IT CAME FROM ASIAN CINEMA: KING KONG vs. GODZILLA (1962)

KING KONG vs. GODZILLA (1962)

With Legendary’s rematch finally on the horizon for release, maybe it’s time to look back at Godzilla and Kong’s first cinematic slugfest. This review is of the original Japanese language version.

The story finds Godzilla breaking out of his icy prison after seven years and, once more, heading for Japan, after he makes a quick snack of a nuclear submarine. Meanwhile, pharmaceutical company CEO Tako (Ichirō Arishima) is looking for something big to boost the ratings of the TV shows his company sponsors. Rumors of a large creature on a Pacific island may be just what he needs. The creature is a massive ape known as Kong and Tako plans to bring the beast to Japan. Obviously, Godzilla and an escaped Kong arrive on Japanese shores at the same time and are destined to cross paths and lock horns.

Flick is directed by Ishirō Honda from a script by Shinichi Sekizawa. The film is a lot lighter than the first two Godzilla films and goes for more comical situations than dramatic intensity…though it has that, too. Godzilla is clearly the bad guy here with Japanese authorities even provoking a second fight between the titans, after Godzilla’s heat ray cause Kong to retreat the first time around. The film is colorful, as were most of the 60s era Godzilla flicks and the FX from the legendary Eiji Tsuburaya range from some really elaborate model work to the sadly inadequate Kong costume, which looks like a Halloween ape suit. The arms laughably and drastically change length from shot to shot. Kong is the underdog here, with Godzilla portrayed as bigger and more powerful. Kong is given an added caveat of being able to absorb power from electricity to even up the odds. The battles are fun, though keeping in consistency with the rest of the flick, carry a lighter, more humorous tone. There is a lot of damage caused by both Kong and Godzilla when they are apart and utter destruction when they are in combat. The human drama is amusing enough to occupy us whenever our colossal critters are not on screen, which isn’t often and Kong gets to show he still has a way with the ladies. Legendary Toho composer Akira Ifukube provides another classic score. It’s a fun movie, though slightly disappointing for those expecting the more serious tone of both Godzilla and Kong’s original movies.

The cast are all good. Ichirō Arishima was known in his native land as the “Japanese Chaplin” and one can see why, as the actor delivers a fun performance of both exaggerated line delivery and physical comedy. Toho veteran Tadao Takashima and Yū Fujiki share hero duties as Osamu Sakurai and Kinsaburo Furueshare, the two PR men sent to retrieve Kong and then get involved with the carnage between the big ape and his opponent. Joining the two is Bond girl Mie Hama as Osamu’s sister Fumiko and Toho veteran Kenji Sahara as Kazuo Fujita, her boyfriend. Haruo Nakajima once again does a great job in the Godzilla suit, as does Shoichi Hirose give Kong a lot of character despite the sub-par gorilla suit. Ironically Nakajima would get to play Kong, too, in Toho’s only other Kong adventure, King Kong Escapes.

Despite being a sillier entry in Godzilla’s early filmography, Kong was said to be popular in Japan, so the film pairing of the two monsters was a big hit and remains one of the top grossing Toho Godzilla flicks. It’s a lot of fun and fast moving at 97 minutes long. The FX are standard for Toho sci-fi flicks of this era, save for the awful Kong costume, and there is a lot of destruction for the buck. For almost 60 years, a rumor has persisted that there are two versions of the film, with Godzilla winning in the Japanese version and Kong winning in the U.S. version. Despite Universal’s U.S. version being heavily edited, with some new footage of Western actors added in, the ending remains the same with both monsters tumbling into the sea. Kong surfaces, swimming off and Godzilla remains underwater, his fate uncertain until the next flick. Godzilla would re-emerge in 1964 for Mothra vs. Godzilla and Kong would fight his mechanical double for Toho in 1967’s King Kong Escapes also starring Mie Hama.

-MonsterZero NJ

 

3 rampaging Godzillas.

COOL STUFF: CRITERION ANNOUNCES GODZILLA-THE SHOWA ERA FILMS 1954-1975!

CRITERION ANNOUNCES GODZILLA-THE SHOWA ERA FILMS 1954-1975!

