 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
|
TERROR OF MECHAGODZILLA
The history of Toho's Showa-era (1954-1975) finale for the Godzilla series, Terror of Mechagodzilla, has had a checkered release history in the United States. The first theatrical version of Terror of Mechagodzilla (released as Terror of Godzilla by Bob Conn Enterprises) was cut by several minutes to receive a G-rating. The second release, released to television by Henry Saperstein (responsible for distributing several Toho films in the United States, as well as co-producing some with Toho), had the majority of the film intact. In addition to this version being more complete, it featured a ten-minute prologue/opening credit sequence consisting of stock footage of other Saperstein-released Godzilla films and narration.
Unfortunately, the shorter theatrical cut was used for VHS and LaserDisc releases of Terror of Mechagodzilla in the 1980s (and used again for Simitar's 1998 DVD release and the subsequent Classica Media DVD release in 2002). After a number of years, the Saperstein version of the film disappeared from television and had been replaced by the shorter cut (this reviewer had seen the film years later and wondered "where's the narration!?!?! Why is this cut?!?!?!"). After years, or rather DECADES, of disappointment, Classic Media finally brings forth a definitive version of Terror of Mechagodzilla - complete with both the Japanese release and the longer Saperstein cut (which clocks in around five minutes longer than the Japanese version and ten minutes longer than the cut version) plus extras.
A submarine expedition to recover Mechagodzilla's body (destroyed in the previous film, Godzilla Vs. Mechagodzilla) is interrupted when a newly-discovered dinosaur, Titanosaurus, grabs hold of the submarine and destroys it. Interpol sets out to investigate and follows the trail of Katsura Mafune, the daughter of a renowned scientist who discovered Titanosaurus. A series of car-chases, flashbacks and kidnappings reveal that the Mafune family is working with the same simian alien race who brought Mechagodzilla to Earth in the previous Godzilla entry.
Titanosaurus and the re-built Mechagodzilla are sent to destroy Tokyo. In the middle of their seige, Godzilla arrives on shore. Meanwhile, Interpol has found that Titanosaurus has a weakness - supersonic waves. They create an oscillator to be used during the battle in order to help give Godzilla an edge against his overpowering foes. However, the oscillator has been sabotaged by Katsura and the aliens, leaving Godzilla at a great disadvantage, and what is perhaps the gravest challenge of his life.....
With this film (and the 1969 Godzilla film All Monsters Attack - aka Godzilla's Revenge), Classic Media has released the last of its Toho Master Collection Godzilla films. Originally an exclusive to the boxed set (also with All Monsters Attack), Terror of Mechagodzilla is finally available to those who do not desire to re-buy Classic Media's previous Toho Master Collecition titles (including Gojira/Godzilla: King of the Monsters, Godzilla Raids Again, Mothra Vs. Godzilla, Ghidorah - The Three Headed Monster and Invasion of the Astro Monster). The new collection of DVDs overshadows all previously released videos, lasers and DVDs, especially the 2002 Classic Media releases that seem to have been direct transfers of the television masters. Even the Simitar DVDs from the late 1990s look like dated artifacts next to the newest releases.
Classic Media presents both the Japanese version (with removable subtitles) and American version of Terror of Mechagodzilla in 2.35:1 Tohoscope with 16x9 enhancement. Both presentations are fantastic, but it can be surmised that the English-language version used the same exact master as the Japanese version (set to the original English soundtrack) with the prologue tacked-on. The reason for this is that upon close inspection, the image appears to be exactly the same, with the exception of the television prologue which is both framed 1.85:1 and bears a great deal of grain and print damage. The 1.85:1 framing of the prologue is a cropped image, which is originally cropped from Inoshiro Honda's 2.35:1 composition. The result is an image that is cropped on all four sides, leading to a wealth of missing visual information. It may have been a better choice to leave the television footage as 1.33:1 to at least retain the original television ratio and have it switch to 2.35:1 after the credits. However, the fact that the footage was included at all is a welcome one. The mono sound quality of both versions is as clear as can be with a film of this age.
There is an audio commentary by Keith Aiken and Bob Johnson. It seems that parts of the commentary are being read from previously-written material, but also seems to play much like a well-researched essay. Information is plentiful, and the track begins with the history of the opening montage, including the various releases of Terror of Mechagodzilla, and then deals with so many facts and details that it boggles one's mind that there is so much history behind the Godzilla franchise. The commentary only accompanies the English-language version.
The Women of Godzilla is a short documentary dealing with the female characters and actors behind the Godzilla series. The documentary consists of a slide show (made up of some stunning production stills) with narration. There is also a photo gallery accompanied by notes. The navigation of the gallery is a little tricky (the disc was tested on several DVD players), and leads to either stopping right in the middle of navigation (and the viewer ends up at the beginning of the Japanese version of Terror of Mechagodzilla) or navigating straight to the menu for the Japanese version. The packaging claims to have the original Japanese theatrical trailer, but it is nowhere to be found.
Over the years, many people have been put off by Terror of Mechagodzilla due to what (at the time) was unbeknownst to them as a choppy and sloppily edited/censored presentation. Now with the arrival of this "last word" release of the film, fans may find it worth their while to revisit this title - if not for the restored English-language version, then for the original Japanese presentation - the way the great director Inoshiro Honda intended it to be seen. |
|
