Destroy All Monsters

Template:Short description Template:Use mdy dates Template:Main otherTemplate:Template otherTemplate:Main other is a 1968 Japanese epic kaiju film directed by Ishirō Honda, with special effects directed by Sadamasa Arikawa and supervised by Eiji Tsuburaya. The film, which was produced and distributed by Toho Co., Ltd, is the ninth film in the Godzilla franchise. The film stars Akira Kubo, Jun Tazaki, Yukiko Kobayashi and Yoshio Tsuchiya.

In the film, humans have achieved world peace by the year 1999, and various giant monsters are confined to an area known as Monsterland. The monsters are freed from the area and are mind-controlled by aliens known as Kilaaks, who send them to attack major cities. When the monsters are freed from the Kilaaks' influence, the aliens send Ghidorah to challenge the other monsters.

Destroy All Monsters was released theatrically in Japan on August 1, 1968. The film was released by American International Pictures with an English-language dub in the United States on May 23, 1969. Contemporary American reviews were mixed, with praise mainly held for the climactic monster battle. Retrospectively, the film has received more praise, and is considered a favorite among Godzilla fans for its "audacious and simple story", "innovative action sequences", and a "memorably booming" score by Akira Ifukube.

The film was followed by All Monsters Attack, released on December 20, 1969.

Plot

At the end of the 20th centuryTemplate:Efn, all of the Earth's monsters have been collected by the United Nations Science Committee and confined in an area known as Monsterland, located in the Ogasawara island chain. A special control center is constructed underneath the island to ensure that the monsters stay secure and to serve as a research facility to study them.

When communications with Monsterland are suddenly and mysteriously severed, and all of the monsters begin attacking world capitals, Dr. Yoshida of the UNSC orders captain Katsuo Yamabe and the crew of his spaceship, Moonlight SY-3, to investigate Monsterland. There, they discover that the scientists, led by Dr. Otani, have become mind-controlled slaves of a feminine extraterrestrial race identifying themselves as the Kilaaks, who reveal that they are in control of the monsters. Their leader demands that the human race surrender, or face total annihilation.

Godzilla attacks New York City, Rodan invades Moscow, Mothra larva lays waste to Beijing, Gorosaurus destroys ParisTemplate:Efn, and Manda attacks London. The attacks were set in to motion to draw attention away from Japan, so that the Kilaaks can establish an underground stronghold near Mount Fuji. The Kilaaks then turn their next major attack onto Tokyo and, without serious opposition, become arrogant in their aims until the UNSC discover, after recovering the Kilaaks' monster mind-control devices from around the world, that they have switched to broadcasting the control signals from their base under the Moon's surface. In a desperate battle, the crew of the SY-3 destroys the Kilaak's lunar outpost and returns the Kilaak control system to Earth.

With all of the monsters under the control of the UNSC, the Kilaaks call King Ghidorah, who is dispatched to protect the Kilaak stronghold, battling Godzilla, Minilla, Mothra larva, Rodan, Gorosaurus, Anguirus, Kumonga, Baragon and Varan. While seemingly invincible, Ghidorah is eventually overpowered by the combined strength of the Earth monsters and is killed. Refusing to admit defeat, the Kilaaks produce their ace, a burning monster they call the Fire Dragon, which begins to torch Tokyo and destroys the control center on Ogasawara.

Suddenly, Godzilla attacks and destroys the Kilaaks' underground base, revealing that the Earth's monsters instinctively know who their enemies are. Yamabe then pursues the Fire Dragon in the SY-3 and narrowly achieves victory for the human race. The Fire Dragon is revealed to be a flaming Kilaak UFO and is destroyed. With the Kilaaks defeated, Godzilla and the other monsters eventually return to Monsterland to live in peace.

Production

Writing

Special effects director Sadamasa Arikawa noted that Toho were going to potentially end the Godzilla series as "Producer Tanaka figured that all the ideas had just run out."Template:SfnTemplate:Sfn Several sources attest that the film was announced alongside Son of Godzilla, possibly as a competing project.

The film was written by Takeshi Kimura and Ishirō Honda, making it the first Godzilla film since Godzilla Raids Again not written by Shinichi Sekizawa.Template:Sfn Takeshi Kimura is credited by his pen name Kaoru Mabuchi in the film's credits.Template:Sfn Kimura and Honda's script developed the concept of Monsterland (referred to as Monster Island in future films).Template:Sfn

The earliest screenplay, written by Kimura in 1967, was titled Monster Chushingura (怪獣忠臣蔵, Kaiju Chūshingura). (The word chushingura refers to a famous historical story in Japan about the rebellion of 47 samurai who took revenge after their master was unjustly forced to commit suicide).Template:Sfn Supposedly, in this version, every monster in Toho's arsenal was to be included, even King Kong, Sanda, and Gaira. In an interview with David Miller, Ishiro Honda even said “the original idea was to show all of the monsters.”

