和同时期的《哥斯拉》相比，本多猪四郎的《摩斯拉》没有走核恐惧的阴沉路线，而是把怪兽拍成了有灵性的守护者。香川京子饰演的记者承担了理性观察者的功能，而弗兰基堺的喜剧表演则意外地成为叙事缓冲，为后半段幼虫吐丝摧毁城市的混乱场面铺垫情绪落差。如果你能忍受六十年代特摄模型的粗糙感，愿意在塑料怪兽背后看出一丝对自然力量的敬畏，那么这部片子会让你在笑出声的同时，突然沉默下来。这片子特别“昭和”，模型和皮套一眼就能看出来是那个年代的，但反而有种手工的可爱劲儿。
适合喜欢早期特摄粗粝质感、或者对“人与怪兽共生”主题感兴趣的观众——这部片里摩斯拉摧毁城市后，留下的不是废墟，而是孩子对它蜷伏于东京塔时投去的惊恐与怜悯交织的眼神。
演员中，香川京子饰演的记者带出的平民视角，与弗兰基·堺那种插科打诨的喜剧节奏形成反差，使毁灭与温情交替得毫不割裂。
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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