For more than 70 years, Godzilla has been the centerpiece of Toho’s monster movie universe (and with Godzilla Minus Zero, that’s not going to change). Yet, over the decades, several Toho productions that originally had nothing to do with Godzilla have become connected to his world through the introduction of monsters, characters, and other fictional concepts that eventually crossed over into Godzilla movies.
Some of these connections are obvious: Mothra, Rodan, and Baragon all started out in movies of their own before becoming familiar faces in the Godzilla franchise. Others are less direct, involving concepts like Moguera, the giant robot originally introduced in The Mysterians, or the Gotengo, the submarine battleship from Atragon that eventually returned in Godzilla: Final Wars.
For this ranking, we’re looking beyond strict continuity connections to consider the broader legacy of Toho’s Godzilla-related productions. Here are the movies that helped expand the King of the Monsters’ world, ranked from worst to best.
Not every film included here takes place in the same continuity as the Godzilla movies. Some introduce monsters who eventually appear alongside Godzilla, while others contribute vehicles, characters, or concepts that find their way into the franchise. A few connections are more indirect, involving related productions or alternate incarnations of established Toho creations. The goal is to explore the wider cinematic legacy surrounding Godzilla, rather than limit this list to films that share a single timeline.
16. DOGORA, THE SPACE MONSTER (1964)
- Director: Ishirô Honda
- Key Monsters/Creatures: Dogora
- Godzilla Connection: Dogora appears in the opening montage of Godzilla: Planet of the Monsters (2017), attacking London in the film’s anime continuity. The creature also appears in the television series Godzilla Island and several Godzilla video games.
- Best Feature: Dogora’s unusual design and the scenes of the space creature descending on Earth to feed.
- Biggest Weakness: The crime comedy subplot overwhelms the monster action, and much of the humor doesn’t land.
Unlike most Toho kaiju films, Dogora is as much a crime comedy as it is a giant monster movie. The titular creature is a space-born cell mutated by radiation in Earth’s atmosphere, eventually growing into a gigantic, flying jellyfish-like organism. Dogora feeds on carbon, making coal mines and oil fields targets, but its appetite for diamonds creates an even stranger problem: precious stones are disappearing all over the world, leading police to suspect an international jewel theft operation. Even genuine diamond heists are being disrupted when Dogora swoops in and eats the loot. The result is an unusual mix of monster mayhem, police investigation, and criminal capers, with the human crime story often taking center stage.
Directed by Gojira filmmaker Ishirô Honda, from a screenplay by Shinichi Sekizawa and a story by Jôjirô Okami, Dogora takes an ambitious swing at doing something different with the kaiju formula. Unfortunately, the approach doesn’t work particularly well for me. The diamond theft storyline isn’t especially interesting, and much of the comedy doesn’t quite land. I do enjoy the scenes in which Dogora comes down from the sky and causes some proper monster movie destruction, but those moments are too few to make this one of Toho’s more satisfying kaiju outings.
15. VARAN (1958) / VARAN THE UNBELIEVABLE (1962)
- Director: Ishirô Honda (Japanese version); Jerry A. Baerwitz (new American footage)
- Key Monsters/Creatures: Varan
- Godzilla Connection: Varan later appears alongside Godzilla and other Toho monsters in Destroy All Monsters (1968).
- Best Feature: Varan’s creature design and the special effects sequences showcasing his rampage.
- Biggest Weakness: The troubled production, uneven storytelling, and heavily reworked American version.
Few Toho monsters have had a rougher journey to the screen than Varan. Originally conceived as a Japanese-American co-production between Toho and ABC, the film was intended to capitalize on the success of Godzilla, reuniting producer Tomoyuki Tanaka, director Ishirô Honda, composer Akira Ifukube, special-effects director Eiji Tsuburaya, and Godzilla suit performers Haruo Nakajima and Katsumi Tezuka. The story itself is a straightforward monster adventure: researchers visit a remote Japanese village where the inhabitants worship a lake-dwelling deity called Baradagi. When the outsiders venture into forbidden territory, the supposed god emerges from the water, revealing himself to be a prehistoric creature known as Varan. Before long, Varan is rampaging across Japan, with the military struggling to stop him before he reaches Tokyo.
