IMDb > Godzilla vs. Megalon (1973)
Gojira tai Megaro
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Godzilla vs. Megalon (1973) More at IMDbPro »Gojira tai Megaro (original title)

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Godzilla vs. Megalon -- The undersea nation of Seatopia sends the gigantic Megalon to destroy the world above - and it's up to Godzilla and a size-shifting robot, Jet Jaguar, to defeat him.


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Down 15% in popularity this week. See why on IMDbPro.
Jun Fukuda (writer)
Takeshi Kimura (story)
View company contact information for Godzilla vs. Megalon on IMDbPro.
Release Date:
April 1976 (USA) See more »
Underground horrors attack! See more »
The undersea nation of Seatopia sends the gigantic Megalon to destroy the world above - and it's up to Godzilla and a size-shifting robot, Jet Jaguar, to defeat him. Full summary » | Add synopsis »
Plot Keywords:
User Reviews:
Controlled See more (64 total) »


  (in credits order)
Katsuhiko Sasaki ... Inventor Goro Ibuki
Hiroyuki Kawase ... Rokuro 'Roku-chan' Ibuki
Yutaka Hayashi ... Hiroshi Jinkawa
Robert Dunham ... Emperor Antonio of Seatopia
Kotaro Tomita ... Lead Seatopian Agent
Ulf Ôtsuki ... Seatopian Agent
Gentaro Nakajima ... Truck Driver (as Gen Nakajima)
Sakyo Mikami ... Truck Driver's Assistant
Fumiyo Ikeda ... Man from Unit 1
Kanta Mori ... Japan Special Defense Forces Chief
Shinji Takagi ... Gojira
Hideto Odachi ... Megaro
Tsugutoshi Komada ... Jetto Jagâ
Kenpachirô Satsuma ... Gaigan (as Kengo Nakayama)
rest of cast listed alphabetically:
Rolf Jessup ... Antonio's Aide (Radio Operator in White)
Eisuke Nakanishi ... Asuka Island Nuclear Test (Narrator)

Haruo Nakajima ... Gojira (stock footage) (uncredited)

Directed by
Jun Fukuda 
Writing credits
(in alphabetical order)
Jun Fukuda  writer
Takeshi Kimura  story "Gojira tai Uchu Kaijû"
Shin'ichi Sekizawa  story

Produced by
Tomoyuki Tanaka .... producer
Original Music by
Riichirô Manabe 
Cinematography by
Yuzuru Aizawa 
Film Editing by
Michiko Ikeda 
Production Design by
Yoshifumi Honda 
Production Management
Christian Alexander Moran .... post-production manager (restored version)
Keisuke Shinodo .... unit production manager
Second Unit Director or Assistant Director
Tsunesaburo Nishikawa .... chief assistant director
Sound Department
Teishiro Hayashi .... sound recordist
Special Effects by
Eiichi Asada .... assistant camera
Teruyoshi Nakano .... director of special effects
Shôji Okawa .... special effects wire work
Visual Effects by
Sokei Tomioka .... special effects cameraman
Camera and Electrical Department
Umberto Dessena .... grip
Masakuni Morimoto .... lighting technician

Production CompaniesDistributors

Additional Details

Also Known As:
"Gojira tai Megaro" - Japan (original title)
See more »
USA:78 min | Japan:86 min
Color (Fujicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Australia:PG | Canada:PG (Nova Scotia/Ontario) | Canada:G (Quebec) | UK:PG | USA:Not Rated | West Germany:12

Did You Know?

Megalon was originally created to be the third evil monster (besides King Ghidorah and Gigan) in Godzilla vs. Gigan (1972) (in its second draft, "Godzilla Vs. the Space Monsters: The Earth Defense Command"), but budgetary cuts nixed Megalon from that film altogether. While he was originally created to be an opponent for Godzilla, he was considered for the role of the lone villain of this film when it was planned as a Jet Jaguar solo vehicle ("Jet Jaguar Vs. Underground Monster Megalon"), before, ironically, Godzilla was written into the story along with Gigan.See more »
Miscellaneous: The scene of Gigan landing on a building (with yellow and black stripes) is a scene lifted from "Godzilla vs. Gigan".See more »
Emperor Antonio of Seatopia:Contact Star Hunter Universe M. Say we need Gigan's help immediately.
Antonio's Aide:Right.
Emperor Antonio of Seatopia:Additionally, notify our people on Easter Island.
See more »
Gojira and Jaguar, Punch Punch Punch!See more »


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5 out of 6 people found the following review useful.
Controlled, 22 November 2006
Author: tedg ( from Virginia Beach

This stuff is fascinating, all this old science fiction. If you dig around in the US stuff from the 50s, you get noir. The fundamental noir notion is that there is some agency that controls fate, that is somehow apart from the world in which the film operates.

Typical noir has some average bumpkin caught up in some apparent accident that compounds with other accidents to create a situation that amuses us in some way (or we wouldn't be watching). Clever noir, implies that the very act of us watching somehow drives or empowers this agent of fate: that the very fact that we are there ready to watch is what puts our hero in harm's way.

Its an American invention, unique to film, and incredibly clever in the way it appropriates religion, making us gods merely by being entertained. In 50s America Science fiction, the monster kind, I mean (which includes the later Frankensteins and Draculas), that notion of fate is merged with science. So we have radiation (usually) creating monsters that threaten, but in a noir-like fashion.

It puts us in a dual state as watchers, identifying with the victims, but allied with the cause, especially when its in 3D.

But the US model is almost always that science is beyond our control. If humanity wins, it is an accident, or temporary. Or plain luck.

The Japanese model of this same period has humans in control. They don't have scientists in the American sense, rather the Japanese experts are engineers. Its not a subtle difference: these guys actually design and control where their American counterparts understand. (If its not clear, you can be a good engineer without a deep understanding, in fact that usually the case.)

This is a junky movie, but almost perfect as an example of the genre. Almost the very best of its kind. Its n two halves. One half, the latter, is a gigantic battle. It starts between a robot controlled by submarine human geniuses and one controlled by human geniuses. Engineering geniuses that is. Its a standoff. The underwater guys call up a monster that we know from other movies to be radiation-caused but is under their control. Oh oh, looks bad for humanity.

But "our" robot calls in Godzilla, who kicks ass. Godzilla, star of many previous movies is now protector of humanity because he somehow speaks the same language as our robot. These four monsters fight, but on behalf of their humans.

The other half of the movie is the necessary bumph that introduces characters, individuals we can follow and watch them at risk. Contrast them with their American counterparts. Understanding versus control. Its amazing to watch because it as different in its world than any we'll see in sci-fi. This "clash of cultures" peaked in the eighties as an almost open war.

Why go through all this? Because if I as an American want to enter the worlds of Kurosawa and Oshima, you have to be here as well.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

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