While Gojira was a serious film about the horrors of nuclear tests, Godzilla, King of the Monsters turned the Japanese original into a mere monster movie of the type so common during the 1950s. It isn’t without its charms, however. The spectacle of the title monster trashing Tokyo is complete and the human suffering that causes is still there to elevate this slightly beyond a normal B-movie. UPDATED August 2012 with better screencaps and expanded snark, err… text.
From the comprehensive booklet included in the 50th anniversary DVD release, we find how the American version came to be. Harold Ross and Richard Kay brought the film to America on the cheap to take advantage of the explosion in B-movies. Described as “Hollywood bottom-feeders,” they had one problem with the movie – all the Japanese in it. At the time, hatred of the Japanese was still strong ten years after World War II and a movie starring “Japs” couldn’t make money.
The solution was to shoot new material starring an American actor and splice it in. About 20 minutes of the 80 minute movie would consist of the new scenes and insertions, heavily diluting the original story. But that didn’t matter because audiences would be going to see the “King of Monsters” not the story. The result raked in $2 million and turned a tidy profit while making fans of Godzilla such as Gomer Pyle.
Now on to the review starring Raymond Burr and his pipe!
The Americanized version starts with the sound of explosive footfalls and the new title appears over the sea. In a jarring shift, the first scene of the movie is the devastated ruins of Tokyo in miniature. A voice over narration by Raymond Burr begins while he makes his first appearance pinned under rubble. After failing to free himself, he passes out. Not an auspicious debut for the hero of the movie.