But Varan’s bad luck began before the film even reached theatres. Halfway through production, ABC withdrew from the project, forcing Toho to rework the television-oriented production for Japanese theatrical release. The change in format required existing footage to be cropped, while the reduced budget led to the use of special effects footage from Gojira. The Japanese film was later shortened for television, and its American distributor took an even more drastic approach: nearly everything except the monster effects sequences was discarded and surrounded by newly shot material for a substantially different film, released in 1962 as Varan the Unbelievable. The result is a rather unconvincing B-movie, and neither version gives Varan the showcase he deserves. It’s a shame, because the monster himself looks awesome. He could have been a contender.
14. KING KONG ESCAPES (1967)
- Director: Ishirô Honda
- Key Monsters/Creatures: King Kong, Mechani-Kong, Gorosaurus, Giant Sea Serpent
- Godzilla Connection: Introduces Gorosaurus, who returns in Destroy All Monsters (1968), where he becomes part of Godzilla’s monster roster.
- Best Feature: The climactic battle between King Kong and Mechani-Kong around Tokyo Tower.
- Biggest Weakness: Uneven pacing that makes the film less engaging than its premise and effects work suggest.
Based loosely on characters and concepts from the animated series The King Kong Show, King Kong Escapes follows submarine Commander Carl Nelson, an enthusiast who has spent years researching the legend of a sixty-foot gorilla said to inhabit Mondo Island. Nelson even designed a robotic duplicate called Mechani-Kong, but his former associate, the unscrupulous Dr. Who, has stolen the design and built the machine to excavate a valuable radioactive substance called Element X from the North Pole. When Nelson’s submarine runs into trouble near Mondo Island, he and his crew finally encounter the real King Kong. The giant gorilla saves Lieutenant Susan Watson from a dinosaur called Gorosaurus, battles a sea serpent, and develops an affection for the young woman. Once Dr. Who learns that Kong responds to Susan’s commands, he kidnaps both of them and forces the gorilla to do the dangerous excavation work Mechani-Kong couldn’t complete. The scheme eventually leads to a showdown between the two giant creatures in Tokyo, including a battle atop Tokyo Tower.
Toho brought together some of its biggest talents for this unusual adventure. Ishirô Honda directed, Akira Ifukube composed the score, and Eiji Tsuburaya oversaw the special effects. Haruo Nakajima, the performer most closely associated with Godzilla, plays Kong, while Yû Sekida portrays both Mechani-Kong and Gorosaurus. The film has an entertaining James Bond-meets-kaiju premise, some impressive effects, and plenty of colorful characters. I have to admit that the Kong suits in this and King Kong vs. Godzilla look rather silly, but I can go along with them. What I have a harder time with is the pacing. Despite its appealing ingredients and some excellent action sequences, King Kong Escapes has never really managed to hold my attention. I enjoyed it more during a recent viewing than I had in the past, but I was still disappointed overall. It’s certainly worth checking out as one of the most unusual King Kong movies, even if it doesn’t rank among my favorite Toho monster adventures.
13. BATTLE IN OUTER SPACE (1959)
- Director: Ishirô Honda
- Key Creatures: The Natal
- Godzilla Connection: A loose sequel to The Mysterians, sharing returning characters and the Heat Cannon technology; it also features a screenplay by Shinichi Sekizawa, a major contributor to the Godzilla series.
- Best Feature: The imaginative special effects sequences, particularly the attacks on Earth and the lunar battles.
- Biggest Weakness: Thin characterization and a story that prioritizes action over substance.
A loose sequel to The Mysterians, Battle in Outer Space takes place in the futuristic year of 1965 and brings back some characters and technological concepts from its predecessor, including the Heat Cannons. This time, however, Earth faces a different extraterrestrial threat: the Natal, an aggressive race of moon-dwelling aliens intent on turning our planet into a colony. They announce their arrival by destroying a space station, flooding Venice with a gigantic waterspout, and using a freeze ray to reduce the gravity of objects, even lifting a bridge out of the path of an oncoming train. They also possess the ability to control human minds from a distance and weapons capable of vaporizing people entirely. With Earth under attack, two SPIP spacecraft are equipped with heat rays and dispatched to the moon to locate the alien base.
As the title promises, the film delivers plenty of outer space action, from battles against flying saucers and space torpedoes to a lunar chase involving astronauts in moon buses. Director Ishirô Honda and story writer Jôjirô Okami return from The Mysterians, while Shinichi Sekizawa, a frequent contributor to the Mothra and Godzilla films, completes the screenplay. Unfortunately, Battle in Outer Space doesn’t have the character depth or storytelling ambition of its predecessor. The Natal are largely faceless invaders, and the plot is essentially one action sequence after another. That’s not necessarily a bad thing: I still find it an enjoyable, effects-packed science fiction adventure, perfect for a relaxing afternoon, even if it doesn’t quite live up to The Mysterians.
