Godzilla (1954 film)

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Godzilla ( ??? , Gojira ) is a 1954 Japanese science fiction film featuring Godzilla, produced and distributed by Toho. This is the first movie in Godzilla and Sh? Wa. The film is directed by Ishir? Honda, with special effects by Eiji Tsuburaya. Movie stars Akira Takarada, Momoko KÃ… chi, Akihiko Hirata, Takashi Shimura, with Haruo Nakajima and Katsumi Tezuka as players for Godzilla.

Godzilla started production after Japan-Indonesia joint production collapsed. Tsuburaya originally chose a giant octopus before the filmmakers decided on dinosaur-inspired creatures. Special effects were achieved with the stuntman wearing a rubber suit crushing Tokyo miniature set. The filming lasted for 51 days and special effects lasted for 71 days, the first was led by Honda and the last was led by Tsuburaya.

Godzilla was released in Nagoya on October 27, 1954 and was released nationally on November 3, 1954 and grossed Ã, Â ¥ 183 million during theatrical run. In 1956, a highly re-edited version of "Americanization" entitled Godzilla, King of the Monsters! released in the United States. In 2004, Rialto Pictures gave the 1954 movie limited theatrical release in the United States to commemorate the 50th anniversary of the franchise.

The film spawned a multimedia franchise, recognized by Guinness World Records as the oldest movie franchise in history. Godzilla has become an icon of international pop culture and the film has been widely credited, because of Eiji Tsuburaya, to create a template for Tokusatsu.

Video Godzilla (1954 film)

Plot

When the Japanese warship Eiko-maru was destroyed near Odo Island, another ship - Bingo-maru - was sent to investigate, only to meet the same fate with some survivors. A fishing boat from Odo was also destroyed, with one survivor. Mysterious fishing falls to zero, which is blamed by an elder on an ancient sea creature known as "Godzilla". Reporters arrived on Odo Island to investigate further. One resident told one reporter that "something big would go crazy over there", destroying fishing. That night, a ritual dance to appease Godzilla was held during the reporters knowing that the locals used to sacrifice young girls to monsters. That night, a major storm attacked the island, destroying the reporters' helicopters, and Godzilla, though sighted, destroyed 17 houses, killing nine people and 20 villagers.

Odo residents travel to Tokyo to ask for disaster relief. Evidence of villagers and journalists describes the damage that is consistent with something large destroying the village. The government sent paleontologist Kyohei Yamane to lead an investigation into the island, where traces of giant radioactive and trilobite were discovered. The alarm bells of the village rang and Yamane and the villagers rushed to see the monster, retreating after seeing that it was a gigantic dinosaur, then roaring, and back into the sea.

Yamane presents her findings in Tokyo, estimating that Godzilla is 50 meters (164 m) tall and evolved from an ancient sea creature that became a land animal. He concluded that Godzilla had been plagued from his deep underwater habitat by testing underwater hydrogen bombs. A debate ensues about publicly telling about the dangers of the monster. Meanwhile, 17 ships were lost in the sea.

Ten frigates were sent to try to kill monsters using depth charges. The mission disappoints Yamane that Godzilla wants to learn. Godzilla survived the attack and appeared offshore. Officials are calling on Yamane for ideas to kill the monster, but Yamane tells them that Godzilla can not be forged, survivors of atomic bomb testing, and must be studied.

Yamane's daughter, Emiko, decides to break her engagement with Yamane's partner, Daisuke Serizawa, for her love for Hideto Ogata, captain of the rescue boat. When a reporter arrived and asked to interview Serizawa, Emiko drove the reporter to Serizawa's lab. After Serizawa refuses to divulge his current work to the reporter, he gave Emiko a demonstration of his recent project on condition that he should keep it a secret. The demonstration frightened her and she left without breaking the engagement. Not long after he came home, Godzilla's footsteps came closer. Godzilla's surface from Tokyo Bay and entering the city, attacking Shinagawa, and wasting the population from its path. The passing commuter train collided with the monster, which then destroyed the train. After further destruction, Godzilla returns to the ocean.

