“Mosura tai Gojora”
Takao Okawara, 1992, Japan
Meteorite falls on Earth and wakes up Godzilla and Battra. Meanwhile, in Indiana Jones land, treasure hunter Takuya Fujito gets involved in a Government investigation of various ecological disturbances around the meteorite. Battra destroys city. Fujito and others discover Mothra’s egg and as they take it home for some unethical company, Godzilla, Mothra and Battra have a fight, setting off all kinds of volcanic activity. Mothra’s tiny fairy-like guardians, the Cosmos, are kidnapped. Mothra levels Tokyo to check up on them and then Mothra changes from unconvincing caterpillar into unconvincing fluffy moth thing and fights now airborne Battra. Godzilla joins in. Battra turns good and helps fight Godzilla.
With a plot surely made up as it went along, propelled by nothing more than someone gasping “Godzilla!” and then there he is, it’s up to the showdowns to save the whole enterprise. Subplots drop away and characters with typically bad dialogue (and dubbing) become nothing more than ringside spectators heckling the monster fights. The fights here are less wrestling than laser beams and it has to be said that “Godzilla vs Mothra” provides quite a light-show. Some moments such as Mothra cocooning the Capital Building are bizarrely pretty, shot as if they were gorgeous epics. The scenes of the city being trashed and refugees fleeing are closer to the original “Godzilla” than the late Seventies jokey efforts, but the series latterly moves into ecological rather than nuclear warnings. Although Godzilla remains a startling signifier of man-made holocaust, the plots aren’t strong enough to uphold the original message.
So it’s up to the monsters. Battra is a vast spiky improvement upon the Mothra design; a mole-moth-rhino of sorts. Godzilla is in his oddly cat-like phase with barely a jaw to jutt. Forget the humans; enjoy the light-show and mass destruction.