BLOOD WORK: THE SAGA OF THE KING OF THE MONSTERS ~ PART 2: GODZILLA RAIDS AGAIN (1955)

After the powerful and culturally resonate film GOJIRA, the question wasn't if they should make a sequel, but how they should make the sequel. During this period Toho was still assigning projects to directors and actors. Ishiro Honda was already attached to direct the film JU JIN YUKI OTOKO a.k.a. HALF HUMAN. But a sequel to Godzilla was a must, so a new film was rushed into production with a largely different cast and crew. Actors Takashi Shimura, Katsumi Tezuka, and Haruo Nakajima are the only returning actors and Eiji Tsurburaya returns to direct the special effects. Takeo Murata returns to help write and Shigeru Kayama provides the story again. But gone is Ishiro Honda and composer Akira Ifukube. And their absence is felt as the shape this second film took is quite a different form than its predecessor.

GODZILLA RAIDS AGAIN is the second film in the franchise and the only other black and white film in the series in addition to the original. It is also the last film in the series to be shot in 4:3 aspect ratio before 16:9 Tohoscope became the norm. This film introduced a staple of the genre that would redefine the scope of kaiju films: the "VERSUS" formula. This film was the first time Godzilla went head to head in battle against another kaiju. The kaiju in question being none other than ANGUIRUS, Toho's second ever kaiju and a long time favorite. Along with Anguirus, this film features a different Godzilla, the particular Godzilla that would star in every subsequent Showa film.

The identity of the kaiju film previously established is lost however. The tone and the distinctly Japanese character instilled into Gojira is cast aside in favor of an American "giant monster on the loose" esthetic. Such films were popular in America so it stands to reason why Toho defaulted to this style. Being the second Godzilla film and the second of Toho's monster features, the identity of the kaiju film was still in its infancy and being worked out. Japanese spirituality figures heavily into what makes these films different from Western giant monster films. There's an identity and deeper meaning to these monsters and films beyond merely being escapist entertainment.

The fact that Godzilla Raids Again resembles more of a "by the numbers" American monster movie of the time period has placed this film lower on most fans' lists. And the film did indeed fail to replicate Gojira's success as evident by Toho retiring Godzilla for seven years after. Comparing the second film to the rest of the series, Godzilla Raids Again is lacking in many of the aspects that would become signatures of the franchise. But comparing it to the American monster movies of the time that it more closely resembles proves just how far ahead Toho's films were to the West. It may come up wanting compared to other Godzilla films, but compared to giant monster movies from other countries Godzilla Raids Again is a superior film.

An underappreciated Godzilla film and one of my favorites, Godzilla Raids Again was among the earlier Godzilla films I ever saw. As such it holds a sentimental place in my heart and helped endear black and white movies to me in general.

THE PLOT

Two pilots from the Osaka fishing cannery accidentally discover two living behemoths on a remote island in the pacific. The monsters' titanic battle tosses the creatures into the sea. Returning to mainland Japan, the pilots inform the government of the two monsters. Still recovering from the last time they were attacked by a giant monster, the Japanese authorities take action to find and locate the beasts, and prevent another such disaster. When a new Godzilla nears the shores of Osaka, the government's plan goes into effect. The plan appears to be successful until an accident further inland attracts the beast, drawing it inland. The Japanese's nightmare worsens with the arrival of the second monster, Anguirus. Japan's darkest hour falls upon them.

WHAT I LIKED

Kaiju Rumble. One of the aspects I never appreciated as a child was that Godzilla was all by himself in the original film. As a kid I gravitated more towards Godzilla Raids Again (a.k.a. GIGANTIS THE FIRE-MONSTER as my VHS copy was titled) than the original film because of the "Versus" aspect of the movie. Seeing Godzilla vs Anguirus is epic and novel in that this is the only time Godzilla battles Anguirus (I don't count the few seconds of fighting they do in FINAL WARS). This is the first monster battle in kaiju cinema and is quite unique. The monster action had yet to adopt the "wrestling match" style of KING KONG VS GODZILLA and later films. As such, the monster action is quite animalistic, less anthropomorphic, and more natural. Certain shots of Anguirus evoke images of a wolf bearing its fangs.

Also, the signature slower motion camerawork of the kaiju action isn't dominating the film. This film features natural speeds of the kaiju actors and even some moments of sped-up filming as well as the signature slower-motion. This is one of the few films in the series to showcase such diverse camerawork. Yes, some of the camerawork functions better than others, but the various camera speeds keeps the action interesting, engaging, and exciting. The camerawork makes this particular kaiju battle unique among the entire series.

