Gojira poster & wallpaper
Get movie widget Recommend it Add to Favorites

Akihiko Hirata, Momoko Kochi, Kokuten Kodo, Haruo Nakajima, Kenji Sahara ... see more see more... , Sachio Sakai , Takashi Shimura , Kin Sugai , Akira Takarada , Fuyuki Murakami , Toranosuke Ogawa , Katsumi Tezuka , Ren Yamamoto

One of the longest-running series in film history began with Ishiro Honda's grim, black-and-white allegory for the devastation wrought on Japan by the atomic bomb. As his visual metaphor, Honda uses a... read more read more... 400-foot-tall mutant dinosaur called Gojira, awakened from the depths of the sea as a rampaging nuclear nightmare, complete with glowing dorsal fins and fiery, radioactive breath. Crushing ships, villages, and buildings in his wake, Gojira marches toward Tokyo, bringing all of the country's worst nightmares back until an evil more terrible bomb -- capable of sucking all the oxygen from the sea -- returns the monster to its watery grave. The original film is chilling, despite some rather unconvincing man-in-a-suit special effects, and brimming with explicitly stated anti-American sentiment. All of that was removed for the U.S. release directed by Terry Morse. It was replaced with bad dubbing and tedious added footage starring Raymond Burr. The resulting edit was just another monster movie, but was still popular enough to assure future Toho Studios monster films a wide American release. ~ Robert Firsching, Rovi

Flixster Users

86% liked it

7,507 ratings

Critics

93% liked it

60 critics

Unrated, 1 hr. 38 min.

Directed by: Ishirô Honda

Release Date: January 1, 1956

Invite friends to see

DVD Release Date: July 28, 2006

Stats: 759 reviews

report incorrect info

Photos

Gojira Gojira / Godzilla wrecks his Diet Gojira Gojira Gojira / Godzilla Emiko Yamane Gojira Gojira / Godzilla Exits Tokyo In Ruins Professor Yamane Dr. Daisuke Serizawa A Towering Behemoth Ishiro Honda Gojira Radioactive Death - Breath Sachio Sakai godzilla
Upload a Photo | View All Gojira Photos

Your Rating


clear rating

Flixster Reviews (759)

  • fb100002384654145
    March 2, 2012
    fb100002384654145
    The first movie in the long-running Godzilla series, before it got re-edited and re-titled as "Godzilla, King of the Monsters" when it came to America. "Gojira" is a somber masterpiece that delivers a dark postwar commentary on the horrors nuclear destruction, something that Ja... read morepan experienced first hand. One of the film's greatest achievements is making Godzilla look huge by filming from strategically placed low camera angles and the gritty black and white cinematography lend a hand in making Godzilla look really menacing. The model sets, although a little crude by todays standards, are very well designed. Godzilla's furious rampage through Tokyo is one of the greatest moments in the franchise. The doomy and dramatic music composed Akira Ifukube is simply iconic. This movie also has the best story out of all the film's in the Godzilla franchise. The film's ensemble cast each give very fine performances, with Akihiko Hirata being the standout in his portrayal of Dr. Serizawa. It is a shame that most people tend to dismiss Godzilla movies as just goofy and campy monster flicks that should not be taken seriously, because this movie is a genuine masterpiece.
  • blacksheepboy
    February 17, 2012
    blacksheepboy
    The original Japanese classic before re-edited for the American audience. A fun catastrophe movie with a smart commentary on nuclear testing in a postwar era, showing a Tokyo devastated by a monster that comes up as a direct consequence of the action of man.
  • DragonEyeMorrison
    December 21, 2011
    DragonEyeMorrison
    The first Godzilla movie is also the most somber of the franchise, with a dark tone that considers very much the casualties of the creature. Filmed with low angles, and in the mantle of darkness, the crude effects resonate more than more sophisticated effects would do. It's the e... read morecho of the fear of a nation that saw the horrors of nuclear holocaust.
  • mumby1988
    October 16, 2011
    mumby1988
    Action movies are often criticised for being stupid. They are looked down upon by critics and blamed by social commentators for causing the perceived anti-intellectualism of today's youth. While there are many examples of this genre, or indeed any genre that would fit the bill, a... read morection movies are capable of being just as intelligent or insightful as their more artistic counterparts. Gojira is a classic case in point, retaining its relative intelligence in spite of its dramatic creakiness.

