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— The original movie poster Subtitle

The H-Bomb Giant Monster Movie (水爆大怪獣映画 ,Suibaku Daikaiju Eiga)
„ 

— Italian re-release tagline

The Greatest Apocalypse in Cinema History!
„ 

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Godzilla (also known as,   Gojira?, or G Production: Godzilla) is a 1954 toho tokusatsu kaiju film, Directed by Ishirō Honda, the first ever film in the Godzilla (franchise) it was the first movie in the Gojira saga, and also the first film in the "Showa" series. It is universally cited by all Japanese Godzilla films as the starting point of the Godzilla timeline.


Plot

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SPOILER WARNING: This section may contain major plot and/or ending details. Proceed at your own discretion.

Godzilla (or Gojira) (1954)

The Japanese freighter Eiko-Maru is attacked by a flash of light from the water near Odo Island and sinks. A rescue boat, the Bingo-Maru, is sent out to investigate the accident, but meets the same fate. A second search boat is sent out and finds a few survivors in the area, and like the other two boats, is shipwrecked.

Meanwhile, on Odo Island, the natives of the fishing community are unable to catch anything. An elder says that Godzilla must be the cause. According to legend, Godzilla is a kaiju who lives in the sea that comes from the ocean to feed on mankind. Whenever fishing was poor, the natives used to sacrifice girls to prevent Godzilla from attacking the village.

Later, a helicopter carrying investigative reporters arrives on Odo Island. The natives all believe that the recent disasters in the ocean were caused by Godzilla, but the reporters remain skeptical. That night the natives perform an exorcism in hopes that Godzilla will not attack again. As the natives are sleeping, a storm hits the island, and much of the village is destroyed, as though it was crushed from above. The family of Shinkichi Yamada is killed during the storm, and Shinkichi insists they were killed by a giant monster.

The next day, the witnesses are brought to the National Diet Building in Tokyo. Paleontologist Dr. Kyohei Yamane requests that an investigative party be sent to Odo Island. A ship is sent out and arrives safely on the island. Yamane finds giant footprints contaminated with radioactivity, along with a trilobite. Suddenly, the village alarm is set off and the villagers run towards the hills. Godzilla pops his head over the hill and roars. The villagers discover that Godzilla is too large to fight and flee for their lives. Godzilla then leaves for the ocean.

Afterwards, Yamane presents his theory that Godzilla is actually a prehistoric, semi-aquatic reptile, an intermediary between land and sea reptiles. He has discovered that the sediment from Godzilla's footprint contained a massive amount of Strontium-90, which could have only have come from a nuclear bomb. Thus, Yamane proposes that repeated recent hydrogen bomb testing in the South Pacific completely destroyed Godzilla's underwater habitat, irradiating him and driving him from his sanctuary. After Yamane's presentation, a man from the crowd, Mr. Oyama, suggests that the information should not be publicly known. Since Godzilla is the product of atomic weapons, the truth might cause some bad consequences, since world affairs are still fragile. However, a woman objects to Mr. Oyama's suggestion because the truth must be told. After she insults Oyama, chaos breaks loose in the Diet Building.

Godzilla's origins are then revealed to the public. An anti-Godzilla fleet is immediately sent out and uses depth charges against Godzilla, in an attempt to kill the monster. In his home, Yamane sits alone in the room with the lights out. Yamane, being a zoologist, does not want Godzilla to be killed, but rather, studied.

That night, Godzilla suddenly rises in Tokyo Bay in front of a party ship. Within a minute, the monster descends back into the ocean, but his brief appearance causes nationwide panic. The next morning, officials ask Yamane if there is a way to kill Godzilla. A frustrated Yamane explains that Godzilla has already survived a massive amount of radiation, and believes that he should be studied to see what keeps him alive.

Yamane's daughter, Emiko, is expected to marry Dr. Daisuke Serizawa, a friend and colleague of Yamane's. Emiko, however, is in love with Hideto Ogata of Southern Seas Salvage. When Emiko visits Serizawa to tell him that she loves Ogata and plans to marry him, Serizawa reveals to her his own dark secret. He had unintentionally created a device that can destroy all life in the sea while performing experiments with the element oxygen. This device is called the Oxygen Destroyer, and is more powerful than any nuclear weapon. He gives Emiko a demonstration in his lab, by using the device in a fish tank. All the fish are disintegrated, only leaving skeletons which are then liquefied as well. Shocked by this discovery, Emiko leaves Serizawa, promising not to tell anybody what she witnessed. She was unable to tell Serizawa about Ogata, or that she planned to marry him.

That night, Godzilla appears again out of Tokyo Bay and attacks Tokyo's Shinagawa ward. While the monster's attack is relatively short, it causes much destruction and death. The next morning, the Self Defense Forces hastily construct a line of 40 meter electric towers along the coast of Tokyo that will send 50,000 volts of electricity through Godzilla, should he arrive again. Civilians are then evacuated from the city and put into bomb shelters. The JSDF then prepares a blockade along the fence line.

When night falls, Godzilla surfaces from Tokyo Bay again. The monster easily breaks through the giant electric fence, with no pain inflicted. The bombardment of shells from the JSDF also has no effect. As Godzilla breaks through the high-tension wires, he uses his atomic breath to melt the electric fences. The tanks and artillery are useless against Godzilla, who continues his raid well into the night. By the end, the entire city is destroyed and thousands of innocent civilians are dead, dying, or wounded. As Godzilla wades back into Tokyo Bay, a squadron of jets fire rockets at the monster, which while they do not phase Godzilla though do manage to lead him out to sea, where he disappears beneath the waves.

The next morning, the city is in absolute ruins. Hospitals are overrun with victims, many exposed to heavy doses of radiation. As Emiko sees the many victims of Godzilla's attack, she takes Ogata aside and tells him Serizawa's dark secret, in hope that together, they can convince Serizawa do something against Godzilla.

original japanese release poster

Ogata and Emiko visit Serizawa to ask that they use the Oxygen Destroyer against Godzilla. Serizawa refuses and storms down to his basement to destroy the Oxygen Destroyer. Ogata and Emiko follow him down in order to prevent him from doing so. However, this only results in a short fight between Ogata and Serizawa, with Ogata receiving a minor head wound. As Emiko treats the wound, Serizawa apologizes. Ogata tries to convince Serizawa that he is the only one who can save the world.

Then, after the argument, a grim television program appears on the air, showing the devastation and deaths caused by Godzilla, along with prayers for hope and peace. Shocked by what he's witnessing, Serizawa ultimately decides to use his last Oxygen Destroyer, but only one time. Serizawa then proceeds to destroy his research, knowing that this weapon was almost as dangerous and destructive as Godzilla himself, and that destroying this weapon will be for the betterment of society.

The next day, the ship Shikine takes Ogata and Serizawa to plant the device in Tokyo Bay. Serizawa requests that he be put in a diving suit to make sure the device is used correctly. Ogata at first refuses, but soon gives in on the condition he accompany him. Ogata and Serizawa then descend into the water, and find Godzilla resting. Seemingly unaware of the divers, the monster slowly walks around the ocean floor. Ogata then is pulled back to the surface while Serizawa activates the Oxygen Destroyer. As Serizawa watches Godzilla dying from the destructive weapon, he cuts his cord and dies with Godzilla, sacrificing himself so that his knowledge of the horrible weapon dies with him. A dying Godzilla surfaces, lets out a final roar, and sinks to the bottom of the bay, disintegrating.

Although Godzilla is destroyed, the tone is still grim. As the people aboard the ship look to the sun and salute the sacrifice of Serizawa.