After consultation with international experts, the Japanese Self-Defense Forces built a 30-meter-high fence of 98 meters along the coast and mobilized troops to stop and kill Godzilla. Yamane returns home, disappointed that there is no plan to study Godzilla for his resistance to radiation, where Emiko and Ogata are waiting to get their approval for marriage. When Ogata disagreed with Yamane, citing the threat of Godzilla posing beyond the potential benefits of studying the monster, Yamane told him to leave. Godzilla reappears and breaks through a fence to Tokyo with his atomic breath, releasing a more destructive rampage across the city. Further attempts to kill monsters with tanks and fighter jets failed and Godzilla once again disappeared into the ocean. The Wak? The Clocktower, National Diet Building, and Kachidoki Bridge were destroyed and there were many fatalities. A day later, hospitals and shelters were overcrowded, and most of the population was radiation poisoning.

Feeling annoyed by the destruction, Emiko informs Ogata about Serizawa's research, a weapon called "Oxygen Destroyer," which destroys oxygen atoms and dead organisms due to rotting asphyxia. Emiko and Ogata go to Serizawa to convince him to use Oxygen Destroyer but initially he refuses. After watching a program that displays the current tragedy, Serizawa finally receives the request of Emiko and Ogata.

A naval ship took Ogata and Serizawa to plant a device in Tokyo Bay. After finding Godzilla, Serizawa dismantles the device and cuts off air support, taking the secret from Oxygen Destroyer until his death. This mission proved successful and Godzilla was destroyed but many were crying over the death of Serizawa. Yamane expressed his belief that if the nuclear weapons test continues, another Godzilla will increase in the future.

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Cast

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Themes

In the film, Godzilla symbolized the nuclear holocaust from a Japanese perspective and has since been culturally identified as a powerful metaphor for nuclear weapons. Producer Tomoyuki Tanaka stated that, "The theme of the film, from the beginning, is the terror of bombs: Humans have created bombs, and now nature will take revenge on mankind." Director Ishir? Honda filmed Godzilla Tokyo rampaging to reflect the Atomic Bomb of Hiroshima and Nagasaki, stating, "If Godzilla is a dinosaur or any other animal, he will be killed by only one cannon But if he is the same as the atomic bomb we do not know what to do, I took the atomic bomb characteristics and applied them to Godzilla. "

Academics Anne Allison, Thomas SchnellbÃÆ'¤cher, and Steve Ryfle have stated that Godzilla contains political and cultural tones that can be attributed to what Japan has experienced in World War II and that the Japanese audience is able to emotionally connect to monsters. They theorize that viewers see Godzilla as a victim and feel that the creature's backstory reminds them of their experience in World War II. These scholars also claim that as the test of the atomic bomb that Godzilla built is done by the United States, this film can be seen as a way of blaming the United States on the problems and struggles that the country faces after the end of World War II. They also felt that the film could serve as a cultural coping method to help Japanese people to help them move from war.

Brian Merchant of the Motherboard calls the film "a powerful and powerful metaphor for nuclear power that still survives to this day" and on its themes, it states: "This is a very weak film, misleadingly misleading about facing and taking responsibility for the unintelligible human tragedy.In particular, nuclear tragedy is arguably the best window in postwar stance on nuclear power we have - as seen from the perspective of its greatest victim. "Terrence Rafferty of The New York Times declared Godzilla is a "clear, subtle, and purposeful metaphor for the atomic bomb" and feels the film is "extraordinarily serious, full of serious discussion".