    The cultural influence that Gojira exerts is undeniable. Apart from generating a legion of sequels, crossover films and one god-awful American remake, it has become one of the most iconic Japanese artistic creations. But aside from its cemented status as a symbol of Western perceptions of Japan, its influence on cinema worldwide is just as marked. As well as directly inspiring works like Cloverfield and The Host, its imagery has influenced everyone from Matt Groening to Steven Spielberg, who dubbed the monster's death scream onto the end of Duel.

    For better or worse, Gojira either created or cemented many of the conventions of the modern monster movie. The groundwork may have been laid by King Kong and The Creature from the Black Lagoon, but the conventions founded in Gojira are now so endemic that they deserve recognition. We have the central romance between two people who are destined to be together, set against the backdrop of their home being destroyed or, as with Jurassic Park, other people they care about being put in mortal danger. While most of the characters want to destroy the monster, one person wants to keep it alive to see what they can learn for it (a variation of King Kong, in which one character wants to make money from it). And there is a distant or geeky scientist who doesn't want to help, but ends up possessing the only thing that can stop the monster.

    Like many classic foreign-language films, Gojira had a rough time with the American distributors. Just as Metropolis was heavily butchered to reduce its running time, so Gojira was taken apart and restructured in such a way that the American version looked like a totally different film. This version, called Godzilla, King of the Monsters!, was dubbed into English with new footage of Raymond Burr playing a reporter called Steve Martin - which leaves everybody free to remark that the American version is a complete joke. The disrespect which Terry Morse showed for the original is plain to see: even with the reams of new footage, the new version was 10 minutes shorter than the original.

    Ironically, one of the big problems with Gojira is something which is characteristic of American action movies, particularly with more contemporary offerings. Like many recent CG-heavy action films, Gojira does end up being dominated by its special effects. Some of the set-pieces are incredible even now, such as the central 10-minute sequence of the monster breathing fire and laying waste to Tokyo. But like the American remake, the extent to which the set-pieces are emphasised prompts questions about the workings of the monster - chief amongst them being, why would it help a lizard to be fire-breathing if it lived underwater?

    This dominance of effects is solidified by Gojira's melodramatic plot. It's wrong to attack one of the definitive monster movies for falling into the clichés it created, just as it's wrong to criticise The Cabinet of Dr. Caligari for having a twist ending. But you can still see all the plot points coming a mile off, and the characters are so clearly drawn from a visual point of view that you don't really have to second-guess. The moment you see the character with a scar and an eye-patch, you know there is something shifty about him.

    There is some dispute in critical circles over how good or original Gojira's effects are. Roger Ebert, who called it "a bad film, but with an undeniable urgency", argued that the effects in King Kong were much more state-of-the-art, describing Godzilla the monster as "awkward" and "crude". It's an argument that has never been properly settled, not even when the two monsters went head to head in King Kong vs. Godzilla eight years after this.

    In the end, the only way to judge the validity of Gojira's effects is whether or not they succeed in giving the monster character. This is not simply a case of whether or not he/ she/ it looks like a man in a beanbag wandering around on a set; it is whether the physical form taken by Godzilla/Gojira conveys or achieves the desired emotional response. The short answer to this is yes, because we do believe that the monster has intelligence and a personality. We aren't necessarily in floods of tears when the oxygen destroyer kills him, but there is still the feeling that something physical and tangible has departed, something in which we invested and believed.