Godzilla: King of The Monsters!

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SPOILER WARNING: This section may contain major plot and/or ending details. Proceed at your own discretion.

in 1956, Injured American reporter Steve Martin is brought from the ruins of Tokyo to a hospital filled with maimed and wounded citizens. A recent acquaintance, Emiko, discovers him by chance among the victims and attempts to find a doctor for him. Martin recalls in flashback stopping over in Tokyo, where a series of inexplicable ship disasters catches his attention. When a victim of those disasters washes up on Odo Island, Martin flies there for the story, along with security officer Tomo Iwanaga. There he learns of the island inhabitants' long-held belief in a sea monster god known as "Godzilla", which they believe is causing the disasters. That night, a storm strikes the island, destroying many houses and killing some villagers. The islanders believe that Godzilla is responsible for the destruction.

Martin returns to the island with Dr. Yamane, who is leading a team to investigate its ruins. Huge radioactive footprints and a prehistoric trilobite are discovered. An alarm rings and Martin, the villagers, and Dr. Yamane's team head up a hill for safety. Near the summit, they encounter Godzilla and quickly flee downhill. Dr. Yamane later returns to Tokyo and deduces that Godzilla is 400 feet (122 m) tall and was resurrected by repeated H-bomb tests in the Pacific. To Yamane's dismay, the military responds by attempting to kill the creature with depth charges. Martin contacts his old friend, Dr. Daisuke Serizawa, for dinner, but Serizawa declines due to planned commitments with his fiancé and Dr. Yamane's daughter, Emiko.

Emiko goes to Serizawa's home to break off her arranged engagement to him because she is actually in love with Hideo Ogata, a salvage ship captain. Dr. Serizawa, however, gives her a demonstration of his secret project, which horrifies her. She is sworn to secrecy and unable to bring herself to break off the engagement. Godzilla surfaces from Tokyo Bay, unharmed by the depth charges, and attacks the city, destroying a train before returning to the bay. The next morning, the JSDF supercharges the tall electrical towers along Tokyo's coast to repel the monster.

Godzilla resurfaces that night and breaks through the electrical towers and JSDF defense line using his atomic heat breath. Martin documents Godzilla's rampage via tape recorder and is injured during the attack. Godzilla returns to the sea and the flashback ends. Martin wakes up in the hospital with Emiko and Ogata. Horrified by the destruction, Emiko reveals to them the existence of Dr. Serizawa's Oxygen Destroyer, which disintegrates oxygen atoms in salt water and causes all marine organisms to die of acidic asphyxiation. Emiko and Ogata go to Dr. Serizawa to convince him to use his weapon on Godzilla, but he initially refuses. After watching a television broadcast showing the nation's plight, Serizawa finally gives in to their pleas.

A Navy ship takes Ogata, Serizawa, Yamame, Martin, and Emiko out to the deepest part of Tokyo Bay. Ogata and Serizawa are lowered down by lifelines near Godzilla to plant the weapon. Ogata is pulled up, but Serizawa delays his ascent and activates the device. He radios the surface of its success and wishes Emiko and Ogata happiness together. Serizawa cuts his lifeline, taking the secret of his invention to the grave. Godzilla succumbs to the Oxygen Destroyer, dissolving his body and bones. All aboard the ship mourn the loss of Dr. Serizawa. Martin reflects that the world can "live again" due to Serizawa's sacrifice.

Godzilla (1977)

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SPOILER WARNING: This section may contain major plot and/or ending details. Proceed at your own discretion.

the film starts in August 6th Hiroshima,Japan 1945 were a plain drops a "nuck" on a city in Japan and severl destroyed bildings are seen from what the boom had done, the it goes to 1956 When.. an American reporter called Steve Martin investigates a series of mysterious disasters off the coast of Japan, he comes face to face with an ancient creature so powerful and so terrifying, it can reduce Tokyo to a smoldering graveyard. Nuclear weapon testing resurrected this relic from the Jurassic age, and now it's rampaging across Japan. At night, Godzilla wades through Tokyo leaving death and destruction in his wake, disappearing into Tokyo Bay when his rage subsides. Conventional weapons are useless against him; but renowned scientist Dr. Serizawa has discovered a weapon that could destroy all life in the bay - including Godzilla. But which disaster is worse, Godzilla's fury, of the death of Tokyo Bay and later Godzilla resurfaces that night and breaks through the electrical towers and JSDF defense line using his atomic heat breath. Martin documents Godzilla's rampage via tape recorder and is injured during the attack. Godzilla returns to the sea and the flashback ends. Martin wakes up in the hospital with Emiko and Ogata. Horrified by the destruction, Emiko reveals to them the existence of Dr. Serizawa's Oxygen Destroyer, which disintegrates oxygen atoms in salt water and causes all marine organisms to die of acidic asphyxiation. Emiko and Ogata go to Dr. Serizawa to convince him to use his weapon on Godzilla, but he initially refuses. After watching a television broadcast showing the nation's plight, Serizawa finally gives in to their pleas.

A Navy ship takes Ogata, Serizawa, Yamame, Martin, and Emiko out to the deepest part of Tokyo Bay. Ogata and Serizawa are lowered down by lifelines near Godzilla to plant the weapon. Ogata is pulled up, but Serizawa delays his ascent and activates the device. He radios the surface of its success and wishes Emiko and Ogata happiness together. Serizawa cuts his lifeline, taking the secret of his invention to the grave. Godzilla succumbs to the Oxygen Destroyer, dissolving his body and bones. All aboard the ship mourn the loss of Dr. Serizawa. Martin reflects that the world can "live again" due to Serizawa's sacrifice.

Cast

  • Akira Takarada   as   Hideto Ogata, Southern Seas Salvage employee
  • Momoko Kochi   as   Emiko Yamane
  • Akihiko Hirata   as   Dr. Daisuke Serizawa, scientist
  • Takashi Shimura   as   Dr. Kyohei Yamane, paleontologist
  • Fuyuki Murakami   as   Dr. Tanabe
  • Sachio Sakai   as   Hagiwara, daily newspaper reporter
  • Toranosuke Ogawa   as   President of Southern Seas Salvage
  • Ren Yamamoto   as   Masaji Yamada, fisherman
  • Miki Hayashi   as   Chairman of Diet committee
  • Seijiro Onda   as   Representative Oyama
  • Takeo Oikawa   as   Chief of task force

the Original 60 anniversary worldwide re-release DVD cover

  • Keiji Sakakida   as   Inada, man of Odo Island
  • Toyoaki Suzuki   as   Shinkichi Yamada, Masaji's brother
  • Kokuten Kodo   as   Old man, elder of Odo Island
  • Kin Sugai   as   Mrs. Ozawa
  • Tamae Kawai   as   Young lady of Odo Island
  • Shizuko Azuma   as   Dancing woman on pleasure boat / woman on train
  • Tsuruko Mano   as   Kuni Yamada, Masaji's mother
  • Tadashi Okabe   as   Dr. Tanabe's assistant
  • Kiyoshi Kammoda   as   Dancing man on pleasure boat / man on train
  • Ren Imazumi   as   Japan Coast Guard officer
  • Masaaki Tachibana   as   TV tower announcer
  • Ichiro Tate   as   GHK live commentator
  • Yasuhisa Tsutsumi   as   Odo Islander
  • Jiro Suzukawa   as   Odo Islander
  • Saburo Iketani   as   GHK live announcer on Shikine
  • Katsumi Tezuka   as   Godzilla / daily newspaper desk worker
  • Haruo Nakajima   as   Godzilla / daily newspaper reporter

Godzilla: King of the Monsters!

