Director:
Motoyoshi Oda
Written by: Takeo Murada, Shigeaki
Hidaka
After the critical and commercial success of
Godzilla’s first outing, it was inevitable that a sequel would
happen, and sure enough, the following year Godzilla Raids Again….
Kinda. Or, for the American audience, Gigantis the Fire Monster! In a still present lack of respect for their own audiences, it was believed Americans would not want to watch a Godzilla sequel, hence Gigantis was born, in a renaming that would prove so popular it lasted for exactly one film...
It’s
a different Godzilla, though almost identical to the first in every
way, and this time he’s not alone. Fellow Kaiju, Anguirus makes his
debut as another monster also awakened by the horrors of nuclear
testing.
 |
| Who? |
This
hastily produced sequel lacks the magic and rawness of the original,
though it does feature the first Kaiju battle as Godzilla and
Anguirus clash multiple times.
With
Godzilla approaching a plan is made to plunge the city into darkness
and lure him out to sea with flares. All goes according to plan until
a bunch of escaped convicts crashes into a power station, causing a
massive explosion that lures not only Godzilla but Anguirus as well.
The
human cast is less memorable, a trait that will continue throughout
the series, especially as more and more giant monsters are added to
the revolving roster.
 |
| Godzilla and Anguirus throw down. |
Once
more Godzilla wreaks havoc on Japan, destroying hundreds of
painstakingly detailed miniatures in the process (as a wargamer I cry
a little inside at every model building that gets torn to pieces) but
it’s hard not to get caught up in the action as Godzilla and the
quadrupedal Anguirus tear up the city.
Similar to the ShodaiGoji, the new suit, known as the GyakushuGoji boasted a slimmer
physique and a diminutive head. This streamlined appearance was
engineered to enhance flexibility during the intense clashes with
Anguirus on screen. Notably, the GyakushuGoji incorporated adjustable
eyes for added expressiveness. To capture intricate footwork, a
distinct set of legs, resembling boots, was utilized for close-up
shots of Godzilla's feet. Additionally, akin to the ShodaiGoji, a
manually operated puppet was employed for detailed shots of
Godzilla's visage. This puppet notably showcased protruding teeth, a
characteristic absent in the main suit design.
Ultimately
Godzilla is put on ice (literally) in the climax of the film but the
King of Monsters would not stay that way for long.
***
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