Cowboy James Franciscus seeks fame and fortune by capturing a Tyrannosaurus Rex living in the Forbidden Valley and putting it in a Mexican circus. His victim, called the Gwangi, turns out ... See full summary »
When an ancient statue is moved for display in Expo '70, a giant, vaguely Triceratops-like monster is released. The monster goes to Japan in pursuit of the statue and ends up battling Gamera, the giant flying turtle.
During WWII, a human heart taken from a certain lab in Europe (Dr. Frankenstein's) is kept in a Japanese lab, when it gets exposed to the radiation of the bombing of Hiroshima. The heart ... See full summary »
A salvage vessle is nearly sunk off the Irish coast by an undersea earthquake. A few nights later, a walking sea monster tangles with the fishing boats and enters the town. The salvage vessel captures Gorgo and takes it to London for display. Gorgo's mother, who is upset and significantly larger follows his trail to London leaving a wake of destruction in her path. Written by
John Vogel <firstname.lastname@example.org>
The concept for the British poster art and lobby cards was that the face of Gorgo was not revealed. The idea is based on the line of dialogue in the film from Martin Benson, that Gorgo's name is derived from the Gorgon sisters of Greek mythology. The sight of their faces would turn you to stone. See more »
Several scenes show stock footage of Centurion tanks moving to engage Gorgo, yet there are never any scenes of the tanks firing at the monster. See more »
We prayed for a miracle. Maybe our prayers have been answered. A great city, overwhelmed, exhausted, lies helpless under the immeasurable power and ferocity of this towering apparition from before the dawn of history. Yet, as disdaining the pygmies under her feet, she turns back! Turns with her young, leaving the prostrate city, leaving the haunts of man, and leaving man himself to ponder the proud boast that he alone is lord of all creation.
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GORGO is hardly a perfect film but it does have several things working in its favor which make it more entertaining than many other giant monster films. One is director Eugene Lourie, certainly no stranger to giant monster films directing THE BEAST FROM 20000 FATHOMS, THE COLOSSUS OF NEW YORK, THE GIANT BEHEMOTH as well as GORGO. In terms of Special FX and Ending, only the first film named above is better than GORGO. The FX work(done by Tom Howard) in GORGO is truly well-accomplished and for the time and era was rather ground breaking. The Ending is also truly unique amongst giant monster films which usually all end the same way but this one certainly doesn't.
The problems lie mostly with lack of character development and some serious leaps of logic. Still there are times this film can be quite suspenseful particularly once Mama Gorgo comes on the scene. The huge red-eyed Mama rising out of the water is certainly memorable stuff.
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