  • Raymond Burr   as   Steve Martin
  • James Hong   as   Hideto Ogata / Dr. Daisuke Serizawa (voice)
  • Sammee Tong   as   Dr. Kyohei Yamane (voice)
  • Frank Iwanaga   as   Security Officer
  • Mikel Conrad   as   George Lawrence
  • Kuninori Kodo   as   Old Man on Odo Island
  • Tsuruko Mano   as   Boy's Mother
  • Lee Miller   as   Man in Line at Airport

Godzilla (1977)

  • Raymond Burr as Steve Martin
  • Akihiko Hirata as Dr. Serizawa
  • Momoko Kôchi as Emiko
  • Fuyuki Murakami as Dr. Tabata
  • Tadashi Okabe as Dr. Tabata's Assistant
  • Sachio Sakai as Hagiwara Takashi
  • Shimura as Dr. Yamane
  • Toyoaki Suzuki as Shinkichi
  • Akira Takarada as Ogata Ren
  • Yamamoto as Seiji
  • Mikel Conrad as George Lawrence (uncredited)
  • Paul Frees as ? (uncredited)
  • Ren Imaizumi as Radio Operator (uncredited)
  • Tsuruko Mano as The Boy's Mother (uncredited)
  • Lee Miller as Man in Line at Airport (uncredited)
  • Haruo Nakajima as Godzilla (uncredited)
  • Takeo Oikawa as Chief of Emergency Headquarters (uncredited)
  • Kenji Sahara as Man on Boat (uncredited)
  • Kin Sugai as (uncredited)
  • Ryosaku Takasugi as Godzilla (uncredited)
  • Katsumi Tezuka as Godzilla (uncredited)

Italian dub

  • Emilio Cigoli   as   Steve Martin
  • Rita Savagnone   as   Emiko Yamane
  • Giuseppe Rinaldi   as   Lieutenant Hideto Ogata
  • Vittorio Kramer   as   George Lawrence
  • Pino Locchi   as   Security Officer

Staff

Original Japanese Version

  • Directed by   Ishiro Honda
  • Produced by   Tomoyuki Tanaka
  • Music by   Akira Ifukube
  • Cinematography by   Masao Tamai
  • Edited by   Yasunobu Taira
  • Production design by   Satoshi Chuko and Takeo Kita
  • Assistant director   Koji Kajita
  • Director of special effects   Eiji Tsuburaya
  • Story by   Shigeru Kayama
  • Screenplay by   Takeo Murata, Ishiro Honda
  • Suits modeled by   Teizo Toshimitsu, Eizo Kaimai, Kanju Yagi, Yasuei Yagi, Yoshio Suzuki
  • "Prayer for Peace" written by   Shigeru Kayama
  • Composed and conducted by  Akira Ifukube
  • performed by  Toho High School of Music

United States Version

  • Directed by Terry O. Morse Ishirō Honda
  • Produced by Tomoyuki Tanaka Richard Kay Harold Ross Edward B. Barison
  • Screenplay by Takeo Murata Ishirō Honda Uncredited: Terry O. Morse
  • Story by Shigeru Kayama
  • Narrated by Raymond Burr
  • Music by Akira Ifukube
  • Cinematography Masao Tamai Guy Roe
  • Edited by Terry Morse

Italian Version

  • Director:Luigi Cozzi
  • Production Company: Paramount Pictures
  • Based on a black and white film Gojira a Tomoyuki Tanaka Production from Toho in Tokyo
  • Based on the japanee version directed by Takeo Murata and Ishirō Honda
  • Art Direction: Satoshi Chuko
  • Cinematography (Original Japanese Version): Masao Tamai
  • Cinematography (Original US Version): Guy Roe
  • Original Film Music (Original Japanese Version): Akira Ifukube
  • Original Special Effects Creation: Eiji Tsuburaya
  • Assistance: Akira Watanabe,   Hiroshi Mukoyama, Kuichiro Kishida
  • Director (Original US Version): Terry O. Morse
  • Director (Original Japanese Version): Ishirō Honda
  • new Italian version produced by Cozzilla s.r.l BBC Version: Renato Barbieri
  • Colourized by: Armando Valcauda

DVD

in 2004 the film was released on dvd to celebrate its 50th anniversary.

Work description

The origin of the project

In The Shadow of Glory


Producer of this work Tomoyuki Tanaka is 1953 "in the Pacific Ocean of the eagle " ( Ishirō Honda Director), followed by " Farewell Rabaul " just returned to Toho in the previous year when it made the (Ishirō Honda Director) Tsuburaya When he met Eiji , he realized that "special effects can be done" because of the success of special effects by Tsuburaya. While Tanaka was making the "Farewell Rabaul" production, he was doing his best to create a joint movie with Indonesia . 1953 August, the Indonesian National Film Company ( nun : Perusahaan Film Nasional Indonesia , abbreviation: Perufini) serves as the president of the Japan is Usumaru Ismail, agreed to manufacture the day nun cooperation movie in between the Toho  . The two companies have signed a temporary contract  . In response to this, Tanaka and Ismail under the planning of a collaborative movie, title: "Glorious Shadow", director: Chikichi Taniguchi , script: Haruo Umeda  . Yoshiko Yamaguchi and Ryo Ikebe will be the leading actors and will not return to Japan after the end of the war.The story of the film, which depicts the appearance of a former Japanese soldier who fought the Independence War with the Netherlands, is also decided  .

The following day, February 16, 1954, Tanaka and Taniguchi visited Jakarta , the capital of Indochia, for the final meeting of the script and this contract  . The two have reached agreements after repeated discussions with Ismail, and Toho and Perfini have signed this contract  . In response to this, Pelfini successively obtained approvals for collaborative film production from various government agencies in Indonesia  . On the other hand, Toho also carried the shooting equipment and materials to Jakarta by the instruction of Tanaka, and was ready to wait for the crank-in scheduled in early April  . However, on March 25, 1954, the two companies suddenly forced themselves to abandon production of a joint movie  . On April 5, Toho and Perfini announced a joint statement, officially announcing the abandonment of the production of the Nino-Nipple movie  . On March 25, Perfini received a notification from the Indonesian Foreign Minister that he could not approve the production of the joint movie because he could not agree with the idea of ​​the story  . The Indonesian government's refusal to approve made it impossible to produce a Nino-Nippon movie at the last minute . In a joint statement, the two companies said, "Certainly the foreign minister's opposition is to the story of the movie, but in the background there is also the deterioration of the government relations between Japan and Nigeria, that is, the unresolved war compensation problem. is set to the be "  .

Tanaka says that in the latter year, the planning of the joint movie was very successful, but he said that it was a matter of making a joint movie even though there is no diplomatic relations, and he was sent back by the opposition from the minister there .. Tanaka was forced to make an alternative plan. Just that time, was held in March of the same year Bikini Atollin the nuclear tests and the Fifth Lucky Dragon , exposure incident of the thirteenth honored circle had become a social problem  . Inspired by this, Tanaka made a plan for a special-effects film, "A dinosaur sleeping on the bottom of the Bikini Atoll awakens under the influence of a hydrogen bomb test and attacks Japan." The planning tentative title at this point was "Large Kaiju from the Seabed 20,000 Miles."

