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(It's International)
Making a motion picture today
is truly an international
undertaking. The growing inter-cultural
relationship developing
between nations, even
in a world torn by political dissension,
results in more and
more co-productions by nationals
of different countries. Since
most movies are made for an
international market, there is
an increasing temptation to insert
story elements and people
of other countries, with an eye
to a wider market potential.
In "Mothi-a," a Toho production
for Columbia i-elease now
at the Theatre
in Tohoscope and Eastman
color, this cm-rent facet of
moviemaking has not been neglected.
The science-fiction
thriller tells of a winged behemoth's
worsliip of two dollsized
beauties and its worldwrecking
rampage when they
are kidnaped by an opportun-
Lstic promoter to display on the
world's stages.
Although "Mothra" was conceived
by Japanese and is set
largely in Japan, thereby employing
many Japanese actors,
the climactic action, when the
gigantic beast rescues the
tiniest women ever boru, takes
place in a country remarkably
like America.
Movie-making is truly an international
occupation.
(Revie'w)
"Mothi-a," the astounding
stoi-y of a colossal adult moth
that terrorizes the world.
opened yesterday at the
Theatre. The exciting new science-fiction
thriller is a Toho
production for Columbia Pictures
release in Tohoscope and
Eastman Color. It is in the same
imaginative, exciting vein as
Tohos earlier hits. "The H-
Man" and "Battle in Outer
Space,"
Reason for the winged behemoth's
anger with the world
of men Ls the fact that two
Ailenas, beautiful young women
standing only two feet high,
who had been its guardians,
have been kidnaped by an opportunistic
promoter for exhibition
aroiuid the world.
Product of a heavily radiated
Pacific Island. Mothra starts
out as the larva from a
sacred egg which crawls into the
sea and proceeds to tear ships
in half, wreck dams and otherwise
makes a menace of itself.
It spins a cocoon and changes
into an adult moth of colossal
proportions when it is blasted
with atomic heat rays. The
moth, if anything, is even more
desti-uctive than its larva and,
in short order, is destroying
cities as it hotly pursues the
kidnaped Ailenas.
Featui-ed in the principal
roles of the Columbia release
are Franky Sakai. Hiroshi Koizumi,
Kyoko Kagawa, Emi Itoh
and Yumi Itoh. Based on a
story by Shinichiro Nakamura,
Takehiko Rukunaga and Yoshie
Hotta, "Mothra" was WTitten
for the screen by Shinichl Sekizawa.
(General Advance)
A Winged behemoth so huge
that it darkens the sky in
flight; two doll -sized beauties
worshipped by the monstrous
beast and a battle to save the
world from its destructive forays,
are but some of the exciting
elements that are said to
lift "Mothra" into the top level
of science-fiction thriller. A
Toho production for Columbia
release, the thriller is due
at the
Theatre in Tohoscope and
Eastman Color.
"Mothra" tells the strange
story of a sacred egg on a radioactive
island whose guardians
are the Ailenas. beautiful
young women only two feci
high. When tlie Ailenas an
kidnaped by an adventurer who
plaiis to exhibit tliem around
the world, the egg hatches into
a gigantic insect larva which
visits destruction on Tokyo. Attack
by atomic heat rays only
speeds its melamorpho.sis into
an adult moth of colos.sal proportions.
In its changed form
its war on mankind becomes
even more savage.
"Mothra" is said to be a
splendid example of special effects
wizardry in all its astounding
virtuosity, indulging
in such technical spectacles as
breaking an ocean liner in half;
crushing houses as if they were
eggshells, uprooting skyscrapers,
smashing bridges and
wTecking dams. Mothra's transfonnation
from egg to insect
larva and then emergent from
a colossal cocoon as adult moth
are said to be handled with
amazing credibility.
Pi-incipal featured players in
"Mothra" include Franky
Sakai, Hiroshi Koizumi. Kyoko
Kagawa, Emi Itoh and Yumi
Itoh. Shinichi Sekizawa's
screenplay is based on a story
by Shinichiro Nakamura. Takehiko
Pukunaga and Yoshie
Hotta.
