Starting in the 1950s,Japanesecinemastarted hitting levels of creativity not seen anywhere else. Mostly, they hit this mark with the help ofkaiju, and the films' influence can be witnessed not only in America’s MonsterVerse but in other genre films as well (e.g.Mimic,Jurassic Park).
The peak of Japanese monster movies came courtesy of Toho, which created not only the cash cow that is Godzilla, but Mothra, Mechagodzilla, and Anguirus, as well. Then there are the cheaperGameramovies from Daiei Film, which embraced an even more child-friendly tone than the later Godzilla installments from the 1970s. But they too came equipped with some memorable monsters, most of whom have an appearance that sends shivers up one’s spine.
Easily one ofGodzilla’s most memorable adversaries, the mechanical avian cyclops that is Gigan is also one of his most formidable. A tool of the M Space Hunter Nebula Aliens, Gigan is one of two weapons sent to destroy Earth in his eponymous film, with his partner being none other than the famed King Ghidorah.
But, even with Ghidorah’s greater notoriety, Gigan is the bigger standout. With a single massive claw for each hand, a beak, mostly ineffectual wings, and a chainsaw for a belly, Gigan is the most unique creation to come from Toho’s original run of Godzilla films, and if someone were to see him walking and squawking down the street they’d head the other direction. Gigan was obviously popular with those who sawGodzilla vs. Gigan, because he was brought back for the immediate sequel:Godzilla vs. Megalon. Unfortunately, since then, he’s only appeared briefly in the overly-stylizedGodzilla: Final Wars.
The grim originalGodzillafilm could just about be considered aclassic horror movie that comments on society. But more often than not it’s viewed as science fiction, mostly because its seemingly innumerable sequels dove further into the genre.
But the keyword forGojirais horror. It’s a horrifying film with a realistic view of human selfishness, not to mention our perpetual desire to destroy one another. Godzilla’s just the reminder that that isn’t the way to go, and without any striving for peace there will only be a descent down a dark rabbit hole. Because the situation can always get worse, perhaps even to the point a 400-foot atomic beast rises from the sea to remind humanity of its place. Godzilla is about as recognizable as Darth Vader or Freddy Krueger, and while the latter two are scarier on a personal level, Godzilla is intimidating on the macro scale. It’s not just the atomic ray-breathing monster that’s frightening, it’s the fact that we were brash and selfish enough to create him.
Gyaos is essentially to Gamera what King Ghidorah is to Godzilla. A formidable adversary that consistently leaves the protagonist kaiju bruised and bloodied, if not broken, Gyaos is Gamera’s archenemy bar none. With a beak, wings, and what appears to be a reptilian hide, Gyaos is a hybrid of a beast that instills fear in the hearts of all it flies over.
And, save for the somewhat boring Barugon, Gyaos is Gamera’sfirstadversary. Essentially a mega-sized bat, Gyaos made several appearances in the older, Showa Era Gamera films before ultimately returning to start off the Heisei Era withGamera: Guardian of the Universe. Naturally, the character’s appearance is incredibly cheap in the Showa Era entries, but even then the monster shows a proclivity for eating people. And if that’s not creepy in a movie at least somewhat targeting young ticket buyers, nothing is.
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TheGodzilla franchise has stood the test of timebecause it knows how to diversify. Not just in terms of antagonists, but also in terms of narrative. The Godzilla movies are inherently silly, any franchise that involves evil aliens (always in human form) is going to be. But at least Toho was swinging for the fences.
The definitive example of Toho’s shooting for the confounding stars is undoubtedlyGodzilla vs. the Smog Monster. From bizarre (and, yes, kind of creepy) stylistic choices to a long, trippy concert sequence it’s a movie that apparently had a specific target audience in mind. The antagonistic title monster itself seals the deal on the film’s effect: It’s well-designed, deadly, and has something to say about the environment and our effect on it.