Glorious Black and White. Gojira, Godzilla Raids Again, Half-Human, and Varan The Unbelievable are the only Toho monster/kaiju movies filmed in black and white. Being monochromatic lends these films a unique quality not present anywhere else. In the original Godzilla it gave the film a documentary style authenticity. Godzilla Raids Again feels akin to the classic monster movies of the 30's, 40's, and 50's. In addition to feeling like they belong to an older era of cinema, the black and white reinforces their darker somber tone. Personally I love the black and white esthetic.

The Tone and Focus. While this film leans more towards American monster movie styles than its predecessor, it still retains focus on the devastation such an event would wreak and real human beings dealing with such a calamity. Shots of the character Hidemi sitting in silence, worry and helplessness knitting her brow, add a level of realism to the film, a gravitas mostly missing from the rest of the Showa films. For most of the film there is the sense of helplessness among the characters, punctuated by Masaru Sato's dour and somber score. Sato's score isn't anywhere close to Akira Ifukube's rousing and iconic scores, but it lends the film a unique character no other Godzilla film has, even others scored by Sato himself.

This serious tone elevates this film above its American counterparts with a few exceptions. Aiding in this superiority is, of course, Eiji Tsuburaya's brilliant miniatures and suitmation. The destruction on display puts other films of the era to shame. And the ending of this film is unique among the entire franchise and also provided a twist on an old monster movie trope. Many monster movies of the time begin with the central creature being thawed out of the ice, freed from millennia of suspended animation in the polar ice caps. Here Toho turns the trope on its head by stopping the monstrous threat by burying Godzilla in the ice. While resembling American monster movies of the time, Toho still puts a unique spin on it. I happen to love the ending.

NITPICKS

Gigantis. Godzilla Raids Again was transformed into Gigantis The Fire-Monster when it came to the USA. There are many inadequacies in this version of the film, the version most of us grew up with and the version American audiences have known the longest. From many strange rewrites, incongruous added American footage, public domain stock footage, unnecessary voice overs that tell us everything we're seeing, to removing most of Godzilla's signature roar and replacing it with Anguirus' roar, the alterations to this film are many.

Perhaps the worst alteration to this film is the English dub of the character Kobayashi. Played by the amazing actor Minoru Chiaki, Kobayashi is a serious yet down to earth character in the original Japanese version. The English dubbing gives Kobayashi a completely different character, that of an oafish comic relief. It's a shame and very insulting to the great acting of Minoru Chiaki (an actor who appeared in many Akira Kurosawa films). Both Chiaki and Godzilla have their voices taken from them in the English language version. This may be one of the best examples of the English dubbing cliches everyone thinks of when they think of Godzilla films. While I have known the English version for the majority of my life, and I have come to accept it as is, seeing this version does the film an injustice.

It's easy to riff on the English dubbing for Godzilla Raids Again though. There are actually some decent performances among the English dub cast. It's not all bad. But seeing this film in its original Japanese language and unedited is a completely different experience. And the original version is not without its shortcomings either, especially when compared to 1954's Gojira. The Post War Japan social commentary is missing and the characters aren't nearly as interesting as those from Gojira either. I'd argue in favor of the characters though, that while not as interesting, they have a working class identity and feel more real as a result. Where the original film was Japan's sins personified, this film is about regular people helpless in the face of disaster and the enduring human spirit in the wake.

THE VERDICT

Godzilla Raids Again had the misfortune of following immediately after the original Godzilla masterpiece. Any film to follow would look worse by comparison. The English language version certainly doesn't do the film any favors either. Even so, there is a lot that this film offers including the first ever kaiju versus battle. The film introduces the concept of there being multiple Godzillas in existence as well as other monsters. While closer akin to American monster movies of the time, there is still a heavy emphasis on human drama and the grave seriousness of such a situation. I actually really enjoy this film and the novelty of seeing the only other black and white Godzilla film in the series. As a child I preferred this film over the original, mostly due to the kaiju battles. I loved this movie as a kid and still love it today.

Overall Ranking: 9 out of 10

(Great! Everyone needs to experience this. The new standard)

Category: Transcendence

(a film enjoyed by both the adolescent and adult Godzilla fan)

VHS/DVD/BLU-RAY

If you're looking for the perfect release of this film none get any better than the Toho Master Collection DVD version from Genius Entertainment and Classic Media. What makes this the perfect edition for any English speaking fan? For starters this DVD contains both the original Japanese language version as well as the original English language version complete with the original English dub (the version most of us grew up with on television and VHS). Along with that there is an audio commentary by Godzilla scholar Steve Ryfle, image gallery, original Japanese trailer, and featurette about The Art of Suit Acting. With three different ways to view the film, simply put, this edition is one of the finest releases of any Godzilla film.

If only every single Showa era Godzilla film as well as Godzilla 1985 were given similar treatment. These editions from Genius Entertainment and Classic Media are without a doubt the best Godzilla releases for American fans.