Godzilla (Gojira ゴジラ) (1954)

Speaker A: 00:00:43

Hi everyone, I'm Em, and welcome to verbal diorama, episode 348, Godzilla.

This is the podcast that's all about the history and legacy of movies you Know and movies yous don't. That's the Raymond Burr of this episode in the background trying to explain the story to you in English. If that doesn't make sense, it soon will.

Welcome to Verbal Diorama.

Whether you're a brand new listener, whether you're a regular returning listener, thank you so much for being here and thank you, thank you for choosing to listen to this podcast. I'm so happy to have you here for the history and legacy of Godzilla.

And of course, if you are a regular returning listener, thank you so much to you because you continue to listen to and support this podcast and you have been doing so for over the last seven years and over 300 episodes now. So thank you so much for your continued support. It genuinely means so much.

As I say to an indie podcaster who does all of this all by herself and has done for the last seven years, I'm always blown away by people's generosity and continued support. So thank you so much. And if you are a brand new listener, well, welcome to this podcast.

And also there's plenty for you to catch up on, so maybe eventually you will too, become a regular returning listener. That would be amazing. It is June, and one of the things that I've always loved to do on this podcast is a Kaijune season.

This is my third Kaijune season that I've done.

So there's plenty of other Kaijune movie episodes on this podcast, but Kaijune is always a really popular month, not just for the listeners, but for me as well, because I am such a huge fan of monster movies and I always have been. And so these are the sort of movies that I love to talk about the most.

n the original king Kong from: 1933

But Godzilla isn't just a monster movie. It didn't just birth the Kaiju genre. It was a response to the grief and trauma of an entire nation and a stark warning to the rest of humanity.

Here's the trailer for Godzilla.

When 17 vessels explode and sink near Odo Island, Professor Yamane, his daughter Emiko, and ship's captain Hideto Ogata head to the island to investigate. Soon they witness a giant monster called Godzilla by the locals destroying the spot.

Meanwhile, Emiko meets her fiance, the secluded scientist Serizawa, and he makes her promise to keep a secret about his newly developed Oxygen Destroyer, a biological device that would destroy all living things in the ocean.

When Godzilla threatens Tokyo and other Japanese cities and the army and navy are incapable of stopping the monster, Emiko divulges Serizawa's secret to her secret love, Agata.

While her father wants to keep Godzilla alive, they have to convince Serizawa to use the Oxygen Destroyer to kill Godzilla, but he refuses to let his invention become the next big superweapon. Let's run through the cast.

We have Akira Takarada as Hideto Ogata, Momoko Kouchi as Emiko Yamane, akihiko Hirata as Dr. Serizawa, Takashi Shimura as Dr. Yamane, Fuyuki Murakami as Dr. Tanabe, Sashio Sakai as Hagiwara and Haruo Nakajima and Katsumi Tezuka as Godzilla. Godzilla has a screenplay by Takao Murata and Ishiro Honda, story by Shigeru Kayama, and was directed by Ishiro Honda.

And as always, apologies for any butcherings of Japanese pronunciations, but when we think of Gojira or Godzilla, I'm going to use the term Godzilla in this episode rather than use Gojira or use the names interchangeably.

merican reboot of Godzilla in: 2014

f you're me, you think of the: 1998

It was the trauma of a country laid out bare on screen. Released a decade after one of Japan's biggest tragedies.

th of August: 1945

The aerial bombings, the only time nuclear weapons have been used in an Armed conflict killed between 129,000 and 226,000 people overall, most of them civilians. The UK gave their consent to the bombings of large urban areas with significant military facilities.

For months afterwards, many people continued to die from the effects of burns, radiation, sickness and injuries compounded by illness and malnutrition. There were plans for further attacks, but on 15 August, six days after the bombing of Nagasaki, Japan surrendered to the Allies.

September: 1945

Japan's painful history with the atomic bomb gave them a unique perspective.

As the only country to have ever been affected by nuclear weapons, their fears of the atomic bomb and how humanity deals with such a thing are what made Godzilla the fears of a nation and the embodiment of a man made creation that is unpredictable, unprecedented and terrifying. Following Japan's surrender, the American occupation imposed strict censorship on Japanese filmmaking.