When Tanaka submitted this project to the planning meeting of Toho Headquarters, it was noticed by Mori Iwao , the executive director . Mori, who had been involved in Toho since the prewar era, invited Tsuburaya, but after being banished from public office in 1952 (Showa 27), he returned to the headquarters and visited Hollywood to reaffirm the importance of special effects movies. The "Special Technology Section", which had been dismantled after the war, was reorganized in Toho, and Tsuburaya was invited again to reinforce this section. In this way, as the Toho upper division unanimously opposed the fact that shooting was impossible, it was decided that only Mori Iwao expressed his opinion in favor of this project, strongly supported it, and finally reached the GO sign.

"G work planning"

In response to this unprecedented project, this project was titled "G work" (G is from Giant's initials), and it was decided to proceed in secrecy. Once the rough story and monster settings were decided, Tanaka and Tadashi Matsushita of the Literature Department next visited Tanaka's own fanatic fantasy writer Shigeru Kayama 's home and asked for the original writing. However, I got the consent. It was mid-May. In this way, Kayama's brush completed Tanaka's "scenario-style original" in about a week, and based on this, the "G work examination script" was printed. At this point, Eiji Tsuburaya will officially participate in the project.

Tsuburaya in the spring of 1952 (1952) ", such as the monster that emerged from the sea whale strikes the Tokyo  ", also, 1953 to (1953) the " Indian Ocean large in octopus Japan of the whaling ship attack "that special effects movie the plot of had been submitted to the planning Department. This idea of ​​Tsuburaya's plan came to me when I was evacuating to an air- raid shelter during the Tokyo air raid in 1945 (Showa 20). I wanted to try. Partly because of this, Tsuburaya insisted on setting the monster's setting to "octopus." On the other hand, Tanaka insisted that this would be "an ancient dinosaur" because it "matched with the climate (at that time)," and as a result, Tanaka was adopted, and the main character monster character became "an ancient dinosaur." ..

Tanaka immediately to the Director, the previous year in two of the special effects work " Pacific Ocean of the eagle and the" "Farewell Rabaul" in Tsuburaya and crossed Ishirō Hondahandpicked the, also, like the previous year Tsuburaya and Japan's first 3D film " jumped out I put in Takeo Murata who took " Sunday ", and Honda and Murata took part in the script production. Tomoyuki Tanaka had a long title in "Large Kaiju from the Undersea Twenty Thousand Horses", so he was wondering if there would be a better title, but from the producer Ichiro Sato , he was in the Toho Drama Department at the time, "Whale". "the favorite gorilla nickname of a man named (Toho entertainment Department after) was the Amikura Shiro appearance" like "is heard that it is" Gzira ", and in reference to the nickname good euphony," Go to the lira, "" click " Godzilla " is combined with " zilla "  . However, this name is also not mean that yet fully determined, "" Godzilla "The impression is in the weak because" Gojira "," that there was also opinion such as ( Hiroshi Mukaiyama story [ citation needed ] ).

When the "G work preparation draft" by Murata and Honda was completed, a "pictorial sketch" (an image board with a picture for each scene) was produced. Watanabe art director directed Sadao Iizuka and 4 or 5 students to draw and draw 228 scenes in 306 cuts, and this storyboard is overhanging in the planning room, in front of Mori Production Manager, Murata, Honda, Tsuburaya, and Tanaka explained each scene, and repeated examinations. According to Masakatsu Asai, Godzilla's "incandescent light" and "shining dorsal fin" were ideas that were born by "bracketing" during these examination stages. At the end of this review meeting, Mori Iwao declared that he had "no doubt about success."

Next, the design of "Godzilla" was examined, and a design drawing was requested by manga artist Kazusuke Abe, who was serializing "Dan Yamasan" in the evening edition of " Sankei Shimbun, " but this appointment was made by It depends on the result of the questionnaire for children." The image of Abe's design was too strong for mushroom clouds , so it was limited to just a reference, and the actual design was done by Akira Watanabe (see below). The clay prototype by Watanabe and Teizo Tomitsu was completed at the end of June.

Initially, Eiji Tsuburaya imitated the method of shooting Godzilla in the US and Europe, and examined the technique of doll animation , but it was calculated backward from the opening date of November 3 and judged that it was impossible in the process, and the actor entered inside. The stuffed animal method was adopted. Haruo Nakajima, who was the main performer, said to Tsuburaya, "It will take 7 years if you do a doll animation, but if you perform, you can do it in March." Until then, the only monsters in the movie were doll animations, and even when the photographers Sadamasa Arikawa and Nakajima said to Tsuburaya that "I'll do it with a stuffed animal," he didn't have any image. "Godzilla" was also Japan's first initiative as a full-fledged "plush monster."

The beginning of the project

Tomoyuki Tanaka , the producer of this work, met Eiji Tsuburaya, who had just returned to Toho the previous year, when he produced " Farewell Rabaul " ( directed by Inoshiro Honda ) in the template: Japanese calendar , and succeeded in special effects by Tsuburaya. Partly because of that, he realized that he could go for special effects. In August, Tanaka then planned a collaborative film with Indonesia, "In the Shadow of Glory," directed by Senkichi Taniguchi . However, the following year's template: In April of the Japanese calendar , it was finally time for the filming team to depart with director Taniguchi, starring Ryo Ikebe , and Yoshiko Yamaguchi , and due to diplomatic circumstances, the visa could not be obtained and this project was abandoned. It was decided to do. Tanaka, who said, "The worms in my stomach didn't go away," had to make an alternative project in a hurry, but due to these circumstances, the idea was inevitably set in the ocean around Indonesia.

Around that time, a nuclear test at Bikini Atoll and the atomic bombing of Daigo Fukuryu Maru (March of the same year) became a social problem. Inspired by this, Tanaka planned a special-effects movie, "A dinosaur sleeping on the seabed of Bikini Atoll wakes up under the influence of a hydrogen bomb experiment and attacks Japan." The tentative title of the project at this point was "A large monster from the undersea 20,000 miles".

When Tanaka submitted this project to the planning meeting of the Toho Headquarters, it caught the eye of Iwao Mori , who was in charge of production . Mori was involved in Toho before the war and invited Director Tsuburaya, but after the war, he returned to the head office and visited Hollywood after being released from public office in the Japanese calendar , reaffirming the importance of special effects movies. The dismantled "Special Technology Division" was reorganized in Toho, and Director Tsuburaya was invited again to strengthen this division. In this way, while Toho's upper management unanimously opposed the project, saying that it was impossible to shoot at all, Iwao Mori was the only one who expressed his support for this project, strongly supported it, and finally reached the GO sign.

Production

In the production, a big budget of 70 million yen (at that time) [ required source ]  was set up as a blockbuster work, and in this volume, KurosawaGumi quasi-starred Takashi Shimura , Naruse group camera Masao Tamai  veteran has been appointed such as welcoming the used wisdom ofart and Choshiro Ishii of lighting . Because of the large budget, Takeo Kita , who was the director of production at the time, was specially designated as an "art director". Eiji Tsuburaya, who was in charge of special effects, gathered young staff from various fields such as Sadao Iizuka , Yasuyuki Inoue , Eizo Kaimai , Yoshio Irie for this work , and they later became indispensable in the Japanese special effects world.

For these staff, the main group A of Honda group, special effects group B of Tsuburaya group, composite group C of Mukaiyama group were adopted. Last scene results for underwater photography survey of "the highest degree of transparency of sea water treatment in Japan" has been made of, Ise-Shima of Gokashowan is selected in the location location, also in filming locations at the same time "Odo Island" Decision. On August 2, the starting location team of Toba location set off. Since the special effects group B of the Tsuburaya-gumi was delayed in preparation for the creation of Godzilla, the main group A of the Honda group took the picture on August 7, ahead of the special effects group B. Ikeshima, Toba City , Mie Prefecture (see " Episode " below) in Ise Shima set as "Otoshima" (see " Episode " below) and other locations were held for one week, and cranked up in late September over 51 days. ..

