Another release within a year of the previous entry, this installment ditches the space-age, sci-fi feel of Invasion of Astro-Monster in favour of… well, I don’t really know what this film is. It opens so suddenly that you wonder whether you’ve just accidentally skipped 10 minutes, as a woman struggles with the loss of their fisherman son, refusing to accept he’s dead, before her second son vows to find him. He instantly attends a dance competition where competitors have been dancing for three straight days to music that sounds just like the Batman theme in order to win a luxury yacht. He’s too late to enter so he is driven to the docks by two failed competitors who show him a nice boat that happens to be occupied by a shifty bank robber. The following morning an argument breaks out between the robber and the clueless duo before they realise they’re already halfway out into the ocean as the young man has commandeered the boat. A completely unexplained whirlwind, all this happens in about 10 minutes. Reading the above description might in fact make more sense than actually watching the film’s opening.
It slowly becomes slightly less chaotic as we focus on the four travelling across the sea hoping to bump into the missing brother somehow. Unfortunately they instead bump into Ebirah, the monster of the title. The effects in the initial attack are actually really good, even if Ebirah amounts to little more than a really big lobster (one character actually refers to it as such). Washing up on Devil Island they encounter the shady organisation by the name of Red Bamboo, who enslave natives of Infant Island; Mothra’s home. It may be less chaotic, but never does the plot stop for a minute to pretend it makes any sense, nor do any of the characters make us particularly care what happens. It’s well into the film that we get our first glimpse of Godzilla who is lying dormant. His awakening offers a weak promise to shift the film into a more straightforward Godzilla feature.
This promise of mostly met, while the human story doesn’t get forgotten about it certainly takes second billing to the monster scenes. I’m just going to write off the human story now as a failure and get to the main point. The monster scenes in this film seem much better quality than in previous films; something about how they’re shot & lit makes it much more realistic and more exciting. Similarly, interaction with the scenery and composites with actors are much better making Godzilla and the other monsters seem much bigger than they ever have. Naturally Godzilla is angered Ebirah’s presence leading to some awesome sea-based fights, including some parts that take place completely underwater. The music for these scenes is incredibly frustrating; surfer music like taken straight out of an episode of Scooby-Doo that is as well-suited as Jeremy Clarkson speaking at a Greenpeace convention. Bizarre moments come in the form of the two monsters doing some sort of volleyball with boulders, and a moment between Godzilla and the female lead that err close to a King Kong-esque humanising scene, but thankfully this is never followed through as Godzilla is distracted by some pesky fighter jets, which would be cool if it wasn’t for more shocking surf music.
I had one other confusion about Mothra’s appearance. Godzilla fights her briefly which makes no sense given they teamed up in the last 2 films. Turns out this film was never meant to feature Godzilla, that it was written for King Kong but changed at the last minute. This may explain why it feels so different to the previous entries. Oh well, on to the next film I guess.