Banned subjects included any depiction of feudal loyalty, samurai conflict or material that could be read as nationalistic. Also forbidden critically, was any direct reference to the atomic bombings or their aftermath.

Hiroshima and Nagasaki were essentially off limits as subjects, which meant the nation's deepest wound couldn't be addressed directly on screen. This suppression didn't kill Japanese cinema, but it shaped it in lasting ways, pushing trauma underground.

f these constraints, the late: 1940

They were gritty, noir inflected films, grappling with post war dislocation.

Rashomon in: 1950

d the original king Kong from: 1933

For Japanese producers, this signified that probably they should create their own monster.

Fathoms was released in: 1953

It was adapted loosely from a Ray Bradbury story and featured stop motion effects by Ray Harryhausen.

It was another significant hit and it's arguably a more direct template for Godzilla in structural terms because it features a prehistoric creature awakened by nuclear testing in the Arctic which then attacks a major city. But originally Tanaka wasn't going to make Godzilla because he was involved in in another production.

In early: 1954

But the project collapsed when the Indonesian government withdrew its cooperation over the casting of a Japanese director as well as general Indonesian anti Japanese sentiment. Tanaka was on a flight back to Tokyo from Jakarta with a significant budget commitment and nothing to fill it.

And he needed a movie and, and he needed it fast.

The story goes that the idea for a giant monster movie came to him on that flight, drawing on everything that was already circulating in the culture and within his mind.

The King Kong re released the beast from 20,000 fathoms and the Lucky Dragon Incident, which unlike King Kong and The beast from 20,000 fathoms was a very real Japanese nuclear catastrophe. That again wasn't of Japan's doing, but the United States.

March: 1954

The yield was catastrophically larger than expected, approximately 15 megatons, roughly two and a half times what they predicted, making it the most powerful American nuclear test ever conducted. The miscalculation meant the fallout radius was far larger than the exclusion zone the US had established.

The Daigo Fukuryu Maru, the Lucky Dragon number five was a Japanese tuna fishing vessel with a crew of 23 operating about 80 miles east of the Bikini Atoll. That placed them outside the declared danger zone, but well within the actual fallout radius, given the unexpected yield.

The crew witnessed the detonation. An enormous flash followed by a shockwave. And then about three hours later, a fine white ash began falling on the ship.

The crew called it Shi no Hai, Ash of Death. They didn't know what it was, but several men touched it and tasted it out of curiosity before realising what it was.

But you didn't even need to touch it or taste it. The dust was everywhere. They breathed it in.

It Collected in their ears and eyes and in their clothing, the ash carried strontium 90, cesium 137 and uranium 237. The ship took about two weeks to return to its home port of Yaozhu.

By the time it docked, all 23 crew members were showing symptoms of acute radiation sickness. Nausea, bleeding gums, hair loss, skin lesions. Their cargo of tuna had also been irradiated. The effect on the Japanese public opinion was seismic.

This was a nation that had survived Hiroshima and Nagasaki less than a decade earlier, had lived under American occupation for seven years, and was now watching its fishermen come home poisoned by American nuclear testing in the Pacific. The sense of violation, of being again the victims of American nuclear power, was profound and widespread.

It triggered a nationwide panic about contaminated fish and seafood. Tuna sales collapsed. There were fears about the broader Pacific fishing industry.

The incident touched something very primal about food security and invisible contamination. The idea you couldn't see the danger, you couldn't taste it. You didn't know it was there until the damage was done.

The US government's response made things considerably worse.

American officials were slow to acknowledge the scale of what had happened and initially suggested the Lucky Dragon had been inside the exclusion zone, implying the crew bore some responsibility. This was untrue and deeply resented.

i Kuboyama, died in September: 1954

His death intensified the national grief around the incident. He's often described as the first Japanese victim of the hydrogen bomb, a framing that explicitly connected his fate to Hiroshima and Nagasaki.

