Filmed in 1954 as Gojira, this grandaddy of all Japanese giant-reptile epics was picked up for American distribution two years later, at which time several newly filmed inserts, featuring Raymond Burr as reporter Steve Martin, were rabetted into the original footage. In both the Japanese and American versions of Godzilla, the story is basically the same: a 400-foot amphibious monster, brought back to life by underwater nuclear testing, goes on a rampage in a tinker-toy Tokyo. The authorities look on in vain as Godzilla ...
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Filmed in 1954 as Gojira, this grandaddy of all Japanese giant-reptile epics was picked up for American distribution two years later, at which time several newly filmed inserts, featuring Raymond Burr as reporter Steve Martin, were rabetted into the original footage. In both the Japanese and American versions of Godzilla, the story is basically the same: a 400-foot amphibious monster, brought back to life by underwater nuclear testing, goes on a rampage in a tinker-toy Tokyo. The authorities look on in vain as Godzilla proves more powerful than the army, navy, and air force, while paleontologiist Dr. Yemane (Takashi Shimura) rails against the destruction of a unique scientific find such as Godzilla. Finally, an enigmatic scientist (Akihiko Hirata) reluctantly steps forward to destroy the beast with his newly-discovered creation, the Oxygen Destroyer, dreading all the while that his weapon may unleash a danger even greater than Godzilla. Though Godzilla is apparently disintegrated in the climax, this didn't prevent Toho Studios from grinding out an endless series of sequels with the title character becoming less destructive and more lovable with each subsequent film. Hampered by a low budget which precluded stop-motion animation, special-effects wizard Eiji Tsuburaya was forced to rely upon an actor (Haru Nakajima) in a rubber Godzilla suit. Incidentally, the name "Gojira", a combination of "gorilla" and "kujira", is Japanese slang for "big clumsy ox" and was allegedly the nickname of one of the Toho stagehands. Hal Erickson, Rovi
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Seller's Description:
Fair. Condition: GOOD-Disc(s) used with some wear from use. May include minor surface scratches on disc(s), wear to case which could include cracks, scratches, or stickers. Hub and case locks may be broken. Digital codes NOT guaranteed/may be redeemed. All orders ship via UPS Mail Innovations-can take up to 14 business days from first scan to be delivered.
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Seller's Description:
Very good. Providing great media since 1972. All used discs are inspected and guaranteed. Digital copy/codes may be expired or not included. We ship orders daily and Customer Service is our top priority!
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Seller's Description:
Good. This item has very light surface scratches that do not affect the use of the disc/s. This is a USED item. Case and cover may or may not have wear or damage. All items unless otherwise noted will include disc, case, and artwork. Codes have been used. Other contents such as booklets may vary, please inquire for details. All items ship Monday-Friday within 2-3 business days.
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Seller's Description:
Raymond Burr. Very good. 1956 Run time: 175. Providing great media since 1972. All used discs are inspected and guaranteed. Digital copy/codes may be expired or not included. We ship orders daily and Customer Service is our top priority!
there are very few examples in cinema where you find a tragic unrequited love story wrapped like bacon around the hyperbolic weirdness of a giant lizard doing to us what we do to ourselves, only more so, and with a greater sense of style and panache. I'm a true romantic because no matter how often i see it, I always end up rooting for the big green thing at the end.
So chock full of metaphors and symbolism and campy cheap goodness, can entertain from baby age to grave age.
Well worth the cost of popcorn and the sake that comes later.