12. REBIRTH OF MOTHRA II (1997)
- Director: Kunio Miyoshi
- Key Monsters/Creatures: Mothra Leo, Dagahra, Barem, Ghogo
- Godzilla Connection: Continues the separate-continuity Mothra mythology established in Rebirth of Mothra, featuring Mothra Leo. The concept of Dagahra recalls Godzilla villain Hedorah, but the two are distinct monsters.
- Best Feature: Dagahra’s design and the underwater monster battles.
- Biggest Weakness: A weaker screenplay, lower production values, and an even more juvenile tone than its predecessor.
Released in Japan as Mothra 2: The Undersea Battle, this sequel continues the family-friendly Mothra mythology introduced in the previous year’s Rebirth of Mothra. This time, the threat comes from the polluted oceans. When strange creatures begin appearing around Japan, the Elias fairies Lora and Moll discover that an ancient monster called Dagahra has become active again. Created by the lost civilization of Nilai-Kanai to consume ocean pollution, Dagahra also produces dangerous starfish-like creatures called Barem as a byproduct of its feeding. Meanwhile, a group of children befriends a strange little creature named Ghogo, whose connection to the sunken civilization’s magical treasure makes him the target of the evil Belvera. As the children search for the treasure that could stop Dagahra, Mothra Leo faces the pollution monster in a battle that proves particularly challenging for the flying kaiju.
Directed by Kunio Miyoshi, Rebirth of Mothra II is a lesser film than its predecessor in nearly every respect, from the screenplay and production values to its overall entertainment value. It’s also even more heavily aimed at younger viewers, with some very childish elements, including Ghogo’s rather unusual healing ability. Still, I find it an enjoyable enough monster movie, and it could be a fun watch for parents and children. Dagahra is a particularly cool-looking creature, although I couldn’t help wishing I were watching him fight Godzilla instead of Mothra Leo. That thought also led me to recognize how much his basic concept resembles that of Godzilla villain Hedorah the Smog Monster. Rebirth of Mothra II isn’t great, but it’s a decent entry in the series.
11. GORATH (1962)
- Director: Ishirô Honda
- Key Monsters/Creatures: Maguma
- Godzilla Connection: Introduces Gorath, the celestial body that reappears as an asteroid in Godzilla: Final Wars (2004). Maguma has returned in novels and comic books.
- Best Feature: The ambitious premise of moving the entire Earth out of the path of a celestial body, supported by impressive space and disaster effects.
- Biggest Weakness: Maguma’s brief monster sequence feels awkwardly inserted into an otherwise focused science fiction disaster story.
In the futuristic 1980s, a gigantic celestial body called Gorath enters our solar system on a collision course with Earth. Its gravitational pull is thousands of times stronger than our planet’s, threatening to trigger catastrophic earthquakes, volcanic eruptions, devastating tides, and the eventual loss of Earth’s atmosphere. With conventional defenses useless against an object of this magnitude, the United Nations approves an extraordinary plan: build enormous nuclear-powered rocket thrusters at the South Pole and use them to propel the entire Earth out of Gorath’s path. But the celestial body’s mass and gravitational influence continue to grow as it approaches, making the race against time increasingly desperate. Much of the film follows the scientists, engineers, and astronauts working to save the planet, with danger unfolding both on Earth and in space.
Although Gorath has no story connection to The Mysterians or Battle in Outer Space, all three are often grouped together as Toho’s Space Opera Trilogy. Ishirô Honda returns to direct, from a story by Jôjirô Okami and a screenplay by Takeshi Kimura, delivering an entertaining science fiction disaster movie that moves briskly through its 89-minute running time. There’s also an unexpected giant monster detour when the heat from the South Pole rocket engines awakens Maguma, a prehistoric walrus-like creature buried beneath the Antarctic ice. Producer Tomoyuki Tanaka insisted on including a monster, despite Honda’s reluctance, and Maguma’s brief rampage feels rather disconnected from the central plot. The creature was almost brought back for Destroy All Monsters, but never made it into the finished film. The more significant Godzilla connection is Gorath itself: the celestial body returns, in a different form, in Godzilla: Final Wars (2004), where the name is used for an asteroid involved in an alien invasion scheme.