Unfortunately, the Lucky Dragon number five crew didn't qualify for the medical care benefits that the survivors of the atomic bomb were given, and many of them died early deaths, mostly of cirrhosis of the liver and, unsurprisingly, cancer. Although they were compensated at the time with 2 million yen, which is a little over $50,000 in today's money.

The opening sequence of Godzilla, a fishing vessel destroyed by a mysterious force at sea, the crew incinerated or irradiated is a barely displaced version of the Lucky Dragon story. The white ash falling on the ship's deck becomes, in the movie, the radioactive wake of a monster.

The connection was unmistakable to Japanese audiences at the time, and intentionally so. The incident also shaped the film's texture of dread, the idea of invisible contamination, of ordinary life.

Suddenly and incomprehensibly poisoned runs through Godzilla in a way that goes beyond simple monster movie plotting. It's why the film includes hospital scenes, Geiger counters and dying children.

Ishiro Honda wanted audiences to feel the specific quality of nuclear fear, not just the spectacle of destruction.

Godzilla was a way the Japanese nation could talk about their shared fears, grief and trauma without explicitly blaming the US for its wanton destruction. The Lucky Dragon incident became a significant catalyst for the international anti nuclear movement.

clear campaign that by August: 1955

al Nuclear Test ban Treaty of: 1963

ected and helped to shape. In: 1954

Seven Samurai was a huge hit in Japan and and considered one of the greatest films ever made.

And: 1954

la. The primary forces behind: 1954

Tsuburaya was a huge fan of Willis H. O', Brien, the animator of King Kong, and would go on to develop several of the techniques that would later become pillars of the Kaiju genre and help forge the development and popularity of Tokusatsu featuring heavy practical effects, miniature sets of scaled down cities and suitmation.

Ishiro Honda completed his studies while working at the studio pcl, becoming an assistant director which required him to be a scripter in the editing department.

erly Commoner's Life Study in: 1934

nda returned home in December: 1942

the Japanese film industry in: 1939

But the propaganda films he was forced to make needed special effects which would link him to Eiji Tsuburaya.

monster film inspired by the: 1953

While on the plane home after negotiations with the Indonesian government over the cancelled in the Shadow of Glory project, Tanaka wrote an outline with the working title the giant monster from 20,000 miles beneath the Sea and pitched it to executive producer Iwao Mori.

oved the project in mid April: 1954

Mori also approved Tanaka's choice to have Ishiro Honda direct the film.

Honda wasn't the first choice for director, but having been drafted into the Imperial Japanese army and sent to the front lines of Japan's invasion of China, his wartime experience would make him an ideal candidate for the film's anti nuclear themes. The title for the movie was shortened to Project G G for Giant, but it would eventually be named Gojira.

The name Gojira was derived from the Japanese word for gorilla Gorira and whale Kujira. And so you put Gorira and Kujira together and you get Gojira.

IG Tsuburaya had written his own story three years before Godzilla which featured a giant octopus attacking ships in the Indian Ocean. Tanaka wanted something sci fi horror and so hired novelist Shigeru Kayama to help refine this idea of a giant monster into an actual story.

fathoms and and from his own: 1952

Honda, along with Takeo Murata adapted the story into a screenplay that ultimately became Godzilla. Written in three weeks and introducing the idea that the monster should see serve as an allegory for nuclear testing.

When it came to the design of the creature. Tanaka contemplated having the monster be gorilla like or whale like in design, but he eventually settled on a dinosaur like design.

Wasuki Abe was hired to design Godzilla, but his ideas were later rejected since Godzilla looked too humanoid and mammalian with a head shaped like a mushroom cloud.

Tsuburaya originally wanted to use stop motion like Willis H. O' Brien for the film's special effects, but realised it would take seven years to complete based on the current staff and infrastructure at Toho. Settling on suitmation and miniature effects, Tsuburaya and his crew scouted the locations that Godzilla was to destroy.

Most of the miniatures were built at 1 25th scale, but the Diet building was scaled down to a 1:33rd scale to look smaller than Godzilla.

While they couldn't use stop motion to animate all of Godzilla, the final film does include a stop motion scene of Godzilla's tail destroying the Nishigeki Theater building.