The shooting of the special effects group B of the Tsuburaya-gumi started a little later in late August, and it took 71 months until the end of October, taking a total of 3 months. Mr. Tsuburaya led the young staff and worked all night until the shooting. The staff said, ``Godzilla will not finish until 5 o'clock,'' according to a daily forced schedule that ``set in at 9 o'clock in the morning, prepare, shoot at about 17 o'clock, finish shooting at 4-5 o'clock in the morning''. I was told. It took time to set up a miniature , so even if all the personnel from the proprietor to the lighting staff were mobilized, it was inevitable to proceed in this way. In the "Toho Studio Mail" at the time of the release, Tsuburaya said, "I gradually got up and cranked up while thinking that it would be this. With special shooting, I am proud of the best American movie world. It's a strange feeling that you want to brag about or you don't want to."

The work is completed on October 25. Celebrating the completion at the Toho Film Studio, wishing for a successful box office, I worship Godzilla No. 2 plush toy for the main deity , Akihiko Hirata acting as the priest and Momoko Kawauchi as the shrine maiden, and the god-like ``godzilla'' in the courtyard of the studio. Festival" (Ceremony) was held. The staff members of Tanaka, Honda, Tsuburaya and Shigeru Kayama are praying.

After this "Godzilla Festival", in the "In-house test preview" that was held in the studio by gathering the staff of Toho's upper layers, the place became a stand-up due to the wonderful work of the main part and special effects, and the enormous chorus of envy The applause didn't stop forever. Meanwhile, the original author, Kayama, was pitiful at the last scene when Godzilla melted and died by Oxygen Destroyer, and was crying while sitting alone. A preview of people involved in the press was held at the Asakusa Takarazuka Theater, but Kayama was still eye-catching. According to Tsuburaya, Kayama was very impressed with the creation of the work, and after the release, he invited all the staff to open a banquet for one night in Atami .

Original Japanese Poster

Exhibition and reaction

At the same time as the release, the completed work recorded an unprecedented number of spectators at that time and became an unprecedented blockbuster, setting a new record for the number of spectators on the first day of Toho in the same year. The line of spectators in Shibuya Toho extended to Dogenzaka , and the waiting time reached 2 hours. The opening day was said to have mobilized 140,000-150,000 people in Tokyo alone. Too much of the rafters, Tomoyuki Tanaka himself Shibuya Toho and day drama was decided that help a simulated tickets. The opening mobilization in the 1st building alone has attracted 9.61 million spectators, and almost one in ten people has watched the movie. The success of "Godzilla" is said to have rebuilt the skeleton of Toho, which was tilted at the time, at once.

Toho executives were also pleased with this great success, and while the shooting staff were invited to the executive room and the box office records of each hall were reported one after another, Masumi Fujimoto and other executives at the headquarters acted as beers and sake. I gave up. In Toho, a large number of children were surveyed in the premier theater, and many sympathetic opinions were sent to Godzilla. There were protests from the audience saying, "Why did you kill Godzilla?" Akira Takarada also "felt sympathy to Godzilla," said, "what why humans must kill the animal innocent, Mushoni could not prohibited tears coming out"  , also Murata screenplay responsible for "Godzilla There are many sympathetic opinions among staff, such as "I am sorry."

On the other hand, the evaluation of Japanese journalism at the time of release was generally low, and it was often criticized as "Getemono movie" or "Kiwamono movie". Although it was highly acclaimed in the commentary of each newspaper in terms of special effects, it was not evaluated based on what Honda intended as "the human drama part is superfluous." However, according to Tanaka, at that time, only Yukio Mishima praised this work, including the drama part, saying that it is a movie that has a lot of fear of the atomic bomb and its idea is wonderful and interesting. the  . Later as a celebrity Yasujiro Ozu  , Osamu Tezuka  , Nagaharu Yodogawa , Shigeru Mizuki et al have praised this work. The work became very popular overseas, and the name of Eiji Tsuburaya, who had not been lined up as a special effects engineer, was widely known abroad. According to Tanaka and Honda, "It was first recognized in Europe , and the blockbuster in the US seems to have set the reputation in Japan."

To release the blockbuster "Godzilla," Tadao Saito, Kazuya Uchida, and others from Toho's sales and advertising department performed a flashy pre-promotion in the current media mixformat. First of all, as a start of long-term advertisement, we are making a production announcement with the title of "Godzilla" in each newspaper morning newspaper on July 5th four months before the release, which has not been included in the shooting yet .

Then, on July 17, a radio drama was started on Nippon Broadcasting (see below). On the verge of publication, careful advertising was carried out using all types of advertising media such as magazines, weekly magazines, newspapers, and train hangings. Before and after the release, an advertising truck carrying Godzilla dolls traveled around the city, and furthered this. Godzilla's advertising vinyl doll was also prepared by Toho, and a cartoon by Kazusuke Abe, who was in charge of Godzilla's original design, was issued and distributed at the theater (see below). In the tie-up feature article with the boy magazine, the "water funeral event" of the stuffed toy Godzilla used for the shooting was held.

As a result, "Godzilla" has become one of Toho's box office history. Akira Kudo, the general manager of the advertising department (at that time) , cited " Seven Samurai ", " Living " and " Madame Butterfly " as successful advertising works in the year 1954, and exceeded this "Godzilla" with "Unprecedented". It is a blockbuster work of.

Soundtrack

The soundtrack was stock music originally composed by Akira Ifukube.

Main articles: Godzilla (Original Soundtracks) and Godzilla (1954 Soundtrack).

History

the film was released in the US under the title of Godzilla, King of the Monsters! for american audiences.

Deleted Scenes

Main article: Godzilla/Deleted Scenes The most often named of various proposed, unfilmed or discarded scenes involves Godzilla's first iconic appearance seen over the hills of Ohto Island. The originally filmed scene showed Godzilla with a cow in his mouth as he eats it. While the scene was effective in creating terror, it brought to mind too many questions about Godzilla's relative size, chief among them: "How could the cow even be visible if Godzilla was the size and menace they wised to convey?" They feared that, in the minds of the audience, either the cow was of unusually large size, or Godzilla simply wasn't that big. Since continuity and suspension of disbelief are inversely important to how "fantastic" the premise was to the crew, the cow scene ended up being cut, and the scene just featured Godzilla rising and roaring, though this scene is still iconic to fans. Keeping the cow might also have taken Godzilla down a notch from the force of nature this first film portrayed him as, making him merely a hungry beast.

Titles

  • G Production: Godzilla (early story treatment title)
  • G Production (working title)
  • Atomic Dinosaur (Taiwan title)
  • Godzilla, King of the Monsters! (Original United States title)
  • Monster King Godzilla (Original Japanese Re-release title)
  • Godzilla: Monster of the Sea (Sweden title)
  • Japan: Under the Terror of the Monster (Spain title)
  • The Monster of the Pacific Ocean (Portugal title)
  • Godzilla, the Monster of the Century (Original Greece release)
  • Godzilla, the Sea Monster (Brazil title)
  • Cozzilla (unreleased BBC title)



Release

Original US release

In 1955, Edmund Goldman acquired the 1954 film from Toho and enlisted the aid of Paul Schreibman, Harold Ross, Richard Kay, and Joseph E. Levine to produce a revised version for American audiences. This version dubbed most of the Japanese dialogue into English, altered and removed key plot points and themes, and added new footage with Burr narrating most of the film and interacting with body-doubles and Japanese-American actors in an attempt to make it seem like Burr was part of the original Japanese production.