The first initial screenplay, preliminary titled Monster Total Advancement Order (怪獣総進撃命令, Kaijū Sōshingeki Meirei), by Takashi Kamura (as Kaoru Mabuchi) was submitted on November 22, 1967, and included a confirmed roster of Godzilla, Mothra (larva), King Ghidorah, Rodan, Baragon, Varan, Kumonga, Manda, Maguma, and Ebirah. Everything plays out just as in the finished film except that Maguma and Baragon guard the Kilaak base and Baragon actually attacks Paris. Also, in this iteration, Varan and Rodan work in tandem to attack Ghidorah in the final battle.

When it was decided to adapt Two Godzillas!: Japan SOS (an earlier version of Son of Godzilla) instead, the script was shelved for next year. By then the rights to Kong had expired. Honda also wanted to show lunar colonies and brand new hybrid monsters, the results of interbreeding and genetic splicing. He planned to delve more deeply into undersea farming to feed the monsters, but because of budget constraints this was not included. In later scripts, the number of monsters was cut as well.

Filming

Director Honda was fascinated by the concept of a "monster farm", in particular the idea of how humanity could feed them. He noted that a "huge amount of protein" would be needed and envisioned cloning along with undersea farming to accomplish this. However, despite the director's fascination with this concept, the final movie devotes very little time to it outside of the brief introduction to Monsterland and showing Rodan feasting on a dolphin. The director laments that of the original complex idea only the basic "idea of [a] Monster Island survived."

As the film has several monsters who continuously return in the films, the location was developed to be a faraway island where the monsters are pacified.Template:Sfn This tied other films not related to the Godzilla series within its universe, as creatures such as Manda (from Atragon) and Varan (Varan the Unbelievable) exist.Template:Sfn The film features footage from Ghidorah, the Three-Headed Monster (1964), specifically King Ghidorah's fiery birth scene.Template:SfnTemplate:Sfn

As with Ebirah, Horror of the Deep, Teisho Arikawa was the actual special effects director for the movie, although Eiji Tsuburaya is credited for it. Tsuburaya had more of a supervisor role regarding the special effects.

During the monster's attack on Tokyo, you can see Godzilla steps over a construction crane model. Looking back on it, Haruo Nakajima did so because he worried he might trip over it and fall. He regretted doing that since he should have kicked it out of the way since it was a very non-monster like thing to do.

File:Damset.jpg

School children visiting the set during production, posing with some of the cast, monster suits and props.

During the movie's production, Toho arranged for a visit to the Mount Fuji set by a group of around 100 kids who were entering first grade, who got to see all the monsters in action, as well as actors Akira Kubo and Jun Tazaki. Actress Yukiko Kobayashi, as well as the monsters, also paid a visit to a member of the child actors cast of an Imperial Theater of London production of Oliver! in Tokyo.

At the climactic battle at Mount Fuji, Haruo Nakajima wanted Godzilla to reprise his “jumping shie” from Invasion of Astro-Monster, but Ishiro Honda removed it from the final film.

Special effects

New monster suits for Godzilla and Anguirus were constructed for the film, while Rodan, Kumonga, Minilla, Gorosaurus, Manda, Baragon, Mothra, and King Ghidorah suits were modified from previous films, with Ghidorah having less detail than he had in previous films.Template:Sfn

There were 3 different scales of the Moonlight SY-3 created or the film. The largest was 1 meter (3 feet) long used mainly used for shots of the spaceship flying across the surface of the Moon, landing and taking off, and for battle with the Fire Dragon (UFO). The core of the model was solid wood with surface details made of balsa wood and molded fiber glass with putty and paint used to disguise the wood grain and the seams. This model had collapsible wings, functional landing gear and fully firing engines. A 50 cm version was made for use for the booster stage and a 30 cm version was made for perspective flying shots. Both smaller versions were made of balsa wood covered in putty and paint.

For the scene when Gorosaurus comes out of the ground (through a tunnel presumably dug by Baragon) under the Arc de Triomphe, the floor of the set was six and half feet above the ground with the arc built on top of it. A forklift was brought in under the set and the monster was put on the forklift. They then raised the monster up through the ground by raising the forklift.

The fire trap set by the Kilaaks to trap the Moonlight SY-3 used real flamethrowers. Fire retardant materials were used in the rock walls in the crater.