The Godzilla suit was constructed by Kanju Yagi, Yasui Yagi and Eizo Kaimai, who used thin bamboo sticks and wire to build a frame for the interior of the suit and and added metal mesh and cushioning over it to bolster its structure and apply coats of latex.

Molten rubber was also applied, followed by carved indentations and strips of latex glued onto the surface of the suit to create Godzilla's scaly hide. The first version of the suit weighed 100kg or 220lbs.

For close ups, a smaller scale mechanical hand operated puppet that sprayed streams of mist from its mouth to act as Godzilla's atomic breath was created. The building's frameworks were made of thin wooden boards reinforced with a mixture of plaster and white chalk.

Explosives were installed inside miniatures that were to be destroyed by Godzilla's atomic breath. Some were sprayed with gasoline to make them burn more easily. Others included small cracks so they would crumble easily.

Most of the electrical towers in the film were made of steel. Steel. But those that were to be melted by Godzilla's atomic breath were made of wax.

The special effects crew melted the towers by blowing hot air on them as well as shining hot studio lights on them for the white hot effect. Optical animation techniques were used for Godzilla's glowing dorsal fins by having hundreds of cells which were drawn frame by frame.

In Godzilla's suit were Haruo Nakajima and Katsumi Tezuka.

The suit was so heavy that the first version of the suit was cut in two and used for scenes requiring only partial shots of Godzilla or close ups with the Lower half fitted with rope suspenders for Nakajima to wear. A second, slightly lighter suit was built for full body shots. But Nakajima could only spend three minutes in the suit before he would pass out.

He lost 20lbs during filming just from the loss of bodily fluids inside the suit. It was 60 degrees Celsius, that's 150 degrees Fahrenheit. Under hot studio lights. Nakajima would lose a cup of sweat every day.

In fact, he perspired so much that the Yagi brothers had to dry out the cotton lining every morning and sometimes reline the interior of the suit and repair damages. Katsumi Tezuka would fill in for when Nakajima was unavailable.

Cinematographer Masao Tamai had considerable influence on the film's look since he was one of Toho's top cinematographers. Known for working with Mikio Narusi on several films, Narusi was considered a major figure in Japan's golden age of cinema.

Tamai only accepted the job on Godzilla on the condition that the rest of Narusi's crew was hired along with him, and he was given authority on the film's final look. For Godzilla's first appearance, there was supposed to be a bloody cow in his mouth.

But after reviewing the test shots, Tamai felt it was far too graphic and had director Ishiro Honda cut the scene. The typhoon waves were created by stagehands who overturned barrels of water into a water tank where they'd built a miniature Odo island shoreline.

Toho hired en masse part time employees to work on the film's optical effects. Half of the 400 hired staff were mostly part time with little to no experience.

Optical effects were utilized for Godzilla's footprints on the beach by painting them onto glass and inserting them into an area of the live action footage. Special effects photography on Godzilla lasted for 71 days.

When it came to the actual real person filming on the first day, Honda addressed a crew of 30 to read the script and leave the project if they didn't feel convinced. Because he only wanted to work with crew who had confidence in him and the film.

They filmed on location in the Shima Peninsula in Mie Prefecture to film the Odo island scenes, which used 50 Toho extras. Honda's team established their base in the town of Toba. Local villagers were also used as extras for the Odo island scenes.

rs performing as the dancers.: 2000

Scene the cast and crew commuted every morning by boat to Toba and worked under harsh weather conditions, which included blistering sunburn. Wear sunscreen, kids. The troops going to the coast to face Godzilla were actual Japanese sailors, Self Defence Force troops.

They were on manoeuvres when Honda shot the footage of them, but they refused to cooperate with the filming. And so much of the footage was World War II stock footage sourced from 16mm prints provided by the Japanese military.

g took place in the spring of: 1954

Ishiro Minawa were originally tasked with creating the roar, but composer Akira Ifukubi became involved after taking an interest in creating sound effects.

Ifukube and Honda discussed what type of sounds were going to be used in certain scenes, and Minawa went to the zoo and recorded various animal roars and played them back at different scenes speeds. But the sounds weren't good enough and they eventually went unused.

