Rodan (1956)

Dear readers, to-day we break from the official Godzilla franchise to preach the Good Word of Rodan, the Flying Monster! I am not too proud to admit, brothers and sisters, that I was once not a fan of Rodan. It’s true! Yes, a dark shame clouded my past. I too, was a living wretch. I too, was steeped in sin and degeneracy. I too, did not recognize…the Higher Power. WAY up on High. High in the SKY! I was once lost, good people, but now I am FOUND! I see the LIGHT! Sing it from the mountaintops with me, brothers and sisters: RODAN KICKS ASS

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Godzilla Raids Again (1955)

After the smash success of Godzilla, Toho studios and producer Tomoyuki Tanaka wanted to cash in on that sweet sweet G-money, so with a quick turnaround they put together Godzilla Raids Again the following year. With the legendary Ishiro Honda who brought such intense gravity to the first outing committed to other projects, Motoyoshi Oda was tapped to follow in those gigantic train-car sized footsteps. Tsubaraya & team, along with Akira Watanabe returned to helm special effects and aimed to set the bar higher having learned lessons from their first foray into suitmation. This is the first time we see Godzilla battling another monster, and the introduction of the recurring kaiju Anguirus. The tone of this film is a distinct departure from the original, but has yet to really find a distinct voice. It’s a mixed bag that doesn’t quite hit the batshit insane notes of the rest of the franchise. Godzilla Raids Again feels like it’s got a foot in two worlds, showcasing the economic impact of devastated cities, and the more lighthearted jovial banter of our human cast paired with some goofball rubber monster suit wrestling.

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Godzilla (1954) vs Godzilla, King of the Monsters! (1956) Part 2

I’ll admit: going into this rewatch of Godzilla and Godzilla, King of the Monsters! I expected the Terry Morse’s American version to shy away from the themes of the Japanese version a lot more than it did. The US edit draws a lot of criticism, which it deserves, for cutting some key scenes from Honda’s original. But the overall anti-nuclear themes are still prevalent. What doesn’t get discussed as much is the absolute dehumanizing erasure of all of Takeo Murata & Ishiro Honda’s characters. Morse’s King of the Monsters! butchers the tone and emotional pacing of the film, which has the effect of watering down any of the message the film tries to keep intact.

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Godzilla (1954) vs. Godzilla, King of the Monsters! (1956) Part 1

The year…is 1933. March, New York City. A film premiers that would change the face of cinema forever, and inspire hordes of contributors to the history of movie magic. Giants like Ray Harryhausen and Stan Winston were able to run because of the work Willis O’Brien and his crew put in for King Kong. A masterpiece in stop-motion animation and puppetry, Kong broke ground in the giant monster genre to become an instant classic.

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