Mark Jacobson of Vulture declares that Godzilla "... transcends human nonsense." Very few constructs perfectly embody the fears of a particular era, he is a symbol of the wrong world, a work of man ever made can not be retrieved or removed. He came out of the sea as a creature without a certain belief system, apart from even the most elastic versions of evolution and taxonomy, the reptile id living in the deepest niches of the collective unconscious that can not be proved by, a merciless merchant who has no offer. Jacobson declared, "Honda's first Godzilla... is in line with these carefully arisen post-war films and perhaps the cruelest of them.The self-tackling self-collapse is in order, and who is better to supply a more suitable psychic punishment than a great Rorschach own? "

Tim Martin of The Daily Telegraph stated that the original 1954 film was "... away from his B-movie successors.That is a quiet allegory of a film with ambitions of three times the normal budget-designed to surprise and horrify adult audiences. A list of frightening images - burning cities, overcrowded homes, irradiated children - will become very familiar to filmmakers who remember memories of Hiroshima and Nagasaki are still less than a decade, while the script posed deliberately the inflammatory questions about the balance of postwar power and the development of nuclear energy. "Martin also noted how the themes of the film were omitted in the American version, which states," The thematic preoccupation with nuclear energy proves to be even less accepted by American distributors who, after buying the movie, started reshoot and reclaimed extensively for Western markets. "

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Production

Development

In 1954, Toho originally planned to produce Eiko-no Kagi-ni ( In Shadow of Glory ), a Japanese-Indonesian joint production of the consequences of the Japanese occupation. Indonesia, however, anti-Japanese sentiment in Indonesia forced political pressure on the government to deny visas to Japanese filmmakers. Producer Tomoyuki Tanaka flew to Jakarta to renegotiate with the Indonesian government but was unsuccessful and on the flight back to Japan, creating ideas for a gigantic film inspired by the 1953 film The Beast of 20,000 Fathoms Daigo Fukury? Maru incident that occurred in March that year.

During his flight, Tanaka wrote an outline with the title of the Giant Monster's 20,000 Le League Under The Sea and threw it to executive producer Iwao Mori. Mori approved the project in April 1954 after special effects director Eiji Tsuburaya agreed to do the film's effects and confirmed that the film was financially feasible. Mori also felt the project was the perfect vehicle for Tsuburaya and to test the storyboard system he applied at the time. Mori also agreed to Tanaka's choice to have Ishir? Honda directs the film and shortens the title of production to Project G (G for Giant), as well as provides classified production status and orders Tanaka to minimize his attention on other films and especially focus on Project G .

Write

Tsuburaya surrendered his own outline, written three years earlier; it features a giant octopus attacking ship in the Indian Ocean. In May 1954, Tanaka hired science fiction writer Shigeru Kayama to write his story. Only 50 pages long and written in 11 days, Kayama's treatment describes Dr. Yamane wore dark shades, robes and lived in a European-style house from which she had appeared at night. Godzilla is described as more like animals by coming ashore to feed on animals, with flowers such as gorillas as in women. Handling Kayama's story also featured a bit of ruin and borrowed a scene from The Beast of 20,000 Fathoms by asking Godzilla to attack the lighthouse.

Takeo Murata and director Ishiro Honda co-wrote the script in three weeks, confining themselves to a Japanese inn in Tokyo Shibuya ward. While writing the script, Murata stated, "The Director of Honda and I... racked our brains to make Mr. Kayama's initial treatment a full and functioning vision." Murata states that Tsuburaya and Tanaka also set up their ideas as well. Tanaka asks them not to spend too much money while Tsuburaya encourages them to "do anything to make it work".

Murata and Honda redeveloped the characters and key elements by adding the love triangle Emiko-Ogata-Serizawa, while in Kayama's care, Serizawa was described only as Dr. Yamane. In Kayama's care, the full appearance of Godzilla will be revealed during the storm of Odo Island but Honda and Murata chose to refrain from revealing Godzilla just by showing parts of the creature when the movie was built to reveal it completely. Honda and Murata also introduced the characters Hagiwara and Dr. Tanabe in their concept but the role of Shinkichi, who has an important role in Kayama's care, is cut down.