    Where Gojira differs from, and perhaps improves on King Kong is its political subtext. The film is an engrossing allegory for Japan's reaction to the events of Hiroshima and Nagasaki, and to the on-going US nuclear tests occurring in the Pacific. This was something which was not widely reported in the American press at the time, which coupled with political pressure might explain why the US version cut out most of the subtext.

    The parallels Gojira draws between real-life events and those of the characters would have been strikingly clear at the time, and are arguably more so to us nearly 60 years later. The underwater explosions which are reported when the first ships sink are an echo of the after-effects of Bikini Atoll: the Americans exploded a device two-and-a-half times larger than expected, leaving hundreds of people within the supposed safety zone with acute radiation poisoning. The harrowing shots showing the aftermath of Gojira's destruction of Tokyo could be lifted straight from The World at War. Considering that Japan was still recovering from the long-term effects of the war, including these kinds of scenes was decidedly brave.

    There is also a direct parallel between the real-life and fictitious characters. Dr. Daisuke Serizawa, played by Akihiko Hirata, is a convincing reflection of Professor Robert Oppenheimer, one of the chief scientists at the Manhattan Project which created the first bombs. When we are taken inside his lab, there is a mention of his "German friends", a sly nod to the fact that German and Austrian scientists pioneered many of the components of the atomic bomb. Serizawa refuses to use the device because he knows how devastating it can be on a small scale, a possible nod to Oppenheimer's mixed feelings following the Trinity test. While Oppenheimer remarked that he had "become death, a destroyer of worlds", Serizawa dies alongside his invention, lest it ever be used again.

    Gojira, like King Kong before it, uses the monster to physicalize a deep-rooted or pertinent fear within humanity. It explores the fears surrounding nuclear war, or more general fears about a seemingly unbeatable weapon. Gojira is characterised as an ancient monster, somewhere between Jules Verne and H. P. Lovecraft, rudely awakened from its long slumber by the nuclear tests. It is simultaneously a symbol of nuclear war itself, the unforeseen consequences or fallout (in both senses), and a physicalisation of the dark, self-preserving aggression at the heart of every human being.

    It is rare that you get a monster movie, then or now, with such thoroughly intelligent subtext. But the film does have a couple of dramatic shortcomings which hamper its ability to convey these ideas. Because the film is constructed like a melodrama, complete with screaming heroines and muscular heroes, there isn't much in the way of tension in the scenes between Gojira's attacks. Whereas The War of the Worlds had moments of real threat, where it seemed like the aliens would win, Gojira always has a feeling of certainty about its outcome which is only partially mitigated by the old man's warnings at the end. Character development is in rather short supply, something which even Akira Ifukube's great soundtrack can't make up for.

