In 1958, Toho Studios was already a powerhouse in the kaiju genre. This was thanks to the success of Godzilla. They released another giant monster film: Varan the Unbelievable. While it never achieved the iconic status of its reptilian predecessor, Varan holds a unique place in Toho’s monster pantheon. It offers a glimpse into the evolving landscape of Japanese monster cinema.
Production and Original Japanese Release
Varan the Unbelievable, originally titled Daikaijū Baran (大怪獣バラン, Giant Monster Varan), was released in Japan on October 14, 1958. The film was directed by Ishirō Honda, the visionary behind Godzilla. It featured special effects by the legendary Eiji Tsuburaya. The film followed a familiar yet distinct path for Toho.
The genesis of Varan lay in a commission for an American television series, which ultimately fell through. However, Toho decided to proceed with the project as a theatrical feature. The story focuses on an expedition. This expedition ventures into a remote, unexplored valley in the Tohoku region of Japan. There, they discover a giant, reptilian creature known as Varan. Awakened by human intrusion, the monster embarks on a destructive rampage, threatening nearby villages and eventually Tokyo.
Varan itself is a fascinating creature design, a four-legged, winged reptile that resembles a giant, armored lizard. Its most distinctive feature is its ability to glide through the air. It uses membranes between its limbs, offering a unique mode of locomotion among Toho’s early kaiju. The special effects are not as grand in scale as Godzilla. However, they showcase Tsuburaya’s ingenuity. This is particularly evident in the miniature work and Varan’s gliding sequences.
The Americanization of Varan: “Varan the Unbelievable” (1962)
As was common practice with Japanese monster films of the era, Varan underwent significant alterations for its American release. In 1962, Crown International Pictures released a heavily re-edited and dubbed version titled Varan the Unbelievable. This version drastically changed the narrative, removing much of the original Japanese footage and inserting new scenes with American actors.
The American plot typically revolves around an international team of scientists investigating strange occurrences in the Pacific, eventually encountering Varan. The focus shifted from the initial discovery and cultural context of the creature to a more direct monster-on-the-loose scenario. This re-editing often caused continuity issues. It resulted in a less cohesive storyline. A common criticism of such “Americanized” versions of Japanese films is their lack of coherence. The original score was also replaced, contributing to a different overall tone.
Themes and Legacy
While Varan the Unbelievable may not be as overtly allegorical as Godzilla‘s nuclear themes, it still touches upon the idea of nature’s wrath when disturbed by humanity. The remote setting and the creature’s ancient origins evoke a sense of the unknown and the dangers of encroaching on pristine wilderness.
Despite its initial critical reception being somewhat mixed, Varan has garnered a cult following over the years among kaiju enthusiasts. It stands as a testament to Toho’s prolific output during the golden age of monster movies. Varan himself made a brief cameo appearance in the all-star kaiju film Destroy All Monsters (1968), solidifying his place, albeit a minor one, within the larger Toho shared universe.
Today, Varan the Unbelievable is often viewed as a curio—an interesting, if sometimes flawed, entry in the illustrious history of Toho’s kaiju films. It reminds us of a time when giant monsters roamed the silver screen with regularity, each one adding another unique chapter to the ever-expanding mythology of these unbelievable creatures. For fans of classic kaiju cinema, Varan remains a fascinating watch, showcasing the creative spirit and technical wizardry that defined an era.
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