Design creation

Godzilla was designed by Teizo Toshimitsu and Akira Watanabe under the supervision of Eiji Tsuburaya. Initially, Tanaka contemplates that the monster becomes like a gorilla or pope-like in design because of the name "Gojira" (a combination of Japanese words for gorillas, gorira, and pope, ) but eventually settled with a dinosaur-like design. Kazuyoshi Abe was hired early to design Godzilla but his idea was later rejected because Godzilla looked too humanoid and mammal, with a head shaped like a mushroom cloud, but Abe still helps to draw a movie storyboard. Toshimitsu and Watanabe decided to base the design of Godzilla on dinosaurs and, using dinosaur books and magazines for reference, combined elements of Tyrannosaurus, Iguanodon and the dorsal fin of Stegosaurus.

Despite wanting to use stop motion animations, Tsuburaya refuses to decide. Toshimitsu chisels three clay models whose suit will be based. The first two were rejected but the third was approved by Tsuburaya, Tanaka, and Honda.

Jas Godzilla itself is made by Kanji Yagi, Koei Yagi, and Eizo Kaimai, who uses a thin bamboo stick and wire to build a frame for the inside of the suit and add a metal net and coat it to strengthen its structure and end up using a coat of latex. The liquid rubber coat is also applied, followed by carved indentations and latex strips embedded to the surface of the shirt to create scaly scales of Godzilla. The first version of this suit weighed 100 pounds (220 pounds). For close-ups, Toshimitsu creates smaller scales, mechanics, hand-operated puppets that spray the flow of fog from his mouth to act as Godzilla's atomic breath.

Haruo Nakajima and Katsumi Tezuka were chosen to perform in Godzilla costumes, due to their strength and resilience. In the first costume fitting, Nakajima falls while in the suit, because of the heavy latex and the inflexible material used to make the suit. The first version of this suit is cut in half and is used for scenes that only require partial Godzilla shots or close-ups, with the lower part fitted with a suspenders rope for Nakajima to wear.

The second identical suit is made for the whole body taking, which is made lighter than the first suit but Nakajima still can only be inside for three minutes before fainting. Nakajima lost 20 pounds during film production. Nakajima will continue to portray Godzilla and other monsters until he retires in 1972.

Tezuka filmed scenes in the Godzilla suit but because of his older body, he could not fully commit to the required physical demands of the role. As a result, some of the scenes managed to reach the last piece because some scenes are considered usable. Tezuka fills in for Nakajima when he is not available or needs help from a physically demanding role.

The name Godzilla is also a source of concern for filmmakers. Since the monster has no name, the first draft of the film is not called Gojira but more titled G , also known as b > Kaihatsu My G (" G Development Plan "), "G" of the title is short for "Giant", however. Nakajima confirmed that Toho held a contest to name the monster. The monster was eventually named Gojira , a combination of Japanese words kujira (pope). One of the explanations associated with legend is that the physical attributes of Toho Studios employees make it dubbed Gojira .

In a BBC documentary 1998 about Godzilla, Kimi Honda, the director's widow, dismissed the employee-name story as a tale, believing that Honda, Tanaka, and Tsuburaya gave "enough thought" to the monster's name, stating, "Children back the stage at Toho likes to joke with high stories, but I do not believe it ".

Special effects

Tsuburaya originally wanted to use a stop motion for the film's special effects but realized it would take seven years to complete it based on Toho's staff and infrastructure. Settling on matches and miniature effects, Tsuburaya and his crew searched for the location of Godzilla to be destroyed and almost arrested after a security guard heard of their plans to do the destruction but was released after showing Toho's card to the police. Kintaro Makino, head of miniature construction, was given a blueprint by Akira Watanabe for miniature and assigned 30 to 40 workers from the carpentry department to build it, which took a month to build a reduced version of Ginza. The majority of miniatures are built on a 1:25 scale but the Diet building is lowered to a 1:33 scale to make it look smaller than Godzilla.

