Gojira-Minira-Gabara: Oru Kaijû Daishingeki should not be seen as SF or a monster film, but a film about a child growing up without enough exposure to his parents. Viewed in this light, it really doesn't matter that the film is filled with stock footage. Kids often imagine themselves in movies essentially as they happened, so the introduction of a new monster is something unusual in that regard.
Child actor Tomonori Yazaki is wonderful as Ichiro (whose name simply means "first male child"), and his parents are simply stuck in their situation. They must work to support Ichiro, but in doing so, they are unable to raise him. Instead, he is cared for by a neighboring toymaker. While this may be seen as any kid's dream, Minami, played by comedian Eisei Amamoto, demonstrates himself a rather inept parent, an old guy who was to eccentric to marry and have children. Whether or not Gojira exists diegetically is open to debate (cf. Gojira tai Hedora for the action figures), although the name is recognizable to the public within the film, is really irrelevant. When this boy fantasizes about having a parent, he fantasizes all wrong, learning lessons appropriate for a monster, but not for a person. Whether the monster itself is naturally exciting (cf. the child in Kingu Kongu tai Gojira) or whether Gojira is a cinematic character really becomes insignificant in the mind of a child anyway. Even if they don't belive something is real, they like to pretend it is, anyway.
When Ishiro Honda cut this film for festival exhibition, he deleted the comic ending which is really inappropriate and suggests that the lessons Ichiro learned from Gojira are okay. This plays against the final scene with the mother, who promises Ichiro she will never work at night again, while her non-verbals convey that she cannot hold to this promise, in effect fulfilling one responsibility mandates coming up short on another of equal importance.
It might perhaps be better if the film were regarded as an experimental drama, one the parents should watch with children and discuss. The intended audience is clearly not young adults looking for action, or worst, campy action.
Child actor Tomonori Yazaki is wonderful as Ichiro (whose name simply means "first male child"), and his parents are simply stuck in their situation. They must work to support Ichiro, but in doing so, they are unable to raise him. Instead, he is cared for by a neighboring toymaker. While this may be seen as any kid's dream, Minami, played by comedian Eisei Amamoto, demonstrates himself a rather inept parent, an old guy who was to eccentric to marry and have children. Whether or not Gojira exists diegetically is open to debate (cf. Gojira tai Hedora for the action figures), although the name is recognizable to the public within the film, is really irrelevant. When this boy fantasizes about having a parent, he fantasizes all wrong, learning lessons appropriate for a monster, but not for a person. Whether the monster itself is naturally exciting (cf. the child in Kingu Kongu tai Gojira) or whether Gojira is a cinematic character really becomes insignificant in the mind of a child anyway. Even if they don't belive something is real, they like to pretend it is, anyway.
When Ishiro Honda cut this film for festival exhibition, he deleted the comic ending which is really inappropriate and suggests that the lessons Ichiro learned from Gojira are okay. This plays against the final scene with the mother, who promises Ichiro she will never work at night again, while her non-verbals convey that she cannot hold to this promise, in effect fulfilling one responsibility mandates coming up short on another of equal importance.
It might perhaps be better if the film were regarded as an experimental drama, one the parents should watch with children and discuss. The intended audience is clearly not young adults looking for action, or worst, campy action.