    Considering its budget and the development of special effects, Gojira holds up surprisingly well. It is more thought-provoking and emotionally involving than The War of the Worlds, if nothing else because it holds its nerve and gets the ending right. Its dramatic shortcomings are more or less made up for by the emotional impact of the more harrowing scenes, and the monster itself is pretty convincing. As a film in and of itself it's flawed and ropey in places, and while it can't hold a candle to King Kong (in either version), it is essential viewing.
  • fb100000257973100
    June 21, 2011
    fb100000257973100
    Before I write this review, I want to go into some back story so that all of you can understand this film. When this film was made, it was less then a decade after the nuclear bombings on Japan and the areas affected were still in their own personal hells. Nobody had money, peopl... read moree were dying left and right, it was a completely pitiful and sorrow sight. One thing that was keeping Japan's economy along was the film industry due to other countries importing their films. One genre that was slowly starting to take over the world was the giant monster. Originally created in the 1920's, films about monsters that towered over humans destroying everything in their path had intrigued people to no end and became an accomplishment. Now, back to Japan, there was this very talented film maker named Ishiro Honda who already made a name for himself with some films about war that had captivated audiences. When he signed on to film Gojira, he ended up making one of the best social commentaries on the effects of nuclear bombing ever made. In terms of direction, Honda does a rather good job with his first giant monster film. Some of the choice he made (like having the film in black and white, having Gojira be a rubber suit instead of stop motion) ended up just adding to the effect of the film, giving it a gritty, dark, nightmarish feel that perfectly sums up the terror that Gojira brought with him. The script to this film, if analyzed, would be something of the Fahrenheit 911 of the time. From the opening shot to the destruction of Tokyo sequence, there are subtle hints and tributes to the bombings, almost as if the makers wanted to show the truth (which they did). Acting, well, there is only one actor that I feel deserves any recognition at all. And that is suit actor Haruo Nakajima who played the monster Gojira. Here is a little bit of trivia for you: Unless you can handle extreme heat, terrible working conditions, and being exhausted every ten minutes while getting cut up due to the wire inside the suit, never have Nakajima's job. All I have to say is: he has guts for being this character and for portraying him in numerous other films. When you watch this film, before you start ripping on the monster, rethink of the hell that was endured. Finally the score. With films, there are two types of scores: regular and memory. This score exceeds memory and has been engraved in everyone's memory. The score, being toned dark and has an eerie sound, create the feel this movie gives and, in my opinion, is the second most important aspect. Overall, this is one of the most serious and best made giant monster films of all time and the one that create the most iconic monster in cinema history: Godzilla.
  • skeletonking101
    June 1, 2011
    skeletonking101
    It was far too dark, and it was a B-movie that took itself way too seriously, and it just came off as disturbing and not fun or good in the least bit, even godzilla looked weird
  • FilmFanatik
    February 9, 2011
    FilmFanatik
    Brilliantly conceived and executed. It suffers from aging quite a bit - in the print of the film itself and in pacing style - but it never wavers. It's the remarkable monster movie that started it all.
  • sanjurosamurai
    November 22, 2010
    sanjurosamurai
    a near perfect monster movie. maybe only inferior to the original king kong for this sub-genre, this classic still reigns despite its age because there was a careful attention to impact and affect in this film that many makers of monster films dont care to emulate. this isnt ju... read morest a film about destruction as so many contemporary monster films are, this is a film about responsibility, empathy and sacrifice.
  • kiriyamakazou
    July 31, 2010
    kiriyamakazou
    Damn perfect monster chaos. It's easy to look at all the Godzilla references in popular culture and forget the social relevance of the original. It's a wonderfully constructed film, that makes the existence of this monster important. If any country knows the horror of nuclear wea... read morepons it's Japan. Here they express concerns over continuing tests, without wallowing in self pity or reverting to anti-American propaganda. This film genuinely looks at the humans as a single race, and how Godzilla's existence will impact the world. Godzilla is kept off screen for quite some time, allowing for the mystery and suspense to build. It also introduces us to a range of interesting characters and relationships, giving us that human connection essential to a monster movie. Reporters, politicians, scientists are all represented, but not in the usual cliched ways. Hirata plays the most interesting character, a man whom develops a weapon to destroy Godzilla, which is just as destructive as the one that created him. His morals in using such a weapon are well played out and add to a beautiful finale. The final scenes are scored with such serene bittersweet sounds, it really emphasizes the emotional battle going on. Sound effects are lowered at this point, as Godzilla and his human enemies come into conflict, without resorting to a battle. It's a sad moment that begs the question "Why must all movies be loud an obnoxious these days?". The model work is brilliant, as is Godzilla in his suit. People would seem to prefer a CGI creation to a man in a suit these days, but this suit looks real, the threat is really destroying these buildings. It may look ridiculous sometimes, but in black and white it's hard to tell. You can criticize the science all you want, but it's much more important to this viewer to make sure you have interesting and engaging events, plus characters.
  • garyX
    June 1, 2008
    garyX
    The definitive Japanese monster movie sees mother nature hitting back in the form of a 150ft radioactive dinosaur after atomic tests contaminate the seas around a Japanese island. Considered something of a classic, I was curious as to how this film had stood the test of time, and... read more the answer is...not very well! The script is just full of decidedly suspect pseudo-scientific mumbo jumbo, and the characters are pretty stereotypical; only Takashi Shimura's scientist who is the only one who wants to keep the creature alive holds any dramatic gravitas at all. It's really just an excuse for a bit of mindless destruction, and because the effects are so poor, the action ends up looking plain silly and rather dull. There is some nice nocturnal photography, but by the same measure, the underwhelming "climax" underwater is rubbish. There is some attempt at intelligence as there is a clear analogy between Serizawa's aquatic doomsday weapon and the ethical dilemmas thrown up by the atomic age, but it lacks the character dynamics and pathos of King Kong, and the effects are considerably inferior despite the fact that Kong was released over two decades earlier. As a whole it's really only worth it for the nostalgic and those wanting a good laugh at the expense of some dodgy model effects.