Deleted scene

After attacking New York, Godzilla was to arrive in London and fight Manda but the scene was cut. The scene was included in the 1990s bonus features of the film's Japanese LaserDisc. Director Ishirô Honda said about it, "Why was the scene is cut? Because it doesn't makes sense storywise. Godzilla and Manda were being mind-controlled by the same villains, they wouldn’t just start fighting each other. "

Release

Box office

Destroy All Monsters was released in Japan on 1 August 1968 where it was distributed by Toho.Template:SfnTemplate:Sfn It was released on a double bill with a reissue of the film Atragon.Template:SfnTemplate:Sfn The film had a budget of roughly ¥200,000,000 and received an attendance of 2,580,000. The film was reissued theatrically in Japan in 1972 where it was re-edited by Honda to a 74-minute running time and released with the title Godzilla: Lightning Fast Strategy (ゴジラ電撃大作戦, Gojira Dengeki Daisakusen).Template:Sfn Destroy All Monsters continued the decline in ticket sales in Japan for the Godzilla series, earning 2.6 million in ticket sales.Template:Sfn In comparison, Invasion of Astro-Monster brought in 3.8 million and Son of Godzilla collected 2.5 million.Template:Sfn

US release

The film was released in the United States by American International Pictures with an English-language dub on 23 May 1969.Template:Sfn The film premiered in the United States in Cincinnati.Template:Sfn American International Pictures hired Titra Studios to dub the film into English.Template:Sfn The American version of the film remains relatively close to the Japanese original.Template:Sfn Among the more notable removed elements include Akira Ifukube's title theme (the credits are moved to the end of the film) and a brief shot of Minilla shielding his eyes and ducking when King Ghidorah drops Anguirus from the sky.Template:Sfn Destroy All Monsters was shown on American television until the early 1980s.Template:Sfn It resurfaced on cable broadcast on the Sci-Fi Channel in 1996.Template:Sfn

Home media

The AIP release of Destroy All Monsters was never released on home video in the United States, despite Orion Home Video at one point having distribution rights. It was finally released on VHS by ADV Films in 1998 which featured English-dubbed dialogue from Toho's own international version of the film.Template:SfnTemplate:Sfn In 2011, Tokyo Shock released the film on DVD and Blu-ray and in 2014 the company re-released it on DVD and Blu-ray. In 2019, the Japanese version and export English version were included in a Blu-ray box set released by the Criterion Collection, which included all 15 films from the franchise's Shōwa era.

In 2021, Toho premiered a 4K remaster of the film on the Nippon Classic Movie Channel, along with seven other Godzilla films also remastered in 4K. The film was downscaled to 2K for broadcast.

Critical response

From contemporary reviews, both Variety and Monthly Film Bulletin noted the film's best scenes involved the monsters together, while criticizing the filmmaking. Variety reviewed the English-dubbed version of the film stating that it may appeal to "Sci-fi addicts and monster fans" while stating that the "plot is on comic strip level, special effects depend on obvious miniatures and acting (human) is from school of Flash Gordon" and that the film's strength relied on its "monster rally".Template:Sfn The Monthly Film Bulletin opined that "the model work is poor, and as usual the script is junior comic-strip". Both reviews mentioned the monsters' final scene with Variety commenting that it was "clever" and the Monthly Film Bulletin stating that "apart from [the monsters] statutory devastation of world capitals [...] the monsters have disappointingly little to do until they get together in the last reel for a splendid battle"Template:Sfn The Monthly Film Bulletin commented that the film was "almost worth sitting through the banalities for the final confrontation on Mount Fuji" noting the son of Godzilla "endearingly applauding from a safe distance" and "the victorious monsters performing a celebratory jig".

From retrospective reviews, Steve Biodrowski of Cinefantastique commented that the film "is too slim in its storyline, too thin in its characterizations, to be considered a truly great film [...] But for the ten-year-old living inside us all, it is entertainment of the most awesome sort." Matt Paprocki of Blogcritics said the film is "far from perfect" and "can be downright boring at times" but felt that "the destruction scenes make up for everything else" and "the final battle is an epic that simply can't be matched".

The film is considered a cult favorite among fans of the Godzilla franchise.Template:Sfn In Steve Ryfle and Ed Godziszewski's 2017 book covering Ishiro Honda's filmography, they expressed that Destroy All Monsters is now seen as the "last truly spirited entry" in Toho's initial series of kaiju films, due to "its audacious and simple story, a bounty of monsters and destruction, and a memorably booming soundtrack from Akira Ifukube".Template:Sfn

See also

• List of films featuring dinosaurs
• List of Japanese films of 1968
• List of science fiction films of the 1960s
• Invasion of Astro-Monster
• Godzilla: Final Wars

References

Notes

External links

• Template:First word/ Template:Trim at IMDbTemplate:EditAtWikidata
• Template:PAGENAMEBASE at the TCM Movie DatabaseTemplate:EditAtWikidata
• Template:First word Template:PAGENAMEBASE at Rotten TomatoesTemplate:EditAtWikidataTemplate:Main other
• Template:Jmdb title