When seventeen vessels blow-up and sink nearby Odo Island, Professor Kyohei Yamane, his daughter Emiko Yamane and the marine Hideto Ogata head to the island to investigate. Soon they witness a giant monster called Gojira by the locals destroying the spot. Meanwhile Emiko meets her boyfriend, the secluded scientist Serizawa, and he makes she promise to keep a secret about his research with oxygen. She agrees and he discloses the lethal weapon Oxygen Destroyer that he had developed. When Gojira threatens Tokyo and other Japanese cities and the army and the navy are incapable to stop the monster, Emiko discloses Serizawa's secret to her lover Ogata. Now they want to convince Serizawa to use the Oxygen Destroyer to stop Gojira.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The scenes of Godzilla underwater were filmed "dry for wet" with an aquarium (complete with fish) placed between the camera and the monster-suited Haruo Nakajima. Actual underwater footage of divers was combined with additional "dry for wet" footage of Ogata and Serizawa. See more »
When Godzilla bites the tower, the tower bends in areas he is not biting on and before he even bites it. See more »
I can't believe that Godzilla was the only surviving member of its species... But if we continue conducting nuclear tests, it's possible that another Godzilla might appear somewhere in the world again.
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The bon voyage scene in the American version was heavilly edited with the scene of Serizawa silently watching as Emiko and the rest of the party is deleted. See more »
The original, Japanese version of "Gojira" is the best giant monster film I've ever seen. Some fans get carried away and call it one of the best movies ever made; I wouldn't go quite that far, but it's damn good.
This film is quite different from the 20+ sequels that followed. Here, Godzilla is not so much a creature as he is a walking incarnation of the atomic bomb. His death ray, which became a rather amusing cartoon laser blast in later films, is here depicted as a sort of radioactive mist that sets its victims on fire. These "radioactive horror" images still resonate today - and imagine the impact they must've had on Japanese audiences fifty years ago.
From a production standpoint, the film holds up well. Godzilla's costume is much more convincing than the silly monkey suits that featured in the 60s and 70s Toho films, and due to the grayscale photography, the model cityscapes look convincing in most shots - or at least respectable. Ifkube's music score is stirring (you know it has to be good, as they kept recycling it in later movies), and director Honda makes great use of camera angles and imaginative special effects to give Godzilla a genuine aura of menace.
For once, the human characters don't let the side down. There's a compelling love triangle, and a dramatic sacrifice made at the end of the film that adds enormously to its emotional impact. The American version ("Godzilla: King of the Monsters") cut out much of the character development, and is thus clearly inferior; but never fear, Rialto is apparently releasing "Gojira," in all its original glory, sometime this year (2004).
In the later Godzilla films, the destruction he causes is almost incidental. Here, it's the whole point - he's a force of nature. Impressive.
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