Movie Review: 1993’s “Godzilla vs. Mechagodzilla 2”:

Story-telling of humans who take up fights against monsters (small, medium, or large) – has long been a conventional device present in some of our most interesting movies. What is viewed as fictional, often takes on reality significance even if merely metaphorical at its surface.

This week, preceding a movie about a children’s book author heroine… encountering ghostly spirits during her stay at a rural American (and haunted) dwelling, I watched a film in whole… belonging to slightly similar genre. One, I would rarely opt to sit through to its final scenes – monster science-fiction.

1993’s “Godzilla vs. Mechagodzilla 2” is set in “1992”. Recalling that the Japanese have made at least one effective and suspenseful horror plot (that I’ve seen) for mainstream US movie theater exhibition (in my own memory), I was curious about this Japanese film’s message: its story rooted in the 1974 “cult classic” of a similar name.

“Godzilla vs. Mechagodzilla 2” is not a suspense film, nor is it a “horror” by today’s US familiarity and measure… but, it is nevertheless a true horror when accepting it as a presentation of one’s reality.

The incarnations of a giant dinosaur derivative, captured the fascination of movie viewers already since the beginning. One that fascinated me as a child was “The Never Ending Story” – a film story which sets purity and other virtues vs. evil.

In general, monsters of past stories have spurned latter day stories told to new generations of people, featuring beasts on film, up to our present day. Rarely, today in my country, are the “ugly” monsters portrayed as the hero; but, many highly popular stories of past have narrated to the contrary. One such example might be children’s classic “Beauty and the Beast”. Super-hero movies that are based on comic books are also influenced by such mythologies and legends – stories originating from various regions and cultures of our world.

One of the older of such films (first filmed in black and white) feature the giant ape “King Kong”, as he is juxtaposed by the captive (and lovely) human woman. It is a classic, which like many monster films’ stories, utilizes the conventional female victim; or, more subtly – a strong though seemingly weaker captive (by comparison) who in the distress lends to the storyteller’s sympathetic strategy.

Unlike other monsters – creations of the dead brought back to “living” status though retaining some human shape and qualities (e.g. “zombie” or “Frankenstein”), the “Godzilla” was more an inception likened to “King Kong” – animal and beast. Likened to the natural (though extinct) dinosaur, this “Godzilla” story most resembles “Jurassic Park” [another movie which (just as this 1993 one) premises on “nature” unchecked and threatening humanity]. “Godzilla” – with power drawn from nuclear radiation (though fictional), is like all the creatures who wields powers that are traced back to the ancient mythologies or presumed realities of minor god-status creatures. These are beings of great strengths and unique powers.

In this write up, I’d like to give a plot point synopsis, followed by pointing out what I thought were the strong aspects of this movie.

Set in Japan, and made by Japanese, the film ends by posing a few poignant moral questions: about whether or not beast can survive in a human world. I won’t tell you whether “Godzilla” lives or dies.

3 names attached to the film project are: “Masahiro Takashima”, “Ryoko Sano”, “Megumi Odaka”.

So what is the story line of this movie? Here’s the prologue: After failing to defeat the menace of their seas – “Godzilla” – who emerges from the sea from time to time to unload havoc on the Japanese islanders, “Mechking Gadora” a.k.a. “Mechagodzilla”– an advanced machine from their future – is brought back in time to finally attempt to face off against the “Godzilla”, destroying him.

Disregarding the time bending ability, the machine is “brought back”; and is engineered by “G-Force” laboratories. Controlled by top scientists and military, the nuclear powered robot machine is the people’s hope of quickly restoring peace for humanity. The machine (sort of a “Transformers” concept), is to be commandeered by pilots trained in martial arts and flight simulation.

At a geological site, the scientists hike and journey through a mountainous region to set up camp after having collaborated with Russian scientists it is said. There, they find the egg. The egg is identified as a “Terranadon” egg. This egg belongs to a giant reptilian “bird” type, closely allied with “Godzilla”.

Amazed by their finding, they secure the egg – transporting it back to their lab headquarters. The camp had been suddenly ambushed by the protective mother bird; and by “Godzilla” from the sea nearby. Barely securing the egg in time and escaping with their lives by helicopter, the camp is left behind in ruin.

Upon latter study of the egg, the scientists observe more pulses of luminescence (from it), which they attribute to the island’s nuclear waste and radioactivity.
Later, however, they begin to associate the color with distress signals sent out by the fetal organism which is longing for its mother.