The building frame is made of thin wooden planks reinforced with a mixture of plaster and white lime. The explosives were installed inside a miniature that would be destroyed by Godzilla's atomic breath while some were sprayed with gasoline to make it more flammable; others include small cracks so they can break easily. Optical animation techniques are used for Godzilla's sparkle fins that shine with hundreds of cells framed by frame. Haruo Nakajima was sweating inside his jacket so much that the Yagi brothers had to dry the cotton liners every morning and sometimes refill the inside of the suit and fix the damage. The special effects crew spent 71 days filming.

Filming

Most of the films were taken in Toho. The Honda team also filmed the location on the Shima Peninsula in Mie Prefecture to film the Odo Island scene, which uses 50 additional Tohos and the Honda team to build their headquarters in Toba city. Toho has negotiated with the Japanese Self-Defense Forces to film scenes requiring military targets and film-targeted drills and exercises; The Honda team follows the JSDF motorcade for the convoy shooting scene. 2,000 girls are used from women's high schools to pray for peaceful scenes. The Honda team spent 51 days filming the movie.

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Music

Score by Akira Ifukube was released three times for 13 years. The first record was released by Futureland Toshiba in 1993, and almost contained the complete score of the film, only missing a brief source of clues used for the pleasure boat scene. The playlist is as follows:

The latest release of the soundtrack was in April 2010, by Classic Media. This includes the tracks above and five additional songs:

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Release

box office

Godzilla was first released in Nagoya on October 27, 1954 and a week later, was released nationally on November 3, 1954. It sold about 9,611,000 tickets and was the eighth most watched movie in Japan that year. It remains the second most attended "Godzilla" movie in Japan, behind King Kong vs Godzilla. The film grossed Ã, Â ¥ 183 million during the run of the theater.

North America

In 1955 and in the 1960s, Godzilla played in theaters serving Japanese-Americans in most parts of Japan in the United States. English subtitle versions were featured at film festivals in New York, Chicago and other cities in 1982.

Coinciding with the 50th anniversary of Godzilla, a distributor of Rialto Pictures artworks gave the film a limited coastal-style to coastal limited travel across the United States on May 7, 2004 and lasted until December 19, 2004, cut with English subtitles. Starting in two cinemas, the film will scoop $ 38,030 USD on its opening weekend. It's never played on more than six screens at a certain point during the process. At the end of his influence, he earned $ 412,520 USD. Movies are screened in about sixty cinemas and cities across the United States during 7 ¹ / ₂ -month run.

On April 18, 2014, Rialto released the film in another travel-tour style, the release of seaside beaches across the United States. This coincided with not only the 60th anniversary of Godzilla, but also in the celebration of Legendary's Godzilla movie released in the same year. To avoid confusion with a Hollywood movie, the release was subtitle The Japanese Original . The movie opens with $ 10,903 playing at a theater in New York City. The film plays in about 66 theaters in 64 cities from April 18th through October 31st. Once executed, the film has a total revenue of $ 150,191.

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Critical reception

Initial Receipt

Initially, the film received mixed reviews in Japan. Japanese critics accuse the film of exploiting the widespread destruction suffered by the country in World War II, as well as Daigo Fukury? Maru (Lucky Dragon) incident that occurred several months before the filming began. Ishiro Honda deplores years later in the Tokyo Journal, "They call it a weird garbage, and say it looks like something you're throwing in. I feel sorry for my crew because they've worked so hard!". Honda also stated "At the time they wrote things like 'This movie does not make sense, because such gigantic monsters do not exist.'"

Others say that describing the fire breathing organism is "weird." Honda also believes Japanese critics are beginning to change their minds after good reviews received in the United States. He declared "The first film critics who appreciated Godzilla were people in the US When Godzilla was released there as Godzilla, King of the Monsters on in 1956, critics say things like, 'For starters, the film blatantly portrays the horror of the Atomic Bomb', and with this evaluation, judgment begins to impact critics in Japan and has changed their opinions over the years. "

Over time, the film gets more awards in its home country. In 1984, Kinema Junpo magazine included Gojira as one of the top 20 Japanese movies of all time, while a survey of 370 Japanese film critics published in Nihon Eiga Besuto 150 (< i> Best 150 Japanese Films ), has Godzilla ranked as the 27th best Japanese movie ever made.