10. THE WAR IN SPACE (1977)
- Director: Jun Fukuda
- Key Monsters/Creatures: The axe-wielding alien beast
- Godzilla Connection: Features the Gohten, a spacefaring variation of the Gotengō from Atragon. The Gotengō later returned in Godzilla: Final Wars (2004), and the redesign was influenced by the Gohten.
- Best Feature: The entertaining action sequences, particularly Gohten’s battles against the alien forces.
- Biggest Weakness: Thin characterization, recycled footage, and a rushed story that invites comparisons to Star Wars.
Toho’s answer to the success of Star Wars, The War in Space was rushed into production after George Lucas’s film became a sensation in the United States in May 1977. Toho managed to get its own space adventure into Japanese theaters by the end of December, months before Star Wars finally opened in Japan. Rather than creating an entirely new galaxy, the filmmakers set their story in a slightly futuristic version of our own world: the autumn of 1988. When an alien invasion brings UFO attacks, falling comets, and the destruction of a space station, the United Nations Space Federation revives an abandoned defense project and sends the warship Gohten on a mission to Venus. There, its international crew must contend with disguised alien infiltrators, a kidnapped young woman guarded by a hulking axe-wielding monster, and the arrogant Commander Hell, Emperor of the Galaxy.
Directed by Jun Fukuda, a veteran of several Godzilla films, The War in Space isn’t a great movie, and it invites inevitable comparisons to Star Wars. Its characters are thin, some of the destruction footage is recycled from earlier Toho productions, and the whole thing has the unmistakable feel of a rushed cash-in. Still, I think it has earned a little more appreciation than it usually receives. The action is entertaining, with ray-gun shoot-outs, spectacular destruction, and exciting aerial battles between Gohten and the alien forces. And then there’s that axe-wielding monster. It may not be Star Wars, but it’s a solid, enjoyable science fiction adventure in its own right. Its connection to Atragon is particularly interesting: Gohten is essentially a spacefaring variation on the earlier film’s drill-equipped warship, the Gotengō, carrying that distinctive Toho vehicle design into a new adventure.
9. YOG: MONSTER FROM SPACE (1970) – ALSO KNOWN AS THE SPACE AMOEBA
- Director: Ishirô Honda
- Key Monsters/Creatures: Gezora, Ganimes, Kamoebas
- Godzilla Connection: Kamoebas appears in Godzilla: Tokyo S.O.S. (2003), where its carcass is discovered after an off-screen encounter with Godzilla. Gezora and Ganimes have also appeared in Godzilla-related expanded media.
- Best Feature: The monster action, with all three creatures receiving plenty of screen time.
- Biggest Weakness: A simple story and monsters that aren’t quite as memorable as Toho’s best-known kaiju.
An unmanned rocket called Helios 7 crashes into the South Pacific after being taken over by a mysterious space amoeba. The alien intelligence then begins possessing the creatures around Selgio Island, mutating them into giant monsters. Photojournalist Taro Kudo joins an expedition to the island hoping to photograph evidence of the prehistoric creatures a scientist believes live there, only to discover that the island is already under attack. The monsters include Gezora, a giant squid with an icy touch; Ganimes, enormous crabs; and Kamoebas, a giant turtle. With the alien intelligence capable of controlling humans as well as animals, the island’s residents and visitors must find a way to fight back before the threat spreads beyond their small corner of the Pacific.
Directed by original Gojira filmmaker Ishirô Honda, Yog: Monster from Space (also known as The Space Amoeba) is a relatively low-key, uncomplicated kaiju adventure. Its isolated island setting keeps the scale manageable, and the story provides just enough plot to set up the creature feature mayhem. The monsters are the main attraction, and the film delivers plenty of entertaining suitmation as Gezora, Ganimes, and Kamoebas rampage through the sets. It also marks a significant moment in Toho’s history: the first effects-heavy film the studio made after the death of special effects pioneer Eiji Tsuburaya, with Sadamasa Arikawa taking charge of the effects and Teruyoshi Nakano serving as his assistant. These aren’t the most awe-inspiring monsters Toho ever created, and the film isn’t among the studio’s most memorable kaiju productions, but it’s a fun way to spend 85 minutes. Its Godzilla connection is more substantial than a shared creative team: Kamoebas later appears in Godzilla x Mothra x MechaGodzilla: Tokyo S.O.S. (2003), while Gezora and Ganimes have also been incorporated into Godzilla-related projects.
