Gamera vs. Gyaos

Gaos is my all-time favorite enemy of Gamera. A giant bat from a volcano who can fire lasers from his mouth, this wedge-headed critter can slice through anything but Gamera's carapace. Why do I like Gaos? He's virtually indestructible, mean and he looks great!

Gamera comes spiraling down to earth as a series of devastating volcanic eruptions are occurring. Out in the countryside, near a volcano, a road is being built through a farming village and the farmers are threatening a violent protest. out of the volcano flies Gaos - the biggest, nastiest, laser-firing bat you have ever seen. Almost immediately, Gaos chews up a newspaper reporter (who we didn't like anyway) and abducts a little boy. What is Gamera going to do?

The cinematography and effects are a touch above average for the late 60s, and, as with the classic Destroy All Monsters, the subplots add nicely to the main story. Though this is one of my favorites in the Gamera series, it does drag a bit at times.

Recommended for Kaiju fans. Also recommended for evenings of massive intoxication.

Of the two American releases of this film, the AIP print is far superior to the Sandy Frank chop job.

This is the best of the first Gamera series, and it is out-right fun if taken on its own terms, without high expectations.

Yet exactly for that reason, this film reveals the real problem with the original Gamera films - we all expect sloppy SFX from the old Gamera, but that would be excusable if the writing were any better.

It's in the plotting that this film, like all the old Gamera films, really lets us down. The Gamera production team never did figure out how to develop a plot that wove the monsters and the humans together in any interesting way - or any way at all. The back-story - a small village trying to work out a deal with a highway development company - is related to the Gamera-Gaos conflict by pure coincidence; that the road company supervisor would then become a central player in the Japanese Self-Defense Force effort to combat Gaos is ridiculous.

Besides being annoyingly smug, the leading scientist is equally ridiculous - his plans for trapping Gaos include hiring a small army of chemists to come up with a vat of synthetic human blood as bait - even though Gaos has already demonstrated that he us perfectly happy with horse and cow blood; the Japanese government would rather pay chemists hundreds of thousands when they could hire a few decent butchers on daily wage? The chemists lobby works wonders with the Japanese government.

Actually, once the monsters show up, the plot falls apart completely, and by the end of the film we've lost interest in even the little boy who befriends Gamera.

Oh well; at least it's watchable, and, in a dumb way, even entertaining. But if this is the best the early Gamera had to offer, it's hard to see what made it popular in the first place.

See the first "Gammera the Invincible", then see this film, then skip a couple decades to the trilogy starting with "Gamera, Guardian of the Universe" - you'll be doing yourself a favor.

This third offering in the "Gamera, the Giant Flying Turtle" franchise is one of the better ones. However, by this point the filmmakers started imitating the tone of recent Godzilla films to make the series more kid-friendly, so from here Gamera starts becoming a nice monster who watches out for the welfare of children. There would usually be a little boy or two in the lead parts from now on, but GAMERA VS. GYAOS still emerges as an enjoyable outing, retaining some strong moments for a movie geared to a juvenile audience. Much of that is owed to the truly mean and overpowering nature of Gyaos himself: he's a giant bat who shoots laser beams from his jaws which can cut objects clear in half! Superhero Gamera truly appears to have met his match this time and it seems nearly impossible for him to overcome the threat of his formidable opponent. **1/2 out of ****

The dubbing for this one is pretty decent, but for some reason everyone pronounces Gamera like Gomorrah. Anyways, it's 1967 and this year "Son of Godzilla" and "Gamera vs. Gyaos" go head to head. Like "Gamera vs. Barugon", the story's focus is on everyday characters in the wake of a crisis. A child does get involved, but not in the overly-campy-pain-in-the-ass way, unlike the next one "Gamera vs. Viras". Now "Son of Godzilla" isn't all bad and I actually enjoy that G-film, but it is one of the more child-friendly ones. This Gamera movie however is for the most part darker than most 60s or 70s Gamera. It's this one where Gamera really becomes the "friend to all children", but he has an awesome opponent: Gyaos. Probably inspired by Rodan, but with a different, sleeker design. Gyaos is a classic kaiju, the only one to reappear in more recent films the 90s and even in the latest movie, "Gamera the Brave".

Gyaos spends a lot of the movie eating innocent people, regenerating lost body parts and blowing up cities, awesome. There's even a scene where he drinks blood. The battles are bloody and quite fun, and the score is nicely done. This is definitely one of the better vintage kaiju movies and one I recommend to fans of classic sci-fi cinema.

When it came time for him to make "Gamera vs. Gyaos" in 1967, director Noriaki Yuasa's skill with the motion picture camera had vastly improved since his first stab at directing the giant terrapin two years prior. That was one of my chief complaints about the first movie, "Gamera the Giant Monster": I was always aware that it was being directed by a neophyte filmmaker. For the second movie, the marvelously colorful and entertaining "Gamera vs. Barugon," Mr. Yuasa was given command of the special effects crew and this was great practice. Because by film number three, this one, his talents had been buffed up and he was set to make a satiably entertaining low-key monster movie.

In this third entry, a volcanic eruption results in the return of Gamera, who is drawn toward sources of heat and energy, and the awakening of a giant bat-like monster called Gyaos, which begins feeding off the local populations, eventually terrorizing a large city to satiate his hunger. Initially drawn in to defend a young child (Naoyuki Abe), Gamera begins his second war with another giant animal.

"Gamera vs. Gyaos" was given a smaller budget than its immediate predecessor and one can tell examining their qualities. This entry does not have the same brilliant special effects and a fair amount of acting is subpar. But then again, that's also part of the charm. And besides, Mr. Yuasa and screenwriter Nisan Takahashi treat their story with a surprising amount of seriousness. At times, it's downright creepy. Gyaos is one of the more truly evil monsters in the Gamera franchise and it's no surprise that he's been reused in all of the film generations since his debut here. There's a scene where we see him poised over a wrecked train, leering down hungrily upon a crowd of fleeing people, in a shot that is perfectly integrated, and it's rather unnerving.

There were no children shouting "Gamera! Gamera!" in the previous film, but there is one here. However, the young actor, Mr. Abe, has some charisma and he isn't as obnoxious as he potentially could have been. The movie does not focus upon him: he's a supporting character and the dynamic between him and Gamera is not annoying nor insufficient, and it does not create a schizophrenic mishmash when paralleled with the more solemn moments of the movie. The story also has some engaging elements, such as the introductory plot of the road construction officials clashing with stubborn landowners unwilling to give up their leases so than an expressway can be built through their property.

But the stars are the monsters and they are in good form. There are three battles between the two behemoths, each of them satiably lengthy and imaginative. The only big lapses being moments where we get close-ups of Gamera's hands as he claws around for boulders (or young children in peril). Like the previous entry, there is also a fair amount of gore, but Mr. Yuasa's counters by giving Gamera and Gyaos green and purple blood respectively, so that children will not be so affronted. The creatures are also well represented by clever use of low-key special effects and good cinematography, with only one really badly-directed moment where Gyaos is recovering from a battle inside of a cave, at which point the camera angles and contrast between the suit and the miniature set seems rather amateurish.

Although it fails to reach the same height as "Gamera vs. Barugon," the third entry in the original series still manages to hold up well as low-key entertainment. And it is instilled with that wonderful sense of unrestrained imagination that I tend to associate with science-fiction. Even if it is quite silly.