This sequel to Godzilla came out 6 months after the original film. For some reason this dubbed version changed the name of Godzilla to Gigantis and was apparently severely reedited.
The original Godzilla director Ishiro Honda was not involved with this film, not that it matters much because the real auteur behind the Godzilla films was Eiji Tsuburaya the famous special effects director.
There is kind of a rushed quality about this film, Toho Studios was in a hurry to capitalize on the success of Godzilla. This time Osaka is in danger and they throw another monster into the mix, Anguirus. Apparently millions of years ago Anguirus and Godzilla were enemies and time has not healed their feud. The first Godzilla film is usually cited as a metaphor for the dropping of the atomic bombs on Hiroshima and Nagasaki. In Godzilla Raids Again, no one with a straight face could invoke that symbolism.
In the first Godzilla film, Eiji Tsuburaya hit upon the idea of building miniatures of Tokyo and filming a guy in a rubber monster suit stepping on them in slow motion. Tsuburaya didn't seem to even bother with that level of craftsmanship in this sequel. The monster suits look really rubbery and the monsters aren't filmed in slow motion which makes them look pretty ridiculous when they are fighting and running around.
Godzilla Raids Again is short, fun and cheesy.
82 minutes.
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FOR IMMEDIATE RELEASE
Agoura Hills, California
“MUSHROOM CLOUDS AND MUSHROOM MEN -- THE FANTASTIC CINEMA OF ISHIRO HONDA” by Peter H. Brothers.
For the first time in America, a book has been published on Japan's foremost director of Fantasy Films: “MUSHROOM CLOUDS AND MUSHROOM MEN – The Fantastic Cinema of Ishiro Honda” (AuthorHouse, ISBN: 978-1-4490-2771-1).
Known primarily for directing such classic Japanese monster movies as Rodan, Mothra, Attack of the Mushroom People and the original Godzilla, Honda has been a much-overlooked figure in mainstream international cinema.
MUSHROOM CLOUDS AND MUSHROOM MEN is the first book to cover in English print Honda’s life as well comprehensively evaluates all 25 of his fantasy films. It is also gives objective and critical analysis of Honda's filmmaking methods, themes and relationships with actors and technicians.
Making use of extensive interviews from Honda’s colleagues, as well as a wealth of original source material never before gathered into one volume (including previously-unpublished essays), MUSHROOM CLOUDS AND MUSHROOM MEN is an affectionate tribute to the most-prolific and influential director in the history of fantasy films.
Best Wishes and Thanks!
(I love Bernard Herrmann too!)
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