When American reporter 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. Coventional 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, or the death of Tokyo Bay? Written by
Robert Lynch <firstname.lastname@example.org>
Several months before this film received its editing job, the original Japanese version of Godzilla (1954) was shown on a limited release in the United States. See more »
The TV in Dr. Serizawa's laboratory goes from being off to playing with no one turning it on (the scene with the schoolchildren singing). See more »
The menace was gone... so was a great man. But the whole world can wake up and live again.
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Many prints and videos have absolutely no credits, beyond the title at the start(with a clearly video-generated copyright notice below it) and a "The End" graphic at the close. As of 2006, Classic Media's release of the film in the Gojira/Godzilla: King of the Monsters on DVD has the restored English credits. See more »
I decided to look into a piece of film history today, so I watched Godzilla: King of the Monsters for about the fifth time. I realize that your decision to permit this film was made early in your career, before you had established the the status of a legend, and that you might have felt the American cinemarket might not be ready for the biggest, hottest star ever produced off the coast of Japan, but I have to say that I think this entire film was a mistake.
The pasted in Raymond Burr scenes are awful and dull, and the voice-over narrative is unnecessary and distracting. You look great, of course, with the exception of one scene - about midway through the film, after you've been reanimated by nuclear testing and the paleontologists have recognized you as the missing link between Jurassic terrestrial and marine reptiles - when, for some reason, you appear as an unmoving silhouette in the background looming over a burning, wrecked Tokyo.
My complaints regarding this film all stem from its Americanization. I really don't understand why you allowed so many American scenes to be added to the film, and why you waived the right to review the script. Gojira was a much better film, of course, and time has told that tale well.
With Undying Affection,
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