8. MOTHRA (1961)
- Director: Ishirô Honda
- Key Monsters/Creatures: Mothra
- Godzilla Connection: Introduces Mothra, who went on to become one of Godzilla’s most frequent monster co-stars, appearing in films the likes of Mothra vs. Godzilla (1964), Ghidorah, the Three-Headed Monster (1964), Destroy All Monsters (1968), and Godzilla: Tokyo S.O.S. (2003), among others.
- Best Feature: The spectacular special effects, particularly Mothra’s rampage through the miniature cityscapes and her transformation from larva to adult.
- Biggest Weakness: Despite being immensely popular, Mothra herself isn’t as compelling a monster as many of Toho’s other kaiju, and the lighter, comedic approach may not appeal to everyone.
Created from an idea by producer Tomoyuki Tanaka, Mothra began as a literary project before becoming a Toho monster movie. Authors Shinichiro Nakamura, Takehiko Fukunaga, and Yoshie Hotta collaborated on the serialized story The Luminous Fairies and Mothra, which Shinichi Sekizawa then adapted for the screen. The film begins when a shipwreck leaves four survivors stranded on Infant Island, a supposedly uninhabited nuclear testing site. The survivors return to Japan with no trace of radiation sickness, claiming that mysterious natives gave them a red juice that protected them. A subsequent expedition discovers the island’s inhabitants, along with two tiny, telepathic fairies known as the Shobijin. When unscrupulous showman Clark Nelson kidnaps the fairies to exploit them in a stage show, the islanders summon their guardian monster: Mothra, a gigantic creature that begins its journey to rescue them, first as a destructive larva and then as an enormous winged moth.
Directed by Ishirô Honda, with special effects by Eiji Tsuburaya, Mothra takes a more fantastical, fairy tale approach to the kaiju genre than the earlier Godzilla and Rodan. It also has a lighter, more comedic tone, helped by the presence of popular comedian Frankie Sakai. The effects are terrific, particularly the impressive miniature landscapes through which Mothra rampages, and the monster’s transformation from caterpillar to moth gives the film a unique visual identity. I have never quite understood why Mothra became Toho’s second most successful monster after Godzilla; a giant caterpillar that shoots silk and a moth that beats its wings just don’t do much for me. Still, I find this first solo adventure entertaining, even if I would place plenty of other Toho monsters ahead of her. And its success had an important consequence: it helped bring Godzilla back to theaters in 1962 after a seven-year absence.
7. REBIRTH OF MOTHRA (1996)
- Director: Okihiro Yoneda
- Key Monsters/Creatures: Mothra Leo, Desghidorah, Fairy
- Godzilla Connection: Introduces Mothra Leo and continues Toho’s Mothra legacy, although this trilogy takes place in a separate continuity from the Godzilla films.
- Best Feature: The colorful fantasy imagery, nature-focused themes, and entertaining monster battles.
- Biggest Weakness: Its very young target audience and occasionally childish tone may be off-putting to older viewers.
After plans for a new solo Mothra movie were shelved around the time of the original film’s 30th anniversary, Toho revived the idea following the success of Godzilla and Mothra: The Battle for Earth (1992). Released for Mothra’s 35th anniversary, Rebirth of Mothra takes the character in a decidedly family-friendly fairy tale direction, building a new mythology around the giant moth and her tiny fairy companions. When a logging company disturbs an ancient seal, three supernatural sisters called the Elias sense that something terrible has happened. Two of them, Lora and Moll, want to protect the world, while their estranged sister Belvera hopes to exploit the seal’s power. Belvera succeeds in releasing Desghidorah, a three-headed space monster that came to Earth millions of years ago to drain the planet of its life energy. Mothra answers the call to defend the world, but the ancient creature is no match for Desghidorah. Her death, however, leaves behind an egg, and the newly hatched larva may be Earth’s last hope.
The larva eventually transforms into Mothra Leo, a reborn version of the guardian moth who takes on Desghidorah in a final battle to save the planet. Clearly aimed at younger kaiju fans, Rebirth of Mothra has a fairytale sensibility and an emphasis on the wonders of nature that distinguish it from the more destructive Godzilla adventures. I was probably substantially older than the audience the filmmakers had in mind, and there are moments that almost made me embarrassed to be watching it as an adult. But it’s undeniably fun, with some good monster action and a genuine sense of beauty. Of all the kaiju movies I’ve watched, this is one I’d be most inclined to recommend to parents looking for something to watch with their children.