Godzilla fans rejoice! Criterion has offically announced what we have been hearing about for months…the Godzilla: The Showa Era Films 1954-1975 collection blu ray! This magnificent set of the original Godzilla films streets on 10/29/19 right before Halloween 🎃 and will include the following films…

Godzilla 1954

Godzilla Raids Again 1955

King Kong vs Godzilla 1963

Mothra vs Godzilla 1964

Ghidorah, the Three Headed Monster 1964

Invasion of the Astro Monster (Monster Zero) 1965

Ebirah, Horror of the Deep (Godzilla vs the Sea Monster) 1966

Son of Godzilla 1967

Destroy All Monsters 1968

All Monsters Attack (Godzilla’s Revenge) 1969

Godzilla vs Hedorah 1971

Godzilla vs Gigan 1972

Godzilla vs Megalon 1973

Godzilla vs Mechagodzilla 1974

Terror of Mechagodzilla 1975

Direct from Criterion themselves, features will include…

• High-definition digital transfers of all fifteen Godzilla films made between 1954 and 1975, released together for the first time, with uncompressed monaural soundtracks
• High-definition digital transfers of Godzilla, King of the Monsters, the 1956 U.S.-release version of Godzilla; and the 1962 Japanese-release version of King Kong vs. Godzilla
• Audio commentaries from 2011 on Godzilla and Godzilla, King of the Monsters featuring film historian David Kalat
• International English-language dub tracks for Invasion of Astro-Monster, Son of Godzilla, Destroy All Monsters, Godzilla vs. Megalon, Godzilla vs. Mechagodzilla, and Terror of Mechagodzilla
• Directors Guild of Japan interview with director Ishiro Honda, conducted by director Yoshimitsu Banno in 1990
• Programs detailing the creation of Godzilla’s special effects and unused effects sequences from Toho releases including Destroy All Monsters
• New interview with filmmaker Alex Cox about his admiration for the Showa-era Godzilla films
• New and archival interviews with cast and crew members, including actors Bin Furuya, Tsugutoshi Komada, Haruo Nakajima, and Akira Takarada; composer Akira Ifukube; and effects technicians Yoshio Irie and Eizo Kaimai
• Interview with critic Tadao Sato from 2011
• Illustrated audio essay from 2011 about the real-life tragedy that inspired Godzilla
• New English subtitle translations
• Trailers
• PLUS: A lavishly illustrated deluxe hardcover book featuring an essay by cinema historian Steve Ryfle, notes on the films by cinema historian Ed Godziszewski, and new illustrations by Arthur Adams, Sophie Campbell, Becky Cloonan, Jorge Coelho, Geof Darrow, Simon Gane, Robert Goodin, Benjamin Marra, Monarobot, Takashi Okazaki, Angela Rizza, Yuko Shimizu, Bill Sienkiewicz, Katsuya Terada, Ronald Wimberly, and Chris Wisnia

Set is available for preorder through Criterion’s website for $179.96 before tax and shipping!

https://www.criterion.com/boxsets/2648-godzilla-the-showa-era-films-1954-1975

-MonsterZero NJ

source: Criterion

TOMB OF NOSTALGIA: GODZILLA (1954)

GODZILLA (GOJIRA) (1954)

This is a review of the uncut Japanese version without the U.S. release inserts with Raymond Burr…

Godzilla is a film classic and sits along with the original King Kong as one of the greatest giant monster flicks of all time and introduced us to one of the most famous characters and names in pop culture history. Whether you like these movies or not, most of the civilized world has, at least, heard of Godzilla. Most people associate him with the goofy monster fests that he appeared in later in his career, but more serious fans know that the original film uses the creature as a metaphor for the atomic bomb and the horror and death it caused when unleashed on Japan during WWII and was devoid of the campy-ness and goofy humor later entries in the series would have.

The story finds a series of ship disappearances in an area off the Japanese coast that is causing much mystery and concern. What few survivors are found report of the sea ‘exploding’ and catching fire. The people of the remote fishing village of Odo Island say the cause is a gigantic creature of legend known as “Godzilla”. Paleontologist Dr. Yamane (Takashi Shimura) is dispatched to the island and makes the horrifying discovery that not only does this legendary creature exist, but it is highly radioactive. Yamane theorizes that this species of prehistoric creature has been living peacefully in deep sea caverns in the Pacific and that it has been irradiated and it’s habitat destroyed by H-Bomb testing. Now this creature is loosed upon the world and sees Japan as it’s new hunting ground. Efforts to destroy the creature at sea prove futile and soon it wades ashore and lays waste to the great city of Tokyo causing untold damage and death in it’s radioactive wake. But there is hope. A Dr. Serizawa (Akihiko Hirata) has created a weapon that destroys oxygen and it could be the key to ending both the destruction and Godzilla’s reign of terror, but only if he agrees to use it, something he is reluctant to do.

