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And thanks for bringing up my favorite topic. :)
The reason why the other G movies are better is because they have a fantastic sense of fun and a naive innocence that is completely missing from GINO. Are they great film miking? Not at all (though I'll argue that the craft of the miniature work is way underrated, and once one learns how they did some of the stuff they did one gains an enormous amount of respect for Eiji Tsuburaya and his team. For much, much more on this, see the 68 minute documentary Bringing Godzilla Down To Size, which is a special feature included on the recent release of the Rodan/War of the Gargantuas split DVD).
GINO has none of the sense of fun that marks all the G films (even the really bad G vs Megalon and G vs Gigan), and none of the feeling that captures those Saturday afternoons spent watching Godzilla movies on Creature Double Feature. It was a typical shallow Hollywood movie that equated FX with fun, whereas the FX in the G movies was often meant to be humorous and light hearted, and not the main thrust of the movies. The FX were to further the story, not to be the story.
As a Godzilla movie, GINO is an epic fail of monstrous proportions (heh). As a remake of The Beast From 20,000 Fathoms it works better (Beast was clearly their inspiration, as it was for Gojira back in '54), but it still has way too many glaring bits of stupidity that aren't even funny enough to rise to the level of camp (GINO coming to NYC for privacy, as Broderick's character explains, for instance).
Seriously, how many times during it did you smile because you were having fun, and not just laughing at the badness of it? How many times during a regular G movie do you smile at the fun silliness of it all?
I wish more people could see the original Gojira and compare it to the American version. One will note the much heavier and somber feel, and how the US version omits almost every single reference to the bomb, turning it into a regular "monster on the loose" story that was a mainstay of the 50's American monster flicks. The characters in the original are well realized, even with sparse diologue, and their motivations are perfectly understood. Emiko's betrayal of Dr Serizawa after seeing the victims of Godzilla's rampage is a very powerful scene. It's not just a great monster movie, it's a great anti war movie (Honda said all the scenes of destruction were based on what he saw as he returned home after the war and bicycled through Nagasaki and Hiroshima. The path of Godzilla's attack is the same course the Enola Gay took over the city, and the ship at the start of the movie is a direct reference to the Japanese fishing boat Lucky Dragon 5 that was hit with radioactive fallout after a Pacific nuclear test in March of '54. The number of the boat in the movie is also #5, and it was no coincidence)
And speaking of Kurosawa, he may not have directed them, but he considered Ishiro Honda, who worked as an assistant under him early on, to be one the very best Japanese directors. They both worked for Toho (both Gojira and Seven Samurai were released in 54, saving the studio financially, and both finished in the top 10 of that year), they both used many of the same actors and crew (often during overlapping productions), Honda collaborated on numerous Kurosawa films, including Ran, Kagamusha, Rhapsody in August, Madalayo, and Honda wrote several segments of Kurosawa's Dreams. When Honda died Kurosawa gave his eulogy.
The whole history of Toho Studios is fascinating, and their "Golden Age of Sci-Fi" movies in the 60's are about as close as we'll ever get to the innocence of our youth, when rockets and monsters and spacemen were an everyday topic among young boys. :)
And yes, I realize this is far more interest than any sane human adult should have on this topic. :D
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