6. THE MYSTERIANS (1957)
- Director: Ishirô Honda
- Key Monsters/Creatures: Moguera
- Godzilla Connection: Introduces Moguera, the giant robot that returns in a different incarnation in Godzilla vs. SpaceGodzilla (1994).
- Best Feature: The spectacular effects work, particularly Moguera’s attack on the countryside and the battle against the alien dome.
- Biggest Strength: Its fast-moving alien invasion adventure and its anti-nuclear themes.
The Mysterians opens with a series of strange disasters around the world: wilderness fires, earthquakes, sinkholes, mass fish die-offs, and UFO sightings. These events lead to the discovery of an alien base hidden beneath a gigantic dome in the Japanese countryside. The visitors call themselves the Mysterians, survivors of a planet called Mysteroid that was destroyed by nuclear warfare. Having relocated to Mars, they now want a foothold on Earth. Their initial request for a small parcel of land soon gives way to a horrifying demand: because radiation has left most of their children deformed, they want human women delivered to them as breeding slaves. When humanity refuses, the aliens threaten war, deploying flying saucers, devastating energy weapons, and a giant robot called Moguera.
Directed by Gojira and Rodan filmmaker Ishirô Honda, The Mysterians is an action-packed science fiction adventure featuring fantastic special effects from Eiji Tsuburaya. It was also Toho’s first science fiction film shot in its widescreen TohoScope format. The Mysterians themselves are particularly despicable villains: nuclear warmongers who believe humanity should surrender its freedom and women to save their own species. Their invasion gives Honda another opportunity to explore the dangers of nuclear weapons, continuing the anti-nuclear message of Gojira. I find the film highly entertaining, with a terrific pace, impressive spectacle, and a memorable giant robot. Moguera is also the movie’s most important contribution to the Godzilla franchise: although the version that appears in Godzilla vs. SpaceGodzilla is a different incarnation, it is the same robot concept introduced here. The Mysterians is one of the essential stops in exploring the origins of Toho’s wider monster movie universe.
5. REBIRTH OF MOTHRA III (1998)
- Director: Okihiro Yoneda
- Key Monsters/Creatures: Mothra Leo, King Ghidorah, Desghidorah
- Godzilla Connection: Features King Ghidorah, one of Godzilla’s most iconic recurring enemies, although this is a separate continuity incarnation. The film also continues the Mothra mythology established in the previous two movies.
- Best Feature: The prehistoric battle against a younger King Ghidorah.
- Biggest Strength: A stronger, more exciting adventure than the second film, with action and heart that make it a satisfying trilogy finale.
65 million years ago (or 130 million, according to the subtitles on the copy I watched) the dinosaurs weren’t wiped out by an asteroid or some other natural catastrophe. At least half of them fell victim to King Ghidorah, a three-headed monster from space. Now Ghidorah has returned to Earth, causing widespread destruction and mysteriously teleporting children into an enormous dome hidden in a forest. Mothra’s tiny companions, Lora and Moll, call on their winged protector to stop the monster before he brings about the extinction of humanity. But this version of King Ghidorah is far more powerful than the Desghidorah Mothra defeated in the first film, and he can even turn people evil with a look. When Mothra Leo finds himself outmatched, he takes the extraordinary step of traveling back to the age of the dinosaurs to confront a younger, less powerful Ghidorah. Even then, victory will require the help of the Elias sisters and a child who must find a way to restore Lora’s goodhearted nature.
Screenwriter Masumi Suetani returns to complete the trilogy, while Okihiro Yoneda, director of the first Rebirth of Mothra, comes back after sitting out the second installment. The result is an entertaining kaiju adventure that turned out to be my favorite of the three. I certainly like it more than Rebirth of Mothra II, and prefer it to the original because it doesn’t lean quite so heavily into its young target audience. It’s still clearly a movie made with children in mind, but the opportunity to travel back to the age of dinosaurs adds an extra layer of excitement. The film also carries a bittersweet distinction: producer Tomoyuki Tanaka, the driving force behind Toho’s classic kaiju productions and the man who helped bring both Godzilla and Mothra to life, passed away in 1997 and wasn’t involved in this final chapter. I think Yoneda and Suetani delivered a movie he would have been proud of, full of action, thrills, and heart.
4. FRANKENSTEIN CONQUERS THE WORLD (1965)
- Director: Ishirô Honda
- Key Monsters/Creatures: Frankenstein’s Monster, Baragon
- Godzilla Connection: Introduces Baragon, who later appears in Destroy All Monsters (1968) and Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001). The film also has a production history connection to Godzilla through the earlier Frankenstein vs. Godzilla story concept.
