Invasion of Astro-Monster teletransported to Brahe
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by Troler
Free Software fundamentally misses the point. It fails on a practical, ideological, economic, and political level. Let’s examine precisely how (in a slightly different order for the purposes of presentation).
What is a monster really about? Is it a spawn of evil, a symbol of destruction? In the case of Godzilla that answer is simple, 'tis a place-in for the nuclear holocaust. ↩ Reply
By the time of the 1960s, the shadow of war waned. The monster as a form of entertainment grossed, the American interest grew, such an image could not be kept up. Times had changed and so did the monsters. ↩ Reply
Monsters are not enough, it is not enough to just have a giant moth or a mutated Pteranodon. The decade is VII and it needs aliens, it needs a political thriller, it needs collaborations. It needs fresh air! ↩ Reply
In the year 1965, Toho released yet another kaiju flick film with Gojira, 11 years after the first film. By this point this is the 5th Gojira film by Ishiro Honda, the creator of the franchise. And it shows. ↩ Reply
Invasion of Astro-Monster or Kaijū Dai-sensō, or Command from the Darkness feels like a blend of Japanese and American industries. Most given in the protagonist Glenn (Nick Adams). And I can already hear the alarm bells. ↩ Reply
Nick Adams, that Nick Adams, as mentioned by Quentin Tarantino in his discussion about Once Upon in Time in Hollywood mentioned how: ↩ Reply
you could go to Japan and star in a giant monster movie like Nick Adams or Russ Tamblyn did. But the lucrative place to go was Italy to make Spaghetti Westerns, especially if you were coming off a TV show that was a Western show, because that had syndication
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Both of the actors' Tarantino refers to ended up working for Ishiro Honda. Which has me on my heels. This somewhat obscure Japanese film from the 1960s, has still remembered by Quentin Tarantino. Of course, that doesn't say a lot, that man shares the same spot from a random slasher film from the 60s as the classics of cinema. But still, I find it quite intriguing there is such an underlying tie-in between a film from 2019 and 1965. c:0 ↩ Reply
Given that the bar has been raised, what can be expected from this blended Japanese and America picture? Well, it feels tired of the monster craze. Just like the Mothra and even more so like Atragon reels in people for the monsters, to be able to watch a totally different genre film. ↩ Reply
Instead of an action roller-coaster, the film provides a Sci-Fi political story with a 3 headed Ghidorah. As is the case with previous installments, the costumes were repurposed, just changed to fit the slightly different aesthetic. ↩ Reply
![[embedded image]](/pictures/user_upload/Troler/SNCR9FAYZP0S4SQE.jpg "Look at those brilliant marbles")
Look at those brilliant marbles. ↩ Reply
The biggest change in the costumes are the giant, moving Gojira eyes. And that matters, since these are the Avatars of the time, a big showcase of technology, in order to further immerse the viewers in the world. As is to be expected, the miniatures, the costumers, the design of the ship are just marvelous. ↩ Reply
![[embedded image]](/pictures/user_upload/Troler/YNLO6HP3RTK28RS2.jpg "The aliens have that shining-futuristic look")
The aliens have that shining-futuristic look ↩ Reply
Yet, there is a considerable decrease in budget. I was astounded by the fact the team behind the film decided to reuse footage, from Rodan, Mothra and other previous films, in order to lower the costs. Unless the person comes to see the films one after another, nothing really jumps up, but I picked up on few iconic shots. Which is understandable, given the studio was cranking out as many monster movies as it could. c:1 ↩ Reply
As such the point of the film are conversations and the internal relationships between the characters. Given over 80% on the film lingers on their interaction, it is best if they were to be good. Shame it must be said, there is not much there. ↩ Reply
From the perspective of the American viewers, the viewing is a thrilling. It has aliens that come to Earth as friends, they come with clear terms. But are later revealed to be back-stabbers. Since the 50s Japanese are accustomed to aliens being friendly-ish, case and point Warning from Space. ↩ Reply
Besides friendly, back-stabbing aliens there is a consensual kiss between an alien and American. And that alien is played by a Japanese woman. So it is directly a cross-race kiss. ↩ Reply
![[embedded image]](/pictures/user_upload/Troler/3V1REA27CB91UGJ5.jpg "The scandalous kiss, press, come quickly!")