In 1956 , TransWorld Releasing Corporation and Embassy Pictures Corporation distributed Godzilla in the United States as Godzilla, King of the Monsters!. Extensively re-edited, it now featured 21 minutes of new footage, starring Raymond Burr as American journalist Steve Martin. Unlike all future Godzilla films, most of the Japanese dialogue was not dubbed, with other characters often translating conversations for Steve. Although key elements were removed from the original cut of the film, Raymond Burr added legitimacy through an American perspective to an otherwise foreign film. Godzilla, King of the Monsters! was later released in Japan under the title Monster King Godzilla (怪獣王ゴジラ Kaijū ō Gojira). This re-release was a considerable success and became popular among Japanese audiences.[citation needed] This style of "Americanization" through the inserting of a Western actor became commonplace in the localization of subsequent kaiju films, such as Half Human, Varan and Gamera. In 1985, when New World Pictures released The Return of Godzilla in the United States as Godzilla 1985, they chose to emulate Godzilla, King of the Monsters! and include new footage featuring American actors, including Burr, who reprised his role as Steve Martin. After years as a TV staple, Vestron released Godzilla, King of the Monsters! on VHS in 1983, with several other companies following suit over the next 15 years. It was first released on DVD by Simitar Entertainment in 1998.

For years, it was difficult to view the original Japanese version of the film in the United States. It played in Japanese-American theaters in 1955 and at New York City's Public Theater in 1982 as part of a series on Japanese film. In 2004, Rialto Pictures released the uncut Japanese version to theaters across the country, where it earned rave reviews. Classic Media released the Japanese version as Gojira on DVD in 2006, with Godzilla, King of the Monsters! included on a second disc. In 2012, Godzilla joined the prestigious Criterion Collection on DVD and Blu-ray, with both versions thoroughly restored. In 2014, Rialto brought it back to theaters. North American distribution rights to Godzilla are currently held by Janus Films, along with several other Showa Toho kaiju films.

Differences between Godzilla, King of the Monsters! and the original Japanese version of the film include:

  • The film's opening credits sequence is omitted, and replaced with a shot of the ocean's surface boiling taken from later in the film followed by Godzilla's roar and the title card. Rather than beginning with the sinking of the Eiko-Maru, the American version opens with Steve Martin narrating over the ruins of Tokyo as he lies in rubble after Godzilla's vicious rampage the previous night. Steve is taken to a hospital and speaks with Emiko Yamane, who is played by a body double alternated with close-up shots of Momoko Kochi in the role from the Japanese version. He then recalls the events which led him to this point, with the entirety of the film up until the aftermath of Godzilla's rampage presented as a flashback narrated by Steve.
  • A scene where Steve is on the plane to Japan is added before the sinking of the Eiko Maru, in which he explains through narration that he was heading for Japan to visit a college friend of his, Dr. Serizawa, who is portrayed as a famous scientist rather then a reclusive one.
  • Godzilla's roar is added when the flash of light underneath the water blinds the men on the Eiko-Maru.
  • The scene where Hideto Ogata cancels his date with Emiko is cut and replaced with Steve arriving in Japan to talk to Dr. Serizawa's assistant (a character exclusive to the American cut) and a security officer played by Frank Iwanaga who questions Steve about whether he saw the destruction of the ship. Being a reporter, Steve wants to know what is going on, and the security officer takes him to the office of the shipping company. Clips of the officer translating the Japanese speech for Steve are added to the scene where the shipping company tries to figure out what happened.
  • Kyohei Yamane is said to have been called in by the shipping company to discuss the cause of the shipping accidents. The scene of this discussion utilizes footage taken from later in the film where government officials ask Dr. Yamane about possible measures to eliminate Godzilla, and is not dubbed, with the security officer simply translating the conversation for Steve. His translation is not actually accurate to the conversation taking place, most conspicuous when Dr. Yamane says "Gojira" despite Godzilla's existence supposedly not being known at this point.
  • A scene of Steve calling his editor to tell him about the ship attacks is added after the sinking of the Bingo-Maru. During the phone call, Steve says that eight ships have been destroyed, while only two had been sunk at that point in the Japanese version.
  • In the scene where Masaji Yamada washes ashore on Odo Island, Steve's narration explains that he died, while in the Japanese version he simply passed out. This becomes a continuity error during the sequence where Godzilla comes ashore on Odo Island during a typhoon, as footage of Masaji looking up in terror as Godzilla approaches his house is retained.
  • Steve is part of the party of reporters that is dispatched to Odo Island to investigate, accomplished through shots of him inside a helicopter which is meant to be the same one carrying Hagiwara and the other members of the press. Steve and the security officer watch the exorcism ceremony on the island that night, and listen to the conversation between Hagiwara and the island elder. This conversation is not dubbed, and the officer translates it for Steve. The island elder's voice is dubbed over to add in a single word, "Gozilla." The security officer repeats the name for Steve, who mispronounces it as "Godzilla" when he asks if that is supposed to be the name of the creature the islanders believe responsible for the shipping disasters.
  • Some shots of Steve and the security officer staying in a tent and exiting it to witness the devastation are spliced into the sequence where Godzilla comes ashore on Odo Island during a typhoon.
  • The testimonies at the National Diet Building by the Odo Island residents who survived Godzilla's attack are summed up through narration by Steve. During Yamane's following speech, shots of Steve watching are added. This is followed by a scene where Steve briefly interviews Yamane, played by a body double, to ask him if he can be a part of the expedition to Odo Island, to which Yamane replies, "Of course."
  • Shots of Steve on the boat are added to the scene of the Odo Island expedition team's departure. Serizawa's presence in the scene, however, is cut, as he is said to be doing important field tests at this point.
  • The audience is introduced to Ogata and the love triangle between him, Emiko, and Serizawa through Steve narrating Ogata and Emiko's conversation on the way to Odo Island, with shots of Steve watching them spliced in.
  • Shots of Steve and the security officer are added during the Odo Island expedition and Godzilla's first appearance.
  • When Dr. Yamane discusses Godzilla in front of the assembly at the Diet, he estimates that Godzilla stands 400 feet tall, compared to 50 meters (about 164 feet) in the Japanese version.
  • The huge argument that breaks out in the assembly at the Diet is not dubbed or subtitled, leaving what exactly is being argued about unclear.
  • A scene of commuters on a train discussing having to go back to the bomb shelters in the wake of news about Godzilla is removed.
  • A scene is added where Steve first calls his editor to update him on what Godzilla is and the JSDF's depth charge attack. Afterwords he shares a brief phone conversation with Dr. Serizawa, who like Emiko and Dr. Yamane is played by a body double.
  • The specifics of the love triangle between Serizawa, Emiko, and Ogata are altered. Whereas in the Japanese version Serizawa is said to simply be in love with Emiko, who herself is in love with Ogata and only sees Serizawa like a brother, in the American version Steve explains that Emiko was betrothed to Serizawa when they were both children. Thus, in the American version, Emiko's visit to Serizawa is to break off her engagement with him rather than just to tell him that she plans to marry Ogata.
  • The scene where Emiko visits Dr. Serizawa with the reporter Hagiwara is removed. It is only revisited partially through flashback later in the film when Emiko reveals the existence of the Oxygen Destroyer, something that occurs in the original Japanese cut as well. It is stated instead by Steve through narration and Serizawa on the phone call that Emiko asked to see Serizawa herself to break off her engagement with him.
  • When Emiko tries to tell Serizawa about her relationship with Ogata, instead of starting a conversation by asking him what he is working on, she tells him that she is glad that he is back, as Serizawa was said to be doing important field tests earlier in the American cut.
  • Godzilla's roars are added when he rises from the water near a pleasure boat.
  • A montage of the JSDF's preparations is added between Godzilla's first and second attacks, narrated by Steve.
  • The scene where Emiko talks to her father as he sits alone in his study and Godzilla rising from the water near a pleasure boat happen in the Japanese version before Emiko visits Serizawa. The American cut fades from Emiko walking away from Ogata after telling him that nothing happened at Serizawa's house to the depth charge attack against Godzilla, while Dr. Yamane arriving home is moved to after the JSDF preparation montage.
  • When Emiko tells Ogata that she didn't get the chance to tell Serizawa about their relationship, Ogata says, "I understand, Emiko" instead of just giving her a reassuring nod.
  • Shots of Steve are spliced into Godzilla's first attack on Tokyo.
  • The scene where the military comes up with the plan to defend Tokyo with electric towers is narrated over by Steve. Afterwords, a scene where the security officer explains the plan to Steve, who had to leave the meeting early, is added.
  • While the electric towers surrounding Tokyo are explained to have been built between Godzilla's first and second attacks in the Japanese version, in the American version they already existed and are just charged with extra voltage. In the Japanese dialogue, the voltage is stated as 50,000 volts, while in the English dialogue it is changed to 300,000 volts.
  • The scene where Ogata attempts to ask Dr. Yamane's consent to marry Emiko, but ends up getting thrown out of the house after he argues that Godzilla should be killed instead of studied, is removed.
  • Shots of Steve recording his live report are added throughout Godzilla's arrival and second rampage through Tokyo.
  • Godzilla's pause before attacking the electric towers is extended slightly.
  • Godzilla's second rampage through Tokyo is rearranged, due to the scene where Godzilla destroys the building Steve is recording from.
  • Instead of Emiko telling Ogata what Serizawa showed her like in the Japanese version, she, Ogata, and Steve share a scene together as Steve is laying in his hospital bed where Emiko tells the two of them. Emiko's conversation with Serizawa in the flashback is not dubbed but instead narrated over by her.
  • Ogata and Serizawa's conversation about using the Oxygen Destroyer is shortened. Ogata's line, "Then you have a responsibility no man has ever faced. You have your fear, which might become reality. And then you have Godzilla, which is reality" is new to the U.S. version.
  • Serizawa's line reassuring Emiko that burning his notes is the right thing as she weeps is cut.
  • The naval ship finding Godzilla and Serizawa asking Ogata to help him place the Oxygen Destroyer is summed up by Steve through narration.
  • Shots of Steve on the naval boat are added.
  • Godzilla's death roar is changed. A variant created by Toho for the dubbing music and effects track is played over the roar heard in the Japanese track, creating a flange effect.
  • Dr. Yamane's closing speech warning that a second Godzilla may appear if nuclear testing continues is replaced by Steve narrating: "The menace was gone. So was a great man. But the whole world could wake up and live again."
  • In lieu of the removed opening credits, English-language credits are added after the film's ending, accompanied by Akira Ifukube's score.