So Ifukube borrowed a double bass from the Japan Art University's music department and created Godzilla's roar by loosening the strings and rubbing them with a leather glove. The sound was recorded and played at reduced speed, which achieved the effect of the roar used in the film.

And this technique would be adopted by Toho as the standard method to create monster roars in the following years. Godzilla's footsteps were created using a primitive amplifier that made a loud clap when struck.

And I guess this is the best time to try and segue into the obligatory Keanu reference of this episode.

And if you're new here and you don't know what this is, it's a part of the podcast where I try and link every episode that I feature with Keanu Reeves in some way.

And just like last episode with King Kong, this is especially difficult because a movie of this age, Keanu Reeves, wasn't around at this time, so it's very difficult to link him to this movie.

However, I have found a way, because Godzilla is the king of the monsters, as I'm going to come to, and Keanu Reeves is quite easily the king of the men because he is the best of men, so therefore he is the king.

Anyway, just going back to the music and the sound effects of Godzilla, because when Godzilla is rampaging, the actual music and sound effects were recorded live simultaneously.

So while Ifakubi conducted the NHK Philharmonic Orchestra, Foley artists watched Godzilla's rampage projected on a screen and used things like tin, concrete, debris, wood and other equipment to simulate sounds that would sync with the footage. But the problem with that was a new take was needed if a Foley artist missed a cue.

obviously introduced in this: 1954

The Self Defense Force march has become so synonymous with Godzilla that Ifukubu later referred to it as Godzilla's theme, and he considers his music for this film his finest film score. Now, even before Godzilla was released, there was a concerted marketing effort for the movie.

September: 1954

October: 1954

November: 1954

he film's success in Japan in: 1955

The contract stipulated that Toho and Goldman agreed that Godzilla would be narrated, dubbed in English and completed by the revisions, additions and deletions with final approval by Toho.

April: 1956

Monster king Godzilla in May: 1957

It was the first Japanese feature to become a commercial success in the US and was at the time the fourth foreign film to have grossed more than $1 million at the American box office.

While the: 1954

ble in the U.S. it took until: 2004

th anniversary in: 2004

es across the U.S. in October: 2005

Attendance reached approximately 9.6 million viewers in Japan, which is a substantial figure for the period.

While successful, it was somewhat smaller in scale relative to other major works of the same year, like Kurosawa's Seven Samurai, which alongside Godzilla, has become one of Japan's most famous films. While we might see it as a huge critical success, Godzilla was met with mixed reviews upon release in Japan. Critical opinion at the time was divided.

Some reviewers recognized its seriousness and craft. Others were dismissive of the monster movie format.

Regardless of what Honda was doing with it, There was also discomfort in some quarters about whether the film was exciting.

Exploiting national trauma rather than honoring was the release of the American version, King of the Monsters, that helped change the national sentiment. As the years passed, the opinion on Godzilla changed in Japan. It gained respect and admiration.

Godzilla was nominated for two Japanese Movie association awards, one for Best Special Effects and the other for Best Film. It won Best Special Effects, but lost Best picture to Akira Kurosawa's Seven Samurai. Kurosawa later listed Godzilla as one of his 100 favorite films.

Godzilla spawned a multimedia franchise consisting of 38 films in total. Video games, books, comics, toys and other media.

The Godzilla franchise has been recognized by Guinness World Records as being the longest running film franchise in history. History. Since its debut, Godzilla became an international pop culture icon, inspiring countless rip offs imitations parodies and tributes.

The: 1954

You have the showa era from: 1954

Godzilla in: 2014

The general rule is that Japan and America can continue to produce new Godzillas, but never in the same year, which is why Godzilla -0 is this year and Godzilla X Kong Supernova is next year. Godzilla is now routinely placed among the most important Japanese films ever made, and its influence on genre cinema worldwide is incalculable.

It dared to show mass destruction and disaster on a scale never before seen. Sure, King Kong ate a few people, but Godzilla destroyed ships and city blocks with ease.

In: 1954

He described Godzilla as the most masterful of all the dinosaur movies because it made you believe it was really happening. The connection to Jurassic park is obvious. Spielberg's admiration for the original film is documented in the Making of Book for Jurassic Park.