6King Caesar
After debuting inGodzilla vs. Mechagodzilla, one ofthe Toho franchise’s most essential entries, the kindly King Caesar was pushed to the sidelines. In fact, he’s only appeared once since, in the cameo-packedGodzilla: Final Wars.
Sure, King Caesar is out to help Earthlings, but he still has a jarring appearance. Part shaggy dog and part howling monster, Caesar’s purpose is to protect one specific family, and he only will do so after being awakened via the combination of singing and a statue. It’s all very odd, but if the human can get past Caesar’s appearance, they’ll find more of an ally than an adversary.
5King Ghidorah
The definitive Godzilla villain, and certainly the only one who can claim to have as high a profile as the Big G himself, King Ghidorah hasn’t had his appearance altered much throughout the years, even when adapted for American cinema in Michael Dougherty’sGodzilla: King of the Monsters.
Because why mess with perfection? Ghidorah’s three heads make him more than a little threatening, especially considering they’re constantly oscillating between snarling and spewing lightning bolts. He’s also just a presence in the room. Other monsters, save for maybe Destoroyah, don’t quite captivate the audience’s attention as much as Godzilla. He’s nuclear-powered and adorned with an iconic appearance, no matter how much the size of his back fins changes. But Ghidorah does, and that’s partly because dragons are inherently recognizable from decades of fantasy lore, and it’s rare that the Smaugs of the world would choose to possess a friendly disposition over a creepy personality.
4Meganulon
If given one look atRodan’s massive insects, the Meganulon, the viewer would be forgiven for thinking it’s a movie that hit thebig screen with unfinished special effects. But that 1956 film is so well-directed that they remain intimidating.
In fact, if there’s a Showa Era Toho film that can actually scare kids, it’s Rodan. Every mine scene is eerie, well-shot, and even somewhat bloody. The Meganulon are responsible for this, and it’s only when they burst into a home chirping that the viewer understands what they really are: Two or three men standing one in front of another inside a hot suit, each waggling their bodies to varying extents.
3The Matango (AKA The Mushroom People)
The fungi monsters, or the Matango, ended up being a one-off for Toho, and that actually works to the benefit of their creep factor in the long run. Relegated to just a single island in the South Pacific, this hideous walking mushroom monster was created, like many of its kaiju peers, via radiation.
Essentially,Matangois Toho’s take on the slasher film before slasher films were even a thing. Take a small group of individuals, place them in an isolated location, have something more powerful, then take them out one by one. What works well aboutMatangois that the film’s overall nihilistic tone gels perfectly with the grotesque suits. Like the kaiju costumes seen in other Showa Era films, the Matango haven’t aged like fine wine, but they’re intimidating and there are a lot of them. As a legitimately creepy film,Matangoshould also be commended for having an ending that doesn’t bode well for the future of humanity.
Rodan first debuted in his own movie (the second Toho kaiju film, released just two years afterGojira), but he’s most well known as both an adversary and ally to Godzilla. Like his relationship with Godzilla, the monster has had a complicated history in general. But his appearance has remained relatively unaltered save for a one-film ability to spew fire.
This is good for the pteranodon’s creep factor because there’s never any doubt this living dinosaur would have an issue with grabbing a couple off the ground, biting down, and ending their picnic in a particularly grizzly way. The fact that he can fly at supersonic speeds just makes him scarier. He can swoop down and grab you from a crowd of thousands, and the only thing they’d notice is a strong gust of air.
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What’s creepy about Viras, a Gamera villain from that series' Showa Era run, is that he talks. The only other time this has really been seen in Kaiju films is during a brief conversation between Godzilla and Anguirus inGodzilla vs. Gigan.
The honest reason is that talking kaiju just don’t work. They need to possess a level of personality-free ambiguity and destructive power, that’s it. But, to have a blinking squid monster form full sentences has its merit too. Namely, it’s creepy and distinctly uncomfortable, kind of like Viras' squid-like physical appearance as a whole.
