GODZILLA's chances for American distribution were nil until a savvy Hollywood company snapped up the rights, chopped out a chunk, and replaced the edited footage with new scenes starring Raymond Burr. The resulting film was a mix of bad acting, static cinematography, and expensive but essentially "B" level special effects--but when Godzilla stomped up from Tokyo Bay with the worst breath this side of Osaka, the American public took him to heart, and he's been a cult icon ever since.
In theory, the film is a serious and subtle commentary on the dangers of nuclear warfare--and it might actually read that way in the original Japanese version, which is not (unfortunately) widely available. In practice, at least where the American version is concerned, it doesn't quite work out that way. The Japanese and American scenes blend very badly; the Japanese cast either overplays or underplays to a ridiculous degree; and Raymond Burr is about as expressive as Mount Rushmore. What with fainting lab assistants, boiling fish, hysterical sailors, and Burr's clenched lips, "serious and subtle" don't stand a chance.
Then there's the monster. This was actually one of the most expensive films made in Japan up to that time--but even so, Japan was light years away from Hollywood when it came to special effects. Godzilla is very clearly a man in a rubber suit. Tokyo is very clearly a miniature set. But the surprising thing about this is that it's a darned good rubber suit and a darned good miniature set. And it proves extremely entertaining.
Gary F. Taylor, aka GFT, Amazon Reviewer
In theory, the film is a serious and subtle commentary on the dangers of nuclear warfare--and it might actually read that way in the original Japanese version, which is not (unfortunately) widely available. In practice, at least where the American version is concerned, it doesn't quite work out that way. The Japanese and American scenes blend very badly; the Japanese cast either overplays or underplays to a ridiculous degree; and Raymond Burr is about as expressive as Mount Rushmore. What with fainting lab assistants, boiling fish, hysterical sailors, and Burr's clenched lips, "serious and subtle" don't stand a chance.
Then there's the monster. This was actually one of the most expensive films made in Japan up to that time--but even so, Japan was light years away from Hollywood when it came to special effects. Godzilla is very clearly a man in a rubber suit. Tokyo is very clearly a miniature set. But the surprising thing about this is that it's a darned good rubber suit and a darned good miniature set. And it proves extremely entertaining.
Gary F. Taylor, aka GFT, Amazon Reviewer