American nuclear-weapons testing results in the creation of a seemingly unstoppable, dinosaur-like beast.American nuclear-weapons testing results in the creation of a seemingly unstoppable, dinosaur-like beast.American nuclear-weapons testing results in the creation of a seemingly unstoppable, dinosaur-like beast.
- Awards
- 3 wins & 2 nominations
Kokuten Kôdô
- The Old Fisherman
- (as Kuninori Kôdô)
Storyline
Did you know
- TriviaAn often repeated myth is that the production of this film and Seven Samurai (1954) nearly drove Toho into bankruptcy. This neglects to mention a third Toho film made that year, Samurai I: Musashi Miyamoto (1954). All three were the most expensive Japanese films made up until that point and big financial risks for Toho. However, there is little evidence to suggest that Toho was ever at risk for bankruptcy. The studio released a total of sixty-eight feature films that year, the most successful of which were Seven Samurai, Samurai I, and Godzilla respectively.
- GoofsSeveral characters, including, Dr. Yamane, Japan's leading paleontologist, insist that the Jurassic Age was 2 million years ago. This is off by 142 million years.
- Quotes
[last lines]
Dr. Kyohei Yamane: I can't believe that Godzilla, was the last of his species. If nuclear testing continues, then someday, somewhere in the world, another Godzilla may appear.
- Alternate versionsIn the sequence where Godzilla destroys the train, shots of terrified people watching were cut from the US version.
- ConnectionsEdited into Godzilla Raids Again (1955)
- SoundtracksPrayer for Peace
Performed by the Toho High School of Music
Lyrics by Shigeru Kayama
Composed by Akira Ifukube
Featured review
Crushes its sequels like Godzilla crushes Tokyo!
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.
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.
helpful•1247
- dr_foreman
- Mar 8, 2004
Details
- Release date
- Country of origin
- Language
- Also known as
- Godzilla, King of the Monsters!
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $175,000 (estimated)
- Gross US & Canada
- $562,711
- Opening weekend US & Canada
- $38,030
- May 9, 2004
- Gross worldwide
- $562,711
- Runtime1 hour 36 minutes
- Color
- Aspect ratio
- 2.35 : 1
- 1.37 : 1
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