The initial 16mm prints struck for television syndication removed the end credits, cutting from the film's last shot to the end title. An opening credit consisting of Burr's, Honda's and Terry Morse's names was inserted after the film's main title to compensate. Official versions since approximately 1983 have removed the 16mm version credit and the original end credits were reinstated with the 2006 Classic Media DVD release, although placed after the end title.

In 2018, Godzilla King of the Monsters! was broadcast on the Comet TV station with the title Godzilla. This alternate title had been the one on the fine grain print scanned for the 2012 Criterion release. In that video release, however, Criterion edited in the more familiar title from a scan of a 16mm print. It's unknown how widely seen the Godzilla version of the film was in the U.S., if at all. It was this title that was anamorphically reformatted and seen on Toho's Monster King Godzilla theatrical release.

Worldwide Release

The film was released to 283 theaters in Boston. The film earned more than $2 million in rentals during its initial theatrical run. The film earned a $200,000 profit for its producers. The TV rights were then sold to RKO and the film made its broadcast debut in 1959 on KHJ-TV in Los Angeles. The film was theatrically released in Japan on May 29, 1957 as Kaiju Ō Godzilla (Monster King Godzilla) to a positive reception from Japanese audiences, with the English dialogue subtitled in Japanese.

The film was the first Japanese film to become a commercial success in the United States and was the fourth foreign film, at the time, to have grossed passed $1 million at the American box office. Goldman originally acquired the film to distribute in American and Canadian markets, however, due to the film’s commercial success, foreign distributors became interested in acquiring the American cut. As a result, Trans World renegotiated with Toho to license the American cut to foreign markets. The film was released in France on February 14, 1957, where it became the 79th top-grossing film of 1957, selling 835,511 tickets. By 1993, the film had sold more than 13 million tickets worldwide.

The Original Theatrical poster for the 1956 Oceania release

Oceania release

the film was released in 1956 in Australia and Aotearoa (New Zealand) in October 5 (NZ) and August 10 (Australia) it soled over 0.5 million tickets in New Zealand and 2 million tickets in Australia.

Filipino release

People's Pictures released Godzilla in the Philippines in 1957, under the title Tokyo 1960. It appears to have been edited to a similar extent as Godzilla, King of the Monsters, with posters advertising actors Tessie Quintana, Eddie del Mar, and Zaldy Zshornack, director Teodorico C. Santos, composer Ariston Avelino, and executive producer Cirio H. Santiago. Footage of this version has yet to surface, however.

French release

In France and Belgium, a French language combination assembly of footage exclusive to the original Toho version and Godzilla, King of the Monsters! was released by Les Films du Verseau on March 14, 1957. In the dialogue, Steve Martin works for the "New York Herald" out of New York instead of United World News in Chicago. Ogata was also made a pupil of Dr. Yamane. The French version runs 92 minutes.

German release

In West Germany, a shorter German language cut of the Toho version was released by Lehmacher Film on August 10, 1956. A version distributed by Atrium Film containing a different opening credits sequence also exists. In total, 13 minutes were removed from the film.

The Original Theatrical poster for the 1956 British release.

United Kingdom release

Eros Films brought Godzilla, King of the Monsters! to UK theaters in February 1957, as part of a double feature with House of Dracula. It become the first of several kaiju films to receive an X rating from the British Board of Film Censors, preventing children under 16 from seeing it. In 2005, the British Film Institute became the first company to release an English-subtitled version of Godzilla on home video, with their DVD following a limited theatrical run. Sony released The Criterion Collection's Blu-ray edition of the film in 2019 as part of its Godzilla: The Showa-Era Films, 1954–1975 box set.

Japan re-release

The Theatrical Japanese Re-release poster for the 1957 film.

in 1957, the U.S. version was released in japan dubbed into Japanese.
  • The film was the first Japanese film to become a commercial success in the United States and was the fourth foreign film, at the time, to have grossed passed $1 million at the American box office. Goldman originally acquired the film to distribute in American and Canadian markets, however, due to the film’s commercial success, foreign distributors became interested in acquiring the American cut. As a result, Trans World renegotiated with Toho to license the American cut to foreign markets. The film was released in France on February 14, 1957, where it became the 79th top-grossing film of 1957, selling 835,511 tickets. By 1993, the film had sold more than 13 million tickets worldwide.

