Directed by Shingo Matsubara. Written by Chiaki J. Konaka. Airdate Nov. 2, 1996.
Ultraman Tiga has several episodes with solid ideas that end up falling somewhat flat, either because of less enthusiastic filmmaking or a script that feels like it wasn’t developed all the way.
“The Girl Who Waits for the Monster” has a bit of both troubles. The story is an interesting variation on the standard alien visitor: the alien is not an invader, just someone waiting for their ride to arrive. But because the treatment isn’t bold enough, leaning toward the routine with both the regular cast and the kaiju action, the final product is just serviceable entertainment. It’s fine. But it could have been wonderful, particularly when you imagine it done during the early Showa era, when even lesser ideas went big.
This is a surprisingly weak episode for the principals. There’s not much to say about what any of them do here as they go about the duty of stopping the monster of the week, Machina, and researching the strange girl, Saki, who was responsible for summoning the alien kaiju using an unusual flute. There are a few throwaway gags, like Rena uncharacteristically teasing Yazumi about dating him, but nothing that truly stands out.
Daigo continues to be the cast’s weak link. He’s the only character given a big moment: a flashback to a memory from his childhood where he encountered Saki on the beach as she gazed forlornly toward the sunset. It’s a good scene, visually the most interesting point in the episode, but Daigo in the modern day doesn’t do much with the memory. This scene would’ve worked better as the episode opener to better establish the mystery around Saki and give more punch to Daigo’s later recognition of her.
There are two good characterizations, but they’re from the guest star, Chino Mizuki as Saki, and a newly introduced semi-regular, Kei Ishibashi as Shinjoh’s younger sister, Mayumi.
Saki is the backbone of the episode, the element that promises a more impassioned story. Mizuki is perfectly cast to look young while conveying the centuries of loneliness that weigh down on the character. When Rena and Yazumi scan a database of images throughout history (a plot-convenient device Yazumi pretentiously calls “The Akashic Photo Search Engine”) to discover evidence that Saki has wandered the Earth since at least 1802, I can believe it thanks to Mizuki’s melancholy performance.
The introduction of Mayumi Shinjoh, a nurse at the TPC medical center, does make this an essential episode. Mayumi only has a supporting role, which includes comic sniping at her brother, but she’ll play key parts in several later episodes, most importantly in the memorable “Phantom Dash.” Mayumi brings a shot of energy and humor to her scenes.
The monster action is standard stuff that’s too lightweight to support the gravity of Saki’s story. Machina — the titular monster for whom Saki waits — isn’t right for the role. It looks like an armadillo somebody pried open to eat like a lobster, and its appearance is a touch too cute and friendly. Maybe this was meant to foreshadow the eventual reveal of its purpose, but it adds to the general sense of “just another giant monster episode” that keeps the story from rising far off the ground. I don’t need the episode to be dark and grim, but I do need it to go harder to support its strongest element.
In summary, a sweet story executed in a safe and unadventurous fashion — and Tiga playing it safe is far less interesting than, say, Ultraseven playing it safe.
Rating: Average
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