Movie

Gorath

Name: Gorath
Released: 1962

1962 • Unknown

Woke Score

1.4

out of 10

Plot

In 1976, a drifting star named Gorath is discovered to be on a collision course with Earth. Although it is smaller than Earth, its enormous mass is enough to destroy the planet totally. A mission sent to observe Gorath is destroyed after the ship is drawn into the star, with a later mission barely escaping the same fate. However, Astronaut Tatsuma Kanai is left in a catatonic state due to his near death experience. Unable to destroy the invading star, Earth's scientists undertake a desperate plan to build giant rockets at the South Pole to move the planet out of Gorath's path before it is too late.

Overall Series Review

Gorath (1962) is a Japanese science fiction disaster film where global powers must unite to save Earth from a collision with a runaway star. The plot centers entirely on the monumental scientific and engineering effort to build giant thrusters at the South Pole and move the planet out of danger. The film’s primary message is one of international cooperation and human ingenuity succeeding against an existential, purely natural threat. The narrative focuses on the technical challenges, the political coordination through the United Nations, and the dedication of scientists and astronauts. Characters are defined by their professional competence and sacrifice for the greater good of mankind. The cultural context is a 1960s Cold War-era call for global unity, not a critique of Western or any civilization through a modern political lens. The film is a secular, merit-based celebration of collective human achievement.

Categorical Breakdown

Identity Politics1/10

The narrative focuses on universal meritocracy and scientific competence, not on immutable characteristics or race. The threat requires global cooperation, directly contrasting with a focus on intersectional conflict. Personnel are judged by their capability to solve the world-ending crisis.

Oikophobia1/10

The entire plot is dedicated to saving Earth and human civilization, which aligns with the core principle of 'Gratitude & Chesterton’s Fence.' The world's nations unite to protect their home and ancestors' sacrifices, not to demonize them.

Feminism2/10

Female characters hold professional roles, such as an astronomer and a prime minister's secretary, which gives them a measure of competence in the crisis. However, some female roles are noted in commentary as being largely for romantic interest or visual appeal, not as an effort to emasculate men or promote a 'Girl Boss' ideology. There is no anti-natalist or anti-family messaging.

LGBTQ+1/10

The story is a disaster epic focused on a celestial collision. The narrative adheres to a normative structure, with no element of alternative sexualities, deconstruction of the nuclear family, or focus on sexual or gender identity as a political statement.

Anti-Theism2/10

The film’s solution to the crisis is entirely secular and technological, involving science, engineering, and political will. Faith is not presented as a central source of strength, but neither is traditional religion demonized or portrayed as the root of evil. The morality is transcendent in the objective sense of saving humanity, a goal all characters pursue equally.