- Best Feature: The sympathetic portrayal of Frankenstein’s Monster and the film’s effective blend of human drama and kaiju action.
- Biggest Weakness: The absence of Godzilla in the climactic battle, particularly considering the film’s unusual development history.
The road to Frankenstein Conquers the World began with an unrealized King Kong project conceived by stop-motion effects pioneer Willis O’Brien, which would have pitted Kong against a giant version of Frankenstein’s Monster. Producer John Beck took the idea to Toho, where the studio reworked it into King Kong vs. Godzilla. But Toho wasn’t finished with Frankenstein. After considering other projects involving the character, screenwriter Takeshi Kimura developed a story that initially brought Frankenstein’s Monster face-to-face with Godzilla. Godzilla was eventually replaced by a new creature, Baragon, but the basic premise survived. The resulting film, co-produced by Toho and UPA, finally brought the giant Frankenstein concept to the screen.
The story begins in 1945, when the living heart of Frankenstein’s Monster is transported from Nazi Germany to Hiroshima, only to be caught in the atomic bombing. Fifteen years later, American doctor James Bowen and his colleagues discover a strange, feral boy who has survived radiation exposure and possesses an extraordinary ability to regenerate. The boy is eventually revealed to be Frankenstein’s Monster, growing rapidly because of the radiation. After escaping from the research institute, he becomes a giant, while a series of destructive attacks in the countryside turns out to be the work of another creature: the subterranean Baragon. Directed by Gojira filmmaker Ishirô Honda, the film returns to the human consequences of nuclear devastation, with characters still struggling to help those suffering from the Hiroshima bombing. Frankenstein himself is both unnerving and sympathetic, and we find ourselves rooting for him when he finally faces Baragon. I enjoy Frankenstein Conquers the World a great deal. The film handles the challenge of bringing Frankenstein’s Monster into 1960s Japan surprisingly well, and its central creature is an effective combination of tragic figure and giant monster spectacle. My one disappointment is that Frankenstein ends up fighting newcomer Baragon rather than Godzilla. A battle between Frankenstein and the villainous Godzilla envisioned in Kimura’s original draft would have been much more exciting to me. Setting aside that kaiju bias, though, this is a very good and entertaining film.
3. ATRAGON (1963)
- Director: Ishirô Honda
- Key Monsters/Creatures: Manda
- Godzilla Connection: Introduces Manda, who later appears in Destroy All Monsters (1968) and Godzilla: Final Wars (2004), and the Gotengō, which returns in Final Wars.
- Best Feature: The spectacular design and capabilities of the Atragon, particularly its climactic battle against the Mu Empire.
- Biggest Strength: Its imaginative adventure premise, memorable characters, and impressive effects work.
The world comes under attack from mysterious, superheated individuals who turn out to be emissaries of the lost Mu Empire, a civilization that has survived beneath the Pacific Ocean for 12,000 years. The Empress of Mu demands that humanity surrender the planet and knows that one man could stand in her way: Navy Captain Jinguji, who has secretly spent nearly two decades building an undersea warship called Gotengō (or Atragon in some English-language versions). Presumed dead since the end of World War II, Jinguji has devoted his life to restoring the Empire of Japan and initially refuses to use his creation for anything else. But when the Mu Empire unleashes its arsenal on the world, a group that includes Jinguji’s daughter tries to persuade him to turn the Gotengō against the invaders and their sea serpent deity, Manda.
Directed by Ishirô Honda and written by Shinichi Sekizawa, Atragon is a really fun science fiction fantasy adventure, with an intriguing premise, interesting characters, and spectacular action. The Mu Empire’s attacks are particularly impressive, laying waste to Hong Kong and Venice and causing extensive destruction in Tokyo. And when Gotengō finally enters the battle, it proves to be an incredible machine, equipped with a drill, a freeze ray, and even the ability to fly. The film’s production story is almost as remarkable as its warship: Sekizawa completed the screenplay less than four months before the movie’s December 22, 1963 Japanese premiere, as Toho rushed to get a major release ready for the New Year crowds. Manda’s dragon-like appearance was even designed with 1964, the Year of the Dragon, in mind. Considering how quickly it came together, Atragon is an impressive achievement. Its Godzilla connections are substantial, too: Manda later appeared in Destroy All Monsters and Godzilla: Final Wars, while the Gotengō returned in Final Wars as a central human weapon.