The film was nominated for two Japanese Film Association awards. One for the best special effects and the other for the best movie. It won the best special effects but lost the best photo for Akira Kurosawa Seven Samurai . The film was re-released theatrically in Japan on November 21, 1982 as part of Toho's 50th anniversary.

Release 2004

Review the aggregation website Rotten Tomatoes has a 93% approval rating based on 70 reviews, with an average score of 7.7/10. The site consensus states: "More than just a live monster movie, Gojira offers postwar commentary strong and calming. " At Metacritic, which sets the weighted average based on selected criticism reviews, the film has a score of 78/100, based on 20 critics, which shows "favorable overview".

In Entertainment Weekly , Owen Glieberman, who gave the A-rating movie, wrote:

"Godzilla, an ancient animal awakened from the depths of the ocean and illuminated by a Japanese H-bomb test, reduced Tokyo to a pile of ash, but, like Kong, he grew more sympathetic as his tribe continued, the characters talking about him not as enemies but as the power of destiny, the "god." The inevitable subtext is that Japan, in some strange way, deserves this hell.Godzilla is the grandest symbol of cultural pop culture, but it is also a primordial spirit.Japanese aggression is changing, with something like fate, against himself. "

Dalam Dallas Observer , Lukas Y. Thompson menulis:

"Many people may be surprised by what they see.The Japanese piece of 1954 was shot like a classic noir movie, and the buildup to the inevitable strangulation in Tokyo is quite slow by today's standards, the echoes of World War II are very strong, and the destruction caused by Godzilla (played by Haruo Nakajima) is not glazed, it scares the mirrors of Hiroshima and Nagasaki, and the deaths and wounds that live on top.Monster itself is not fully revealed because it is temporary enough, and even when it finally appears , he is a terrifying black predator with glistening skin, which remains largely in the shadows, many times more frightening than the green-crusted cake monsters that appear in various sequels to put a hard knock on candy from many foreign invaders in ugly shirts. "

One of the few mixed reviews recently written by Roger Ebert at the Chicago Sun-Times . Ebert acknowledged that the movie was "an important " and "correctly translated" was Fahrenheit 9/11 of his time, but he also said:

"In these days the perfect special effect, Godzilla and his crushing city are just as rude.Sometimes Godzilla looks like a man in a rubber suit, stomping on a set of cardboard boxes, as he does, and doing it shows him as dolls, awkward animatronic models. This was not a state-of-the-art even at the time, King Kong (1933) was much more convincing.When Dr. Serizawa showed Oxygen Destroyer to his fiancée, Emiko sic ] , the super weapon is somewhat anti-climactic, he drops the pills into a tropical fish tank, the tank is on, he shouts, â € Å"downs! â € the fiancé shouts, and the fish goes up to the stomach. will stop Godzilla on track. "

Since its release, Godzilla has been considered not only as one of the best gigantic monster movies ever made but an important cinematic achievement. The film was ranked # 31 in the magazine Empire "World's 100 Best Movies" in 2010. By 2015, named it one of the "10 Best Monster Movies of All Time. "

Accolades

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Home media

Version 1956 Godzilla, King of the Monsters! was released on DVD by Simitar in 1998 and Classic Media in 2002. A genuine Japanese DVD version of the film was released in Japan in 2002. The print quality used for the Japanese version was partly restored and rejuvenated, including three audio tracks (original mono tracks, isolated audio tracks, and isolated tracks and special effects tracks), and interviews with Akira Ifukube.

