by Giganfan » Sun Jul 29, 2012 7:22 pm
In it's original version, I'll admit, Sora no Daikaiju Radon has the feeling of being a bit of a rush job. I mean, there is a fleeting moment where Rodan is literally dangling from a wire. However, after watching it again recently, the film struck me in a different way than I had previously remembered it. In the past, I was critical of it for being too, quiet, uneventful and sparse, a feeling that was no doubt reinforced by years of familiarity with the much more lively U.S. version. I am still a die-hard fan of the Kings Bros. cut, and feel that it is one of the better Americanizations of a kaiju flick. At the same time though, in it's original Japanese version, Rodan is actually a very moody, wildly imaginative monster movie, that exhibits some of the best work of Ishiro Honda and Eiji Tsuburaya's respective careers. I had always focused on what the film did not have, and wasn't really looking at what it does have. First off, Akira Ifukube does something that he wasn't really known for doing with his music, which is under-score the action. You really get a feel for the underground caverns in which the Meganuron and the Rodans dwell, and the horror aspects of the story are especially emphasized. And the action sequences are enthusiastically written as well. It's by no means one of his best scores, and perhaps Ifukube was pressed for time in composing it, but the music still works, atleast for me. I love how this movie takes place from the perspective of the working class, as represented by Kenji Sahara's able characterization as Shigeru. Ishiro Honda is always at his best when directing films about common, ordinary citizens and their struggle to cope with whatever fantastic beasts the world throws at them. I think this is one of Honda's best-directed movies. Aside from a few unconvincing shots, Tsuburaya's effects truly are impressive. Rodan's gail-force winds literally tear apart anything unfortunate enough to be caught up in them, and his city-destruction scene is without question the finest hour for "the Samurai-Warrior of the Sky". Rodan has always been my second favorite kaiju to Godzilla, and though I really dig the designs in Ghidrah, Monster Zero and Destroy All Monsters, this incarnation is the best he's ever looked. In a word, iconic is how I would describe it. And that ending always chokes me up a little. When Rodan tries to fly up after being consumed by the flames before falling back to earth is charged with so much pathos, it doesn't even matter that it was a mistake. That's the great thing about the art of "tokusatsu"; every now and again, you'll capture something on film that you didn't even think of, and it makes your movie so much more moving.
"Rodan" is no doubt a "classic" of the genre. It's one of those movies that layed the ground-rules for the films that would follow. There's alot of trial and error in the overall production, but atleast to me, its imperfections don't hinder it too much.
"EVERYONE FORGET YOUR TROUBLES! ENJOY YOURSELVES!THERE'S NOTHING TO WORRY ABOUT!" - Gigantis The Fire Monster
"It was HUGE...It was...IT WAS LIKE A MONSTER!!! Suddenly the rocks rose...ALIVE!" - Godzilla 1985