看这部1961年的《摩斯拉》，最直接的感受是“粗粝”二字。本多猪四郎刻意放缓怪兽登场的节奏，前半段铺陈岛屿生态与土著仪式，后半段让摩斯拉在东京湾完成从幼虫到成虫的蜕变，这种延迟满足的手法反而强化了巨物降临的压迫感。香川京子饰演的土著女祭司，以极简的肢体语言传递出文明碰撞中的疏离与悲悯，与商人角色的贪婪形成鲜明对照。演员里香川京子演的女记者特别有主见，跟小泉博的科学家搭档特自然，没有那种硬邦邦的喊口号。本多猪四郎特意放慢节奏，让幼虫吐丝结茧、破茧成蝶的过程带着近乎纪录片的耐心，双胞胎小美人的吟唱与摩斯拉的呼应则像一首古老的祭祀诗。推荐给那些厌倦了单调毁灭戏码、愿意在大怪兽电影里寻找人类学思考的观众。

Shipwreck survivors are found on Beiru Island (Infanto tô), which was previously used for atomic tests. The interior is amazingly free of radiation effects, and they believe that they were protected by a special juice that was given to them by the island's residents. A joint expedition of Rolisican and Japanese scientists explores Beiru and discovers many curious things, including two women only one foot (30 centimeters) high. Unscrupulous expedition leader Clark Nelson abducts the women and puts them in a vaudeville show. But their sweet singing contains a telepathic cry for help to Mothra, a gigantic moth that is worshiped as a deity by the island people. The giant monster heeds the call of the women and heads to Tokyo, wreaking destruction in its path.

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