Toho and Honda Ishiro stepped out of their comfort zone with Dogora. This massive tentacled space monster wasn’t a guy in a rubber suit which was a nice change of pace. As with many of these kaiju films from the 1960’s I was left wanting more monster and less people.

An international gang of jewel thieves is blamed for jewel thefts, well, internationally. Trouble is, they only pulled one of the jobs. When they tried stealing diamonds in Tokyo a glowing blob swept them off their feet and melted the vault door. Also involved with diamonds is Dr. Munakata who studies crystalline geometry with the help of his lovely secretary Masayo. On the case of the jewel thefts is Det. Komai. Another player is the shadowy American Mark Jackson who always seems to show up when diamonds or the giant space monster are near. Masayo’s brother is a space scientist who is concerned about satellites that have recently been destroyed. It doesn’t take long, actually it took longer than it should have, for everyone to realize that Dogora was funneling up huge amounts of coal and diamonds from around the world. Dr. Munakata realizes if Dogora is not stopped it will spell Doomsday for the people of Earth when she turns her carbon hunger toward the carbon based people inhabiting the planet.

This film was more cops and robbers than monster flick. While Dogora provided stunning spectacles of destruction, the police and jewel thieves had tunnel vision when it came to the diamonds. Much of Dogora played out like some of the humorous jewel theft movies of the time such as the original Pink Panther and Ocean’s Eleven. Everyone seemed to take another monster in stride. In fact, the police captain told Komai to stop messing around investigating the monster and focus on the human jewel thieves despite the fact that the two were connected.

Special effects director, Tsuburaya Eiji, created something new and beautiful with Dogora. Around the 50-minute mark Dogora showed herself in all her glory, like a glowing jellyfish or cephalopod. She was graceful and ethereal and decidedly deadly as she destroyed Wakato Bridge. Her sparkling amoeba shaped children/minions(?) did her bidding around the world. Reverse tornadoes sent coal, trucks, smokestacks whatever was in the way of her carbon snacks upward. The miniatures were interlaced with real military weapons and people. The ultimate weapon was wackier than in other kaiju films, but at least it wouldn’t destroy the Earth.

All of the performances were good though I was pleased that Robert Dunham was cast as the American as he could speak Japanese fluently instead of being dubbed. He also didn't have to wear the embarrassing costume he had to don for Godzilla vs Megalon. Toho monster regular Koizumi Hiroshi had a small part as a scientist. Bond girl, Wakabayashi Akiko, played a femme fatale in the thieves’ gang who became too greedy for her own good. Handsome Natsuki Yosuke’s Komai made for a great straight man against the quippy Mark Jackson. Yet despite having a strong cast, the heist script was not nearly tight enough and was often repetitive. Despite its faults, the human characters were stronger than in many of these old kaiju films.

I probably rated Dogora too high in comparison to other kaiju flicks from the timeframe. I was just happy to see a more creative monster. The film would have been much better if they’d trusted the balletic decimator to carry the show instead of the bumbling cops and robbers.

5 October 2024