film series, however this later entry had the benefit of years of experience in working with the costuming materials from the Toho creations, and the filming techniques themselves fall well below the bar set by Japanese leaders like Ishiro Honda. While Gamera makes short work of power plants and industrial parks, the camera either remains static and emotionless or jerks with the fluid motion of an automatic sprinkler. The version of the film that was first introduced to international audiences had several new scenes added using American actors that are outrageously over-the-top while the Japanese-American actors are forced to speak in offensive and stereotypical Engrish. The monster is given a surprising range of motion through its slender design, which helps in its believability and proves to be a lesson learned from the bulkier Godzilla costumes. While it is clear in the subplot that this series is geared more towards a younger crowds, Gamera's wrath and sinister appearance would lead you to believe otherwise. Still, there are moments between the lead kid and the beast in the film that make it accessible to child audiences. Despite its flaws, the film distinguishes itself enough as a worthy competitor in the Kaiju subgenre, and makes for more giant monster fun from the 60s.
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