Under the skilled direction of the legendary Ishirō Honda from his script with Takeo Murata…from a story by Shigeru Kayama…Godzilla is a dead serious and sometimes very grim allegory of the horrors of the atomic bomb, horrors the people of Japan know all too well. The film starts off with Honda slowly building the mystery and tension and doesn’t give us our first quick glimpse of Godzilla till almost a half hour in and once we know what we’re in for, it is almost an hour before Godzilla launches his devastating attack on Tokyo which, unlike future installments, is not a fun city stomping romp, but an act of destruction where we are treated to horrifying images of death and those trapped in the creatures path or, victims of it’s radioactive fallout. It is a somber and heart wrenching sequence and meant to illustrate what Japan went through when the U.S. used the atomic bomb in Nagasaki and Hiroshima. And Honda pulls no punches and shows us from a perspective of the embattled citizens what the horrors of such an event have on the innocent. His Godzilla here is no cute superhero or even anti-hero, he is a destructive force and one that causes horrific carnage, a true symbol of man’s irresponsible meddling with destructive power and the effect it has on those it’s used on. The black and white cinematography by Masao Tamai creates stark and powerful imagery especially when the camera movies through the destruction caused by the behemoth and it really gives the film such rich atmosphere to accent Honda’s taunt direction. The SPFX rendering Godzilla and his wrath are well executed by legendary FX master Eiji Tsuburaya and while they may be primitive by today’s CGI standards, they are very effective for the time in presenting the beast’s power and the grim results of his attacks. The film would also mark suit-mation actor Haruo Nakajima’s first portrayal of Godzilla, a role he would play till the last Showa (original series) Godzilla film Terror Of Mechagodzilla in 1975. And wrapping it all together is Akira Ifukube’s brilliant and moody score which would become Godzilla’s trademark theme till this day.

Honda had a good cast and when watched in the original Japanese with subtitles, without the sub-standard dubbing, we get some very good performances from actors who treat the material with the seriousness and respect it deserved. Shimura’s Yamane is a humble man of science who sees the lesson to be learned in Godzilla and despite his destructiveness, thinks he should be studied not destroyed. Momoko Kochi gives a strong emotion-filled performance as Yamane’s daughter, Emiko who is engaged to Serizawa, but falls in love with shipping company owner Ogata (Akira Takarada) and gets caught between those two men. Akihiko Hirata gives a simmering portrayal of Dr. Serizawa, a reclusive but brilliant scientist who has created a weapon with the destructive potential of the H-Bomb and knowing that, refuses to use it even to save his country. And as the man who steals Emiko’s heart, Akira Takarada is effective as Ogata, a working man who rises to hero status when his loved ones and country are in danger. Having lost many ships to Godzilla’s attacks, Ogata tries to convince Dr. Serizawa to change his mind and save his country and people. And as the title creature, Nakajima gives the beast a serpentine menace and an aura of great power. Had his work inside the suit not been effective, the film would not have worked and we wouldn’t still be seeing Godzilla films decades later. A solid cast who give strong performances and are sadly not given the credit they deserve due to being judged by ineffective dubbing which does not honor their work.

Not only is this one of the greatest monster films of all time, it is a great film period. The horrors of war and the devastation of the atomic bomb metaphorically portrayed by the attack of a creature created by meddling with nature and powers best left alone. The film is entertaining, yet also humbling as it never shies away from the result of such overpowering destructive force personified by one of film’s most iconic and famous characters. If he didn’t directly cause death and destruction, his radioactivity did. Something that would be lost in future films. Godzilla would slowly become a monster bashing superhero and sometimes, depending on the era and film, an anti-hero who we still cheer, despite him not being a good guy. But in his first movie, Godzilla was a horror and a devastating one at that and his first feature was a grim story of the negative aspects of science when it’s applications are used to destroy not improve life. And it is a message that is still completely resonant today. A true classic unfairly judged by the sillier films that came later on.

MONSTERZERO N.J. TRIVIA: Godzilla, or more appropriately, Gojira’s name comes from a combination of the Japanese words ‘gorira’ meaning gorilla and ‘kujira’ meaning whale. There are tales that it was a nickname taken from a large and strong Toho Studios employee, but it has never been confirmed and may only be an urban legend. While the Godzilla in future films is acknowledged to be another irradiated animal of the same species, I have an interesting theory…SPOILERS…When Dr. Serizawa demonstrates the oxygen destroyer to Emiko on a fish tank, the fish all dissolve. But when Serizawa is convinced to use the weapon on Godzilla by Emiko and Ogata later on, Honda pans over to a fish tank now filled with fish. Were they replaced?…or was he trying to tell us the effects of Serizawa’s weapon were only temporarily and Godzilla would return? Whatever the answer, Godzilla is now in his 60th year and about to return in a new big budget production. Whether this was the intention or not…Godzilla is a legendary film icon that, like in his films, continues to live on and become known to each new generation.

MONSTERZERO N.J. PERSONAL TRIVIA:  I had the wonderful opportunity in 1994 to meet Godzilla himself, Haruo Nakajima and my signed 40th anniversary edition laserdisc box set of the original 1954 Gojira is one of my most treasured possessions.

4 Godzillas.