The scandalous kiss, press, come quickly! ↩ Reply
Besides that, not much can be said. The movie is stilling rooting on that momentum of kaiju films, but now leaning more towards Sci-Fi, growing in popularity. This is the year when the French sci-fi film Alphaville hit the air. This is the decade of 2001: A Space Odyssey. ↩ Reply
Still, I find the music phenomenal. Akira Ifukube's composition, as always, is memorable. The man is the creator of the iconic Gojira soundtrack and roar, of course, he's going to put out bangers. Cinema is 50% of sound, so it cannot be overstated how much of an impact good composition has on a film. Imagine watching Tenet without the work of Ludwig Goransson. And in extreme cases, the soundtrack is the film. c:2 ↩ Reply
![[embedded image]](/pictures/user_upload/Troler/VMKSWXCOPLO2MZJD.png "I was totally against it... But Mr. Tsuburaya said, 'never mind, it will make children happy.'...I shot the scene real reluctantly. The actor in the godzilla suit, Harou Nakajima, didn't want to do it either... When we all saw the rough cut of the movie, people were snickering, saying, 'how far will Godzilla go with stuff like this?' Even director Honda snickering... Later on fans told us that after Shie pose, Godzilla movies had changed in quality")
I was totally against it... But Mr. Tsuburaya said, 'never mind, it will make children happy.'...I shot the scene real reluctantly. The actor in the godzilla suit, Harou Nakajima, didn't want to do it either... When we all saw the rough cut of the movie, people were snickering, saying, 'how far will Godzilla go with stuff like this?' Even director Honda snickering... Later on fans told us that after Shie pose, Godzilla movies had changed in quality ↩ Reply
Yes, the miraculous dance you've seen before. It has survived the currents of time, of being such an absurd and memorable event, that it has become synonymous with Gojira brand. The most surprising thing is that it occurs exactly in the middle of the film. People usually remember what happens at the beginning or the end of a work. ↩ Reply
![[embedded image]](/pictures/user_upload/Troler/24XA37BRYB626G9N.gif "Dance Gojira, D A N C E!")
Dance Gojira, D A N C E! ↩ Reply
The dance is in a way, the entire summary of the film. Of a non-Gojira film, featuring it as a cameo monster to draw in people. A silly time for kids and parents alike to laugh at the screen, as they have light entertainment. There is no serious discussion of death, of nuclear holocaust, no character turmoil. ↩ Reply
If the movie presents itself like that, then I shall see it as so. A good entertainment, without much of a corruption of audience. The audience receives a modest amount of kaiju, in slight doses, to be entertained. It is enough to keep the plot running and not too much to feel like an endless fight-scene. Which can work, but that's pretty much a Western porn film. All sex and no plot. c:3 ↩ Reply
![[embedded image]](/pictures/user_upload/Troler/9G09XJWYUG0AEV7K.jpg "Gojira finally goes to the well deserved vacation in the vacuum of space")
Gojira finally goes to the well deserved vacation in the vacuum of space. ↩ Reply
In the end of the day, Gojira is not that bad of a guy. Just misunderstood and by the 60s less radioactive. And maybe it was just sleepy, it was taken on a space-ship from a bottom of a lake. As for me, I must go to the recess of the internet, dive to the deepest parts of cinema, so I could show you a pearl I've found the far reaches of water. ↩ Reply
Fin. ↩ Reply
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Blender Dumbass
c:0 June 20, 2026 This somewhat obscure Japanese film from the 1960s, has still remembered by Quentin Tarantino.
⤴ ViewThere is nothing surprising about Quentin knowing a film.
Blender Dumbass
c:1 June 20, 2026 film decided to reuse footage
⤴ ViewMichael Bay sweating profusely
Blender Dumbass
c:2 June 20, 2026 Imagine watching Tenet without the work of Ludwig Goransson.
⤴ ViewSome people's friends seem to prefer that exact thing, for some stupid reason...
Blender Dumbass
c:3 June 20, 2026 without much of a corruption of audience.
⤴ ViewWhat about the kiss?
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