It’s hard to narrow down the wildest period of the Godzilla franchise, seeing as how each one, at least to some degree, deals in fantasy. There is also the requisite component of science fiction that only became more varied as the series progressed. In that respect, the sci-fi went from sort of plausible to plainly outrageous.
These films started with the hypothetical mutations of surviving prehistoric creatures before later leaning into more far-out ideas, such as aliens and otherworldly civilizations.
Amazingly enough, though, robots didn’t enter the picture until near the end of that first era. Once Mechagodzilla did make its explosive debut, the King of Monsters gained an enemy for life.
Next to Ishirō Honda, Jun Fukuda helmed the most Godzilla films from the Shōwa cycle (1954–1975). His five directorial contributions are also met with the most mixed reactions. After all, this was the man behind Son of Godzilla (1967), Godzilla vs. Gigan (1972), and Godzilla vs. Megalon (1973). Those especially divisive entries were taken as signs of the franchise’s decline. Nonetheless, Toho pushed on and even showed some signs of life in its last two films before Godzilla’s (first) major hiatus. And by no coincidence, both featured Mechagodzilla.
Fukuda’s final outing in the series, Godzilla vs. Mechagodzilla (1974), can be seen as a redeeming moment for both him and the late-Shōwa phase. That’s not to say his former efforts don’t have their fans, and a few of them are too maligned, but overall, they’re still not as revered as anything from Honda’s output. Nevertheless, Fukuda managed to stay on the same wavelength as his prior films while also delivering something fresh and exciting.
From the opening, it’s clear that Godzilla vs. Mechagodzilla is about to get a bit unusual. Fan-favorite Anguirus is spotted in some desolate terrain before he then unleashes a string of guttural bellows. From the looks and sounds of things, that haunting yell summons the Big G from a nearby volcano. Fittingly, though, Godzilla’s own signature roar is only heard, not seen, amid the volcanic explosion. This plays into the film’s notion that things are not at all what they seem.
Fukuda’s apparent fondness for gangsters, espionage, and conspiracies found its way into his Godzilla work, in particular this film. Mechagodzilla was, in fact, the first instance where Fukuda co-wrote the screenplay. As a result, the looming threat of giant monsters is supplemented by a cat-and-mouse subplot. In lieu of anything grounded, aliens are once more the masterminds behind the kaijū chaos and the human characters’ constant pursuit.
Fukuda does, however, channel Planet of the Apes when distinguishing these extraterrestrials from others seen so far in the Godzilla lineage. The inclination to give the antagonists simian attributes seemed only appropriate, given Apes’ popularity at the time. There was even a Japanese adaptation, Saru no Gundan, airing on TV the same year that Mechagodzilla came out.
The superhero-like direction of the ‘70s Godzilla films, not to mention Fukuda’s previous installments, remained in full effect here. The ongoing competition with tokusatsu television, such as Kamen Rider and Ultraman, had influenced Toho to turn Godzilla into their own world-saving, child-friendly champion. When met on those terms, the heroic battles are more tolerable, if not immensely entertaining. Luckily, Fukuda was able to step a little off the well-beaten path, as well as drop some stylistic flourishes, before returning the reins to Honda.
That somewhat formulaic story is bailed out by Fukuda’s direction. Godzilla vs. Mechagodzilla is full of verve where it counts and never feels as phoned in as the two films before it. The monster set-pieces are lively and effective. The director’s penchant for bloodletting stays the same, too, although that gruesome encounter between Godzilla’s imposter and Anguirus is perhaps too dark, even when trying to convince the audience that Mechagodzilla is indeed very bad. As for the climactic battle between the two titular titans, along with newcomer King Caesar, Fukuda’s affection for Sergio Leone’s spaghetti westerns is apparent.
With mysticism and magic, each legitimized elements in the Godzilla films, beginning with King Kong vs. Godzilla (1962) and continuing in Mothra vs. Godzilla (1964), the inclusion of King Caesar comes as no shock to any ardent viewer. Interestingly, though, Godzilla vs. Mechagodzilla digs into existing Okinawan mythology rather than creating lore out of thin air. Regardless of its origins, that shaggy guardian monster is, more or less, a substitute for Mothra; the Azumi family also fills in for the Twin Fairies.
There is even an earwormy folk song used to beckon the beast. That said, King Caesar is still a worthy, if not odd, addition to Toho’s creature gallery.
As for Mechagodzilla, those first two appearances are the robot at its most villainous. Giving Godzilla a dark twin, a vision of a possible timeline where Earth’s greatest protector went the other way, is as amusing as it is clever. Sure, Mechagodzilla is likely just an idea inspired by Mechani-Kong from King Kong Escapes (1967), yet that metallic ape has nothing on its spiritual successor. As Anguirus’ glossectomy showed, Fukuda was intent on making the heroes suffer and work for their victory.
The concluding battle is an all-timer—it’s a glut of lasers, sparks, and other eye-catching effects. And unlike the future Japanese films, these monsters weren’t afraid to brawl. Full-contact fights would be all but phased out down the line, whereas the original Mechagodzilla reaped the benefits of claw-to-claw tussles.
Where the Shōwa films ultimately landed after their shaky flight path, and after Godzilla (1954), is almost hard to believe. Yet at the same time, they provide some of the most lasting memories this franchise has to offer. Godzilla vs. Mechagodzilla leans into its own excess with no apologies, and the film is all the better for it. Admittedly, Godzilla turning into a giant magnet is guffaw-worthy, but the craft put into that moment, like most technical aspects here, is impressive.
While not everyone considers Godzilla vs. Mechagodzilla to be the best film from the classic period, it still does have a lot going for it. The only real disappointment is how the series eventually (and temporarily) closed up shop just when it felt like it was getting back on track.