2. RODAN (1956)
- Director: Ishirô Honda
- Key Monsters: Rodan, Meganulon
- Godzilla Connection: Introduces Rodan, who later becomes one of Godzilla’s recurring monster allies and adversaries.
- Best Feature: The effective progression from underground creature horror to spectacular giant monster destruction.
- Biggest Strength: The suspenseful Meganulon and egg-hatching sequences, followed by Rodan’s devastating attack on Fukuoka.
Rodan begins like a horror film. In a small Japanese mining village, workers are being found mutilated by something lurking deep underground. The culprit turns out to be a Meganulon, a gigantic prehistoric insect whose deadly pincers make the mine sequences feel like a monster movie take on a slasher film. The mystery deepens when a pilot pursuing a supersonic UFO is killed, and the surviving mine worker Shigeru reveals what he witnessed underground: a gigantic egg hatching to release a prehistoric flying reptile. The UFO isn’t a spacecraft at all. It’s Rodan, a Pteranodon-like creature whose emergence has apparently been triggered by the effects of nuclear testing. A second Rodan eventually appears, joining its mate in the devastating attack on Fukuoka.
Directed by Godzilla‘s Ishirô Honda, with music by Akira Ifukube and suit effects by Eiji Tsuburaya, Rodan was Toho’s first kaiju feature filmed in color. Haruo Nakajima, best known for playing Godzilla, also performs inside the Rodan suit. Once the monster takes to the skies, the film delivers spectacular destruction, particularly during the attack on Fukuoka, where the winds generated by its wings send people and vehicles flying and reduce buildings to rubble. I love the way the film builds from the creepy Meganulon attacks to the terrifying discovery of Rodan’s egg before finally unleashing the flying dinosaur on a city. It’s a highly entertaining creature feature, and Rodan’s subsequent appearances in the Godzilla franchise make this one of the most important standalone films in the King of the Monsters’ extended cinematic family.
1. THE WAR OF THE GARGANTUAS (1966)
- Director: Ishirô Honda
- Key Monsters/Creatures: Sanda, Gaira, Giant Octopus
- Godzilla Connection: Introduces the Maser Cannons, which become recurring weapons in the Godzilla series. Gaira also appears in stock footage in Godzilla Against Mechagodzilla (2002), and the film’s events are incorporated into the continuity associated with that movie and Godzilla: Tokyo S.O.S. (2003)
- Best Feature: The climactic battle between Sanda and Gaira, staged amid spectacular miniature city destruction.
- Biggest Strength: Its brisk pacing, frequent monster action, and the contrast between the two Gargantuas.
A year after Frankenstein Conquers the World, Toho and UPA reunited for another giant monster adventure that functions as a loose sequel to the earlier film. The story begins when a giant octopus attacks a ship off the coast of Japan, only to be defeated by a gigantic green, hairy creature called Gaira. Unfortunately, Gaira’s rescue of the crew is short-lived: he proceeds to attack the ship and devour its passengers. The authorities turn to three scientists who previously worked at the Kyoto Shingara Institute, where a baby Frankenstein-like creature had been held five years earlier. American doctor Paul Stewart and his Japanese colleagues Akemi Togawa and Yuzo Majida are convinced that the monster they knew could never have become such a vicious man-eater. Their suspicions are confirmed when a second Gargantua appears: Sanda, a large, brown-furred creature who comes to Gaira’s rescue. The scientists theorize that Gaira developed from cells shed by Sanda, explaining the differences between the two monsters. While the military tries to destroy both creatures, Sanda attempts to stop his violent offspring from continuing his rampage.
Directed by Ishirô Honda, who co-wrote the screenplay with Takeshi Kimura, The War of the Gargantuas shares several elements with Frankenstein Conquers the World, including the involvement of UPA, the scientists’ relationship with a mysterious creature, and Kumi Mizuno playing a woman whose presence has a calming effect on the monster. The connection is never spelled out as a direct continuation, but the references make the sequel relationship apparent. The film also features another memorable monster battle, as Sanda and Gaira eventually clash amid Eiji Tsuburaya’s beautifully constructed miniature city. I find this one considerably more exciting than its predecessor. It moves at a brisk pace, is packed with action, and never leaves us waiting too long for another monster moment. The Gargantuas might not be the coolest kaiju ever created, but they provide plenty of entertainment and destruction.
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