Ebirah, Horror of the Deep (1966) Review
Where is Godzilla? That is a great question, since this was famously never meant to be a Godzilla feature in the first place. Supposedly, Toho had originally wanted to do more with King Kong, after having secured the rights for the big ape back for his 1962 cross feature. For reasons unknown, Toho’s attempts at bringing Kong on the big screen again had stalled — to a point where the rights owners pulled the plug. At that time the studio had been working on a script that was too good to scrap. The solution? Substitute King Kong for Godzilla.
Was it worth saving this movie from the cutting room floor? By the standards of the 60’s, maybe, but I have never held Ebirah in high regard. It was always a low-point in the franchise in my experience. The mood and tone is entirely at odds with what works for Godzilla. I was not aware of the production history of this movie on my first watch. But learning of it certainly makes a couple of things fall into place and my views on this movie have softened over the years.
Unlike many Godzilla movies, the plot is entirely character-driven. In a parallel to the ‘54 movie, the story of Ebirah opens on sailors being lost at sea. But unlike the original, one of the relatives left behind decides to take matters into their own hands. A younger brother attempts to charter a boat, and with the help of two friendly city-slickers, he ends up breaking into a luxury sailing boat. In a twist of fate, a sly career criminal has already taken refuge on the vessel. This unlikely crew ends up stranded on a deserted island after a tumultuous encounter with the titular Ebirah — a giant lobster-like monster. As the plot progresses the group stumbles upon secret military installations, an enslaved group of tribal people and a slumbering Godzilla.
If you go into this movie expecting Godzilla, then you are in for disappointment. There is simply not that much atomic lizard on screen here. And even when our big boy wakes up, seeing Godzilla rampage on a mostly deserted pacific island is simply not that fun. This will be a recurring critique from me going on. While it might be cheaper to produce island sets, Godzilla is — at its heart — an urban monster. I do not jump up my couch and punch the air when Godzilla stomps on a palm tree. I need the big fella to destroy the financial district or some big monument.
But if you leave your expectations at the entrance, this movie is not as bad as you might think. For a 60’s adventure romp, it is actually quite nice. The core cast is fun and colourful, while the plot advances at a brisk pace with a satisfying conclusion. Most of all, I think this movie is mainly an artefact of its time. Why would you ever make this movie nowadays? If you are making a Godzilla movie, you would make a Godzilla movie. Not a cross between Robinson Crusoe, Where Eagles Dare and Creature from the Black Lagoon. On its own, I do not think this movie is substantially worse than most of its contemporaries. But why would you watch this? Not as a Godzilla movie. And of all the 60’s era adventure features, why this?
It is a movie that is out of touch and out of time. Not one for a casual Godzilla fans, and maybe even not for anyone, but the most hardcore completionists.
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