Guillermo del Toro is another vocal admirer of Godzilla.

He described his experience of the original film as producing a cumulative sense of oppression, war, dismay and hopelessness, and said that in the middle of it all there was a monster he fell in love with. He grew up in the 60s, when the Kaiju genre was at its peak, and recalled that as a child he dreamed about giant robots when he had a Fever.

And that love culminated in Pacific Rim, which is also a previous episode of this podcast. In a previous Kaijune, that is episode 213.

Indeed, Pacific Rim is dedicated to Ishiro Honda and Ray Harryhausen, and he calls them the greatest giant monster creators in the history of cinema.

But it's not just Spielberg and Del Toro, John Carpenter, Martin Scorsese and Tim Burton have all expressed admiration for the work of Ishiro Honda and the template he created for the disaster and monster film.

ollection Blu ray of Godzilla: 1954

So I saw the: 1998

I enjoy the American Monsterverse Godzillas, but again, they don't really feel anything quite like this. The closest comparison that I have seen is Shin Godzilla and Godzilla minus 1.

nd also drew parallels to the: 2011

And it takes some skill to make us care about the humans in a Godzilla movie. And I really cared about the people.

I cared about Dr. Yamani and his desire to study Godzilla, the only one of its species, and keep it alive and not kill it.

I cared about Dr. Serizawa and his wish to not have a super weapon used, and for the only way for it never to get into the wrong hands is to use it and then taking his knowledge to the grave. And I cared about Emiko and Ogata and their plans to wed being totally derailed by the appearance of this monster.

But also Emiko being the silent most important person in this movie because she's the only one who knows about Serizawa's Oxygen Destroyer and chooses to tell his secret and betray him rather than let the world burn.

Having a young Japanese woman basically be the hero of a movie in the 50s seems remarkably progressive, despite the fact she is still a woman and has to do the cooking and is left at home a lot of the time. And this is the thing with Godzilla as a character. Godzilla constantly evolves. Each iteration is the same vessel of contemporary dread.

And that's why the character has never become dated because it's just the anxieties that are changing. Over 70 years, Godzilla has been transformed and morphed into something akin to a national mascot.

Which culminated in: 2015

th anniversary in: 2004

The suitmation doesn't quite hold up like King Kong's son stop motion animation. But the feeling you get remains the same. The music is still perfection. The destruction feels relentless.

We may be used to bigger monsters, but Godzilla, even in its most generic elements, is never just a monster movie. It's a deeply human story of survival, struggle, and raw emotion wrapped in a monster movie.

Perhaps the most durable thing about Godzilla's legacy is that it demonstrated that a monster movie could be a serious work of art, that popular entertainment and genuine moral weight were not incompatible, that displacement into fantasy could be a form of truth telling rather than an escape from it.

Godzilla should not be seen as an artifact of its time, but as a generative node that continues to shape and be reshaped by Japan's cultural currents. And just like Dr. Yamani says, if nuclear weapon testing continues, another Godzilla may rise.

So of course he does, and he did, because there were many sequels to this movie.

But the fact that some countries still proudly show off their nuclear capabilities after the atrocities of Nagasaki and Hiroshima, and the fact that we haven't, as a world, abolished atomic weapons is a travesty in itself.

And as long as countries continue to test and threat with nuclear weapons, as long as that threat persists, so does Godzilla as a warning to humanity. Maybe Godzilla isn't the monster. Maybe we are the monster. Thank you for listening. As always, I would love to hear your thoughts on Godzilla.

And thank you for your continued support of this podcast. You'll be back next episode to celebrate the United states of America's 250th birthday. That's right.

It has been 250 years since America gained independence from us Brits.

ich premiered off Broadway in: 2015

However, there is nothing more American and nothing better to celebrate the 250th birthday of America than talking about one of its founding fathers.

So join me next episode for the history and legacy of Hamilton thank you for listening to Verbal Diorama, a totally free and independent podcast that relies on listener support. If you want to show your support in multiple different ways, you could leave a rating or review wherever you found this podcast.

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