In 2006, Classic Media and Sony BMG Music Entertainment Home Entertainment released a two-piece DVD set entitled Gojira: The Original Japanese Masterpiece . This release features the original 1955 Japanese Gojira and American 1956 Godzilla, King of the Monsters! , making the original Japanese version of the movie available on DVD in North America for the first time. This release features theater trailers for both films, audio commentary tracks on both films with Godzilla cleric Steve Ryfle (author of Japanese Favorite Mon-Star: Unauthorized Biography of Big G) and Ed Godziszewski (editor of > Japanese Giants Magazine ), two 13-minute documentary titled "Godzilla Story Development" and "Making of the Godzilla Suit," and a 12-page essay book by Steve Ryfle. This release also returns the original ending credits of American movies which, to date, are deemed to have been lost.

In the fall of 2005, BFI released the original Japanese version in the UK theatrically, and later in the same year as the DVD. DVDs include original mono tracks and some additional features, such as documentaries and comment tracks by Steve Ryfle, Ed Godziszewski, and Keith Aiken. The DVD also includes a documentary on Daigo Fukuryu Maru, a Japanese fishing boat captured in an American nuclear explosion and partly inspired by filming. DVD region-4 released in Australia by Madman Co. Ltd. in 2004 for the film's 50th anniversary.

In 2009, Classic Media released Godzilla on Blu-ray. This release includes the same special features of the DVD Classic Media 2006 release, but it does not feature the 1956 American version.

On January 24, 2012, The Criterion Collection released "new high definition digital restoration" from Godzilla on Blu-ray and DVD. This release includes remixes of the 1956 American version of Godzilla, King of the Monsters, as well as other special features such as interviews with Akira Ikufube, Japanese film critic Tadao Sato, actor Akira Takarada, Godzilla player Haruo Nakajima, securities technician Yoshio Irie and Eizo Kaimai and audio commentary on both films by David Kalat, author of A Cohesive History and Toho's Godzilla Series Filmography.

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American version

Following the film's success in Japan, Toho sold American rights to Joseph E. Levine for $ 25,000. A highly changed version of the film was released in the United States and around the world as Godzilla, King of the Monsters! on April 27, 1956.

This version slashed the original to 80 minutes and featured a new recording with Canadian actor Raymond Burr interacting with a double body mixed with Honda footage to make it look like he was part of the original Japanese production. Many of the political themes of the film were pruned or removed completely. This is an original version of Godzilla film that introduces a worldwide audience of characters and franchises and is the only version that critics and scholars have accessed until 2004 when the 1954 film was released in select North American theaters.. Godzilla, the King of the Monsters earned $ 2 million during the run, more than what 1954 films profited in Japan.

Honda did not realize that Godzilla had been re-edited until Toho released Godzilla, King of the Monsters in Japan in May 1957 as the King Godzilla Monster . Toho converted the entire film from its original scope to the 2.35: 1 widescreen, which produced an awkward plant for the entire film. Japanese subtitles are given to Japanese actors because their original dialogue is very different from the original script and is dubbed in English. Since the release of the film, Toho has adopted the moniker "King of the Monsters" for Godzilla, which has since appeared in official marketing, advertising, and promotional materials.

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Legacy

This film spawned a multimedia franchise consisting of 33 films in total, video games, books, comics, toys and other media. The Godzilla franchise has been recognized by Guinness World Records as the oldest movie franchise in history. Since its debut, Godzilla has become an icon of international pop culture, inspiring countless scams, imitations, parodies, and tributes.

The original 1954 film is also largely credited, for Eiji Tsuburaya, to create a template for Tokusatsu, a custom-made special effects film technique that has become important in the Japanese film industry since the release of Godzilla (1954). ). Critic and scholar Ryusuke Hikawa states: "Disney creates templates for American animation, In the same way (special-effects studio) Tsubaraya creates templates for Japanese movie business It's a cheap approach but like a craftsman for a movie-making it make tokusatsu unique. "

American movies

In 1998, TriStar Pictures released a new concept of Godzilla, directed by Roland Emmerich. Although Emmerich wanted his Godzilla not to have anything to do with Toho's Godzilla , he retained some elements from the original 1954 film, stating, "We took part of the [original movie's basic storyline , that the creature is being created by radiation and that's a big challenge, but that's all we take. "

Source of the article : Wikipedia