An expedition to a remote tropical island leads to the discovery of a baby reptile unlike anything seen before. Ignoring the protests of the natives, the expedition takes the monster to a zoo in Japan. This prompts the baby’s significantly-larger parents to go searching for their offspring leaving a trail of destruction in their wake.
Japan’s oldest major movie studio, Nikkatsu, had decided to jump on board the ‘kaiju’ bandwagon of the 60s. This was an era in which Tokyo had been destroyed countless times by the likes of Godzilla, Gamera, Mothra and Rodan courtesy of the folks over at Toho and Daiei studios. Even London had received the wrath of Gorgo and Copenhagan had drawn the short straw with the laughable Reptilicus spewing its green goo all over the capital. Giant monster movies were all the rage, so why not get in on the act and potentially spawn a whole franchise of popular monster movies? Well the idea was good in theory but the execution is woeful. Gappa, The Triphibian Monster could well be one of the worst giant monster movies to ever come out of Japan and over forty years later, that still holds true.
Gappa, The Triphibian Monster (also known as Monster From a Prehistoric Planet, a title which makes no sense whatsoever as they’re not space monsters) is, to put it bluntly, a terrible entry in the kaiju cycle. It borrows heavily from Gorgo about a baby monster which is taken from its home and put on display only for its parents to come looking for it – well borrowing is a bit gentle, more like stealing. Unfortunately it also borrows Gorgo’s sluggish pace and even manages to slow that down. At the end of the day, it’s a film about giant monsters smashing cities which takes about three quarters of an hour to get them down to business. Even then, the action is quickly skirted over and is lacking in energy and passion. Kaiju films should never be this dull and insipid.
In the meantime, the film throws in a couple of human sub-plots to keep the monsters off-screen for as long as possible. There’s the obligatory scenes of the ‘cute’ baby monster, which is ugly as hell but it’s meant to be cuddly and stuff, in captivity and making the audience all gooey-eyed over it. Throw in one of the native kids who hitches a ride back to Japan (and who has, rather alarmingly in today’s politically correct world, been smothered in shoe polish to make him look ‘native’) and a greedy editor (of a magazine called Playmate – but alas it’s not the one featuring naked chicks) and you have enough padding to keep the Gappas off screen for as long as necessary. And believe me they’re off screen for a good deal of the running time. The lousy international dubbing doesn’t help matters either though I’m pretty sure that it’s the same voices as those behind the Destroy All Monsters dub and that added a goofy touch to the film. Unfortunately there’s no such added bonus with this one.
Let’s face it, the Gappa monsters sound good on paper – giant bird-like monsters that can fly (well they do have wings) and swim and they have Godzilla-like breath weapons. Once you see them on the screen, this positive image is completely thrown out the window with some of the worst monster suits ever designed. These are the type of suits that bring up the phrase “if you look carefully, you can see the zipper.” Not only do they look pitiful but the miniature cities upon which they unleash their wrath look exactly like miniature cities. When they start smashing the place up, they do like the men in suits that they are. Whilst not every Godzilla film managed to maintain this illusion, at least effort was made to portray the monster as real and not as a hokey special effect. Complaining about the special effects is a waste of time really. I wasn’t expecting much and it’s on par with the worst of the Godzilla and Gamera films as far as these go. It’s just that the effects are done without any hint of enthusiasm and the effects team look to be going through the motions at every opportunity.
Gappa, The Triphibian Monster is a clunker of a kaiju film, no better or worse than some of Toho and Daiei’s worst efforts, but a clunker nonetheless. The effects have become somewhat of a joke over the years, even appearing as stock footage monsters in a hilarious scene in BBC comedy show Red Dwarf where the characters mock the quality of the suits.