Critical response

New York Times film critic Bosley Crowther gave the film a bad review, dismissing it with: "'Godzilla', produced in a Japanese studio, is an incredibly awful film". After complaining about the dubbing, the special effects ("a miniature of a dinosaur") and the similarity to King Kong, he concluded, "The whole thing is in the category of cheap cinematic horror-stuff, and it is too bad that a respectable theater has to lure children and gullible grown-ups with such fare". On the film's alterations, film critic Danny Peary accused the producers of making "deletions that arouse suspicions regarding the cover up of references to damage done by the A-bomb." Film critic Tim Lucas noted, "Much has been done to Americanize the Godzilla series over the decades, much of it inane and destructive, but the craft and cleverness that went into Godzilla, King of the Monsters! is immediately apparent." Over the years, original director Ishirō Honda was asked by film historians if the alterations made by the American version without his permission had offended him. Honda found the alterations amusing, stating that his film was "trying to imitate American monster movies."

In writing for Ritual and Event, Aaron Kerner stated, "the 1956 Godzilla, King of the Monsters transforms Gojira into a run of the mill science fiction film." William Tsutsui criticized the film for watering down the original themes, stating, "although Gojira was not exactly eviscerated in this transition, with the terrifying charm of the monster thankfully surviving the cinematic surgery, much of the emotional power, intellectual depth, social relevance, and visceral impact of Gojira was lost in its translation to US movie screens." Author david Kalat felt that Burr’s narration during Godzilla’s rampage improves upon the original scene, stating, “Burr’s speeches here are chilling, and memorable.” Kalat further praised how the narration renders Burr’s character as impotent, stating, “not even the American hero can save the day this time.”

Theatrical re-release poster for the 1977 Italian film.

Italian re-release

History

In 1977, Italian filmmaker Luigi Cozzi released to Italian theaters a further modified and colorized version of Godzilla, King of the Monsters, with a soundtrack that used a magnetic tape process similar to Sensurround. Though the Italian colorized version was released as Godzilla, it is referred to by fans, and Cozzi himself, as Cozzilla. Cozzi coined the title Cozzilla as a pen-name when he was writing for magazines, and later adopted it as the production company name for re-releasing the film. According to Cozzi, Toho had licensed the colorized version to Turkey. Cozzi noted that his colorization was the first attempt ever done at colorizing a black-and-white film.

Due to the success of the 1976 remake of King Kong, Cozzi attempted to cash in on the film's success by re-releasing Gorgo. Cozzi, however, was unable to acquire the film because "the King Brothers asked for too much money". Cozzi then chose Godzilla as a second option. He originally intended to acquire the 1954 film, but Toho was only able to provide negatives for the 1956 American version. Cozzi's regional distributors refused to release it after discovering the film was in black-and-white, so he chose to colorize the film to secure its release. Cozzi renegotiated with Toho, gaining their approval. Included in the new deal was that Toho retained sole ownership of the colorized negative. Cozzi had final approval over the stock footage, music, and the colorization. At the time, theatrical films were required to run 90 minutes. Therefore, Cozzi was "forced" to add the stock footage to extend the film's runtime:

The decision to specifically add real footage of death and destruction from war-time film reels was intentional on Cozzi's part. Cozzi wanted to give an old film an "up-to-date and more violent look". While editing the film, Cozzi was aware that certain stock footage didn't match the Godzilla footage, but he chose to proceed, feeling that the "effect would have been stronger than the defects". Additional footage was recycled from The Train and The Day the Earth Caught Fire. Cozzi added brief clips from The Beast from 20,000 Fathoms and Godzilla Raids Again as tributes, taken from his personal 16mm prints. He coined the term "Spectrorama 70" for advertising purposes, the term referring to colorization and the feeling of 70mm. Cozzi stated that it "helped to give a 'bigger' look at my Godzilla theatrical re-release advertising materials".

For the soundtrack, Cozzi reprocessed the original 1956 soundtrack, turning it into a eight-track magnetic band stereophonic variation by adding new music and sound effects. Cozzi later added Sensurround effects and special giant loudspeakers to the theaters playing the film. Using the pseudonym "Magnetic System", Vince Tempera composed the film's additional score using his personal electric piano. Cozzi hired Tempera after he expressed interest in collaborating on a project. Tempera immediately accepted due to his being a fan of Godzilla. Cozzi selected synth music because he wanted the score to give his version of the film a "modern look" and have audiences see the difference between the new scenes and the originals. During the film's opening weekend, Tempera's additional score was released as a 45 rpm record. It was later released as a 33 rpm LP.

Cozzi hired Enzo Nistri to paint a new poster for the colorized release (Nistri's poster was later used on the cover of Fangoria magazine). Cozzi hired Armando Valcauda to do the colorization of the film, while Alberto Moro, Cozzi's mentor, was hired to edit the film. It was colorized frame-by-frame using stop motion gel photography. The process took only three months, as they were in a rush to release the film. Valcauda did all the colorization himself, while Cozzi edited the film with Moro. Cozzi noted that Yamato Video in Milan owns one new 35mm print of the colorized version, as well as an original colorized 35mm film negative, acquired from Toho. Yamato planned to release the 1954 film, the 1956 American cut, and the 1977 Italian color cut on DVD. Those plans, however, were abandoned after the DVD release of the 1954 film flopped financially.

Denmark poster for the 1956 release.

Denmark release

the 1956 version was released in Denmark in 1956 on November 26.

Spain release

the 1956 version was released in Spain in 1956 on November 5.

Czechoslovakia release

the original 1956 Spanish release poster

the 1956 version was released in Czechoslovakia in 1956.

the original 1955 Taiwanese release poster.

Taiwan release

Taiwan is the one of the only countries that had the original 1954 version released in another language, it was released in Taiwanese on December 7 in 1955.

Turkey release

the 1956 version was released in Turkey March 5, 1958.



Czechoslovakia poster for the 1956 release.

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1970-1975
Gezora, Ganimes, and Kamoebas: Decisive Battle! Giant Monsters of the South Seas Gamera vs. Giant Devil Beast Jiger Gamera vs. Deep-Sea Monster Zigra Earth Destruction Directive: Godzilla vs. Gigan · Insect Monster Megalon vs. Godzilla: The Undersea Kingdom's Annihilation Strategy ·Japan Sinks Godzilla vs. Mechagodzilla · Mechagodzilla's Counterattack
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Space Monster Gamera


1930s-1950s
Japanese King Kong · Godzilla · Godzilla Raids Again · The Transparent Man · Invisible man and fly man The alien appears in Tokyo Great Buddha (1934) Vampire Moth Varan, The Giant Monster
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1960-1965
Vampire Bride Mothra King Kong vs. Godzilla Godzilla: The Earth's Greatest Battle King Ghidorah vs. Godzilla: The Giant Monster War Frankenstein Meets the underground Baragon Gamera: The Giant Monster
1965-1969
Frankenstein's Monsters: Sanda vs. Gaira Great Monster Duel: Gamera vs. Barugon Godzilla: Destroy All Monsters ·
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[[|2000s]]
200s-2020s
Godzilla x Megagilas G Disappearance Operation · Godzilla, Mothra, King Ghidorah: The Great Kaiju Total Attack · Godzilla x Mechagodzilla · Godzilla: Final Wars · Rape Zombe: Lust of the Dead · Rape Zombie: Lust of the Dead 2 · Rape Zombie: Lust of the Dead 3 Rape Zombie: Lust of the Dead 4 Rape Zombie: Lust of the Dead 5
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