The lab (a.k.a. “National Institute of Biotechnics”) conducts time lapse photography of the egg. And, this reveals that the fetal organism recognizes the human female lab technician’s presence or absence – confusing her with its own mother. Adding humanity to the story, the storytellers endeavor to create a sentimental aspect to the otherwise animal only dimension of the beast – namely that everything created has its own mother of sorts.

After the creature hatches from the egg, the leading scientist is determined that the creature is merely a comparatively “harmless” “plant-eating Godzilla-saur”. I, am reminded of the movie “Gremlins” however.

Meanwhile “Godzilla” is on his way toward the city of Kyoto. “Alert level 3” is announced by the authorities who are charged with safety over the people.
The fighting force thus mobilizes “Mecha-Godzilla” – the latest generation fighting machine described.

“Operation exodus”, as they call it, is commandeered by the military remotely.

The military utilizes “plasma grenade”, “paralizer missles”, “power discharge anchors” that emit electric charge. It’s all to no avail. “Godzilla is still strong. And, he sends the electricity back to the overheated “Mecha-G.”, severely damaging and disabling the high tech machine.

The humans take evasive action. They then substitute the retreating “Mecha-G.” machine, with tanks and fighter jets- in an effort to protect the city.
“Godzilla” defies this with his nuclear blasts; causes further panic and mayhem in the city.

Back at the lab, the scientists believe that “Godzilla” is responding somewhat telepathically – communicating with the hatch-ling of the giant reptilian bird egg – receiving distress signals. They also discover that “Godzilla” has a weakness. Namely, it is a second brain in its torso; one that they have not attacked, but plan to next time.

Subsequently, while repairing the “Mecha-G”, they realize that they must use the hatch-ling to lure “Godzilla” away from the city. They aim to exploit the emotional attachment, by leading him toward an uninhabited island region. To do this, they mobilize to transport the hatch-ling per shipping container, by helicopter. The female lab assistant is disturbed by the plot because of a newly developed attachment and maternal fascination with the baby beast. Though odd, it is a vital aspect of the narrative.

It turns out, that the giant bird, (“Godzilla’s” protégé of sorts) is the “baby’s” “half biological brother” according to the scientist.
During transport, the giant reptilian bird intercepts the shipping container mid air – housing baby and the lab worker – bringing it to the ground with it in grip of its talons. It does this, upon its similar telepathic sensing that “baby” is in there.

The epic battle nears completion as the giant “Mecha-G” is ready for battle once more.

An unappreciated human hero of “G-Force”, also fond of winning over the female lab assistant, finds opportunity to play a pivotal combative role in the battle. His aim of helping humanity and winning the affection of the female lab assistant is his motivation for restoring order.
Augmenting with present-day tech forces that he assisted in developing – combined with the repaired “Mechking-Mecha-G” – they now have a fighting chance (it seems). The plan is to attack the second brain this time.

Expecting to finally win this battle, what happens? Do they accomplish it this time?

After seemingly doing just that, the giant bird gives its last dying energy to “Godzilla” (after barely enduring fatal blows of her own). A deeply wounded “Godzilla” thereby reconstitutes its second brain, by way of the martyred huge bird.

As this film ends, there are two narrative options. Which do you think it is?
1. “Godzilla” unites with “baby” and returns to the sea, with Kyoto burning in the background.
2. “Godzilla” is finally defeated, and “baby” transforms to a gigantic peace bearing blazing bird- much to the amazement and delight of the tired onlookers.

You’ll have to check out this film and watch it for yourself, to find out the answer. I hope you enjoyed this review of “Godzilla vs. Mechagodzilla 2” (1993).

The strengths of the film by the way, I think, are: (1.) the well timed and humorous vernaculars.
With the English language, some appropriately placed profanity is used. I found it humorous.
(2.) I give a lot of credit to the production team for their visual effects which include: pyrotechnic, electricity, and nuclear charge depictions. Good use was made of visual perspective, comparative size, and city destruction scenes. (This was not as “easy” to do, back in 1993, as it is today with sophisticated computer graphics systems).

If you do watch this, recognize the genre, and have fun along with that ride if you can. It will also help you to appreciate modern day computer graphics, which have come a very long way since 1993.

As for the story, well, judge for yourself and read this post before venturing “in”!