View All Gojira Reviews

Critic Reviews

Robert Denerstein
August 20, 2004
Robert Denerstein, Denver Rocky Mountain News

Honda may not have created the most convincing-looking monster in cinema history, but he managed to give his sci-fi/horror movie a social relevance, particularly in postwar Japan.

Lisa Kennedy
August 20, 2004
Lisa Kennedy, Denver Post

The rampaging reptile is back to remind us that monsters have meaning. Full Review

Bob Longino
July 22, 2004
Bob Longino, Atlanta Journal-Constitution

Maybe it's 50 years late, but we're finally getting to see Godzilla as it was meant to be seen. Full Review

Roger Ebert
July 2, 2004
Roger Ebert, Chicago Sun-Times

This is a bad movie, but it has earned its place in history, and the enduring popularity of Godzilla and other monsters shows that it struck a chord. Full Review

Gary Dowell
June 17, 2004
Gary Dowell, Dallas Morning News

It's less of a monster movie and more of a morality play about the dangers of nuclear experimentation. Full Review

Janice Page
June 11, 2004
Janice Page, Boston Globe

Godzilla has never looked as good as in Honda's original conception, and few sci-fi creatures have equaled the size or impact of its first footsteps. Full Review

David Edelstein
June 4, 2004
David Edelstein, Slate

The most emotionally authentic fake monster movie ever made. Full Review

James Berardinelli
June 4, 2004
James Berardinelli, ReelViews

A great boon to monster movie fans, but will have limited appeal to others. Full Review

Bruce Newman
May 27, 2004
Bruce Newman, San Jose Mercury News

Political charge elevates Godzilla far above its reputation for cheesiness, but not so far that it should be mistaken for political satire.

Carrie Rickey
May 21, 2004
Carrie Rickey, Philadelphia Inquirer

Morally compelling aspects of Honda's film lost to Americans are now restored.

Critic ratings and reviews powered by RottenTomatoes.com

Fresh (60% or more critics rated the movie positively)

Rotten (59% or fewer critics rated the movie positively)

Cast

More Like This

Click a thumb to vote on that suggestion, or add your own suggestions.

  • Cloverfield
    Cloverfield (54%)
  • Them!
    Them! (100%)
  • Godzilla Raids Again
    Godzilla Raids Again (100%)
  • I Married a Monster From Outer Space
    I Married a Monster From Outer Space (100%)

More Movies like Gojira

Facts

No facts approved yet. Be the first

Gojira : Watch Free on TV

Gojira Trivia

  • What was Godzilla's original name ?   Answer »
  • What year was Gojira released as Godzilla, King of the Monsters in the United States?  Answer »
  • Godzilla's actual name is:  Answer »
  • Which colossal movie monster is also known as Gojira?  Answer »
More Gojira Trivia

Movie Quizzes

Create a Quiz |

All Quizzes

Video Clips

No video clips yet. Want to upload one?

Meet Other Fans

Add Gojira to favorites

Recent News

No recent headlines. Got one?

Recent Lists

Make a List |

View All Lists

Most Popular Skin

No skins yet. Interested in creating one?