(Mot lA; Still No. 165) "Mothra," o
giant moth more powerful than the
atomic heat guns turned upon it, is
the science-fiction highlight of the
new Columbia picture in Tohoscope
and Eastman Color.
(Mat 2A; Still No. 128) The girls are only two feet high; the moth is"Mothra,'
winged monster copoble of destroying cities. It's o scene from "Mothra," nev
Columbia science-fiction thriller in Tohoscope and Eastman Color.
(Science-Fiction)
Almost every passing day
witnesses newspaper reixsrts of
scientific advances. Motion picture
producei-s. quick to seize
upon entertainment values inherent
in the daily headlines,
capitalize on the public interest
in science by producing a steady
stream of science-fiction films
exploring every aspect of
scientific fact and theory.
Latest of these is "Mothra."
Columbia release of a Toho
production now at the
Theatre in Tohoscope and
Eastman Color.
Although
science-fiction
movie-makers have become
starry eyed in their contemplation
of distant planets, the advent
of radioactive atomic and
hydrogen bombs has opened a
whole new realm for science fiction
fihns. The effect of radioactivity
on man. on insects, fish,
creatures of all shapes and
sizes now is being extensively
explored on the .screen.
To such productions as "It
Came Prom Beneath the Sea."
"The Incredible Shi-inking
Man." "The Fly" and "The H-
Man" has now been added Toho's
"Mothra." "Motln-a" deals
with an insect larva hatched
from an egg on a radioactive
island. It grows to mammoth
proportions before e\'olving
into a colossal moth. This monster
creature so huge that it
blackens the sky, wreaks havoc
and destruction when its guardians,
two beautiful yomig
women standing only two feet
high, are kidnaped.
Destroying ocean liners and
bridges, topiJling skyscrapers
and airfield towers, the behemoth
of a moth scourges the
world mitil the two tiny women
are safely returned to it.
"Mothra" features Franky
Sakai. Hiroshi Koizumi, Kyoko
Kagawa and Emi Itoh and
Yumi Itoh. Shinichi Sekizawa's
screenplay is based on a story
by Shinichiro Nakamura, Takehiko
Pukunaga and Yoshie
Hotta.
(Modern Miracle Men)
The age of Biblical miracles
is long since past, but modern
man continues to work his own
mii-acles. The widely-publicized
miracles of science jsenetrate to
even the most remote corners
of the globe. But another kind
of modern "miracle man." less
well-known, is also at work:
the motion picture special effects
man. The latest example
of his cinematic ingenuity is
"Motlu-a." new Columbia Pictm-es'
release of a Toho production
now at the Theatre in
Tohoscope and Eastman Color.
"Mothi-a" is in the same awesome
spectacle vein as Tolio's
earlier hits, "The H-Man" and
"The Battle in Outer Space."
In "Mothra," the special effects
boys really had a field day.
They were confronted with the
juicy problem of ci-eating onscreen
the incredible spectacle
of a gigantic insect larva
hatched from an egg and then
gi-owing by leaps and bounds,
spawned lus it was on a heavilyradiated
island, until it threatens
the destruction of the
world. Eventually the larva becomes
an adult moth of fantastic
proportions.
This is but pai-t of the work
the writers of "Mothra" laid
out for the special effects men.
(Opening Notice)
"Mothra," a Toho production
for Columbia release, opens
at the
Theatre. Filmed in Tohoscope
and Eastman Color, the new
science-fiction thriller tells of
a winged behemoth that terrorizes
the world as it searches
out the tiniest women ever
born. Featured in the new Columbia
release are Franky Saki,
Hiroshi Koiziuni. Kyoko Kagawa,
Emi Itoh and Yumi Itoh.
Eiji Tsubui-aya devised the
special effects for "Mothra,"
which is hi tlie same imaginative
vein as Toho's earlier hits,
"Tlie H-Man" and "The Battle
in Outer Space.
Printed in U.S.A.