Jimmy’s Notes on Episode 53: ‘Godzilla Raids Again’ (feat. Michael Hamilton)

I’ll be damned. Michael Hamilton and I managed to get through an entire episode without threatening each other or stealing each other’s stuff. In fact, I think he spent more time ragging on Nate in Episode 53 on Godzilla Raids Again than he did me. Nate took it in stride, though. I’ve trained him well. Ha! Anyway, I took fair amount of notes that riff the both of them. Let’s dive in.

I was busy when Michael e-mailed me. You wouldn’t believe how much the Board has flooded my inbox. Michael’s message got buried. And let me tell you, Viras’s e-mails are the worst. They’re almost indecipherable because his tentacles are basically fat fingers on a keyboard. His chances of accidentally writing Shakespeare are only marginally better than a drunk monkey’s.
That hazmat suit was for my passenger’s protection because I radiate awesomeness. Or it was a stupid Board mandate. Take your pick.
I look good in yellow. I look good in anything. Even my birthday suit. (Yeah, I said it!)
It’s “TCM,” Michael, not “TMC.” Nate made that mistake once, too.
I’m calling (giant monster) BS on Michael’s claim that this film was on MonsterVision in 1994. I found a video compilation of all the ads, and there’s no Godzilla (or Gigantis) to be found.

I might’ve left you with Kong, Michael, but I didn’t need you to get outsmarted by an ape with a bigger brain.

You were trying to remember Bob Johnson, Nate.
“Militarism” isn’t the right word, Michael. Look it up.
I couldn’t find the title of the educational film the “documentary on unintelligent design” was from, but the dinosaur footage was from Unknown Island, a 1948 adventure film that had an invalid copyright filed, putting it in public domain upon release.
Godzilla did have wings once…in a fan comic…that got canceled….
It was Hidemi, Nate.
I never drink and fly, Michael. I learned that the hard way on one unfortunate training mission at NASA. Glen and I partied a little too much the night before and flew P-1 into orbit while hungover. Okay…we may have snuck onboard while drunk….

As per my…supposedly still active contract (did Raymund figure that out yet?), here are Nate’s leftover notes.

A shorter film (78 minutes) compared to Gojira, probably because it was rushed out.
Excellent black and white photography.
It does feel padded at points, especially at the beginning. There are long sequences with no dialogue or music and not much happens. This could be another symptom of it being rushed.
Godzilla (and Anguirus) appear 9 minutes in.
Dinosaur encyclopedia like in The Beast from 20,000 Fathoms.
Continuity: Dr. Yamane returns in a cameo; the only time a character returns in a subsequent film in the Showa era.
The score at points seems to emulate Ifukube and at times seems to want to be more western. I felt like I was watching an American sci-fi film from that era at points. In fact, it feels more like an American film in general. The tone is lighter, the heroes are young, the romance is more blatant, and the pacing is faster.
The SFX aren’t as polished this time. That’s to be expected since the film was made and released in six months. The Godzilla suit fits Nakajima better and is less bulky for the physically demanding fight scenes. The kaiju battles themselves don’t seem to have been slowed down compared to the other kaiju scenes in this and the previous film. In order to create the illusion of bulk and size, Tsuburaya had the kaiju actors move fast and then slowed the footage down. There are points Godzilla and Anguirus move way too fast. Regardless, the miniatures are solid and the battles are brutal. Tsuburaya makes the fights seem like wrestling, which in some ways harkens back to Son of Kong with Kiko’s fights. There’s use of puppets for distance shots of the monsters battling. (Godzilla’s ray seems ineffectual at points. Why?)
The aftermath of the monsters’ attack does show some Gojira-esque devastation. The emphasis is more on the destruction than it is on death, though. Whereas Gojira showed the suffering of the people as well as property damage, this film shows far fewer people dying and few, if any, suffering wounded. Some might see this as the franchise first step toward “sanitized violence.” (Barr) A major difference is that the characters joke with each other in the aftermath to provide levity for the audience and, I suspect, for themselves. Regardless, despite Osaka’s destruction, they simply go on with life and continue their pre-wedding celebrations, which Godzilla delays. There’s a statement that the flames that scared off Godzilla attracted Anguirus, showing how solving one problem leads to another.
It’s interesting to note that with Japanese young people practicing dating more than arranged marriage at this time, was the engagement party a continuation of a Japanese tradition, or something new? It’s much like the western practice of the bachelor/bachelorette party. Kobayashi later asks the girl the age-old question, “What do girls want?” She lists superficial things like handbags. This is yet another indication of the cultural change taking place in Japan. Courtship practices were becoming more westernized.
Subplot with prisoner escape. Only one cop in back of truck, which seems dumb. While at first it seems like padding, it does contribute somewhat to the plot. I believe Kalat talked about this, saying that it was evidence of how Godzilla brought the worst out in people. They do get their comeuppance in a subway flood, so they don’t escape Godzilla’s wrath.
I do like the different ways the action is filmed.
There’s an emphasis on fishing in this film, which isn’t surprising considering it’s a major industry in Japan and fish is a large part of their diet.
The opening theme of the film is reused a lot over the course of this film. Yet another indication of its rushed production, most likely.
The climax, interestingly, reminds me somewhat of the beginning of The Beast from 20,000 Fathoms, which also took place in the arctic.

Other Sources

Galbraith
- Most of Sato’s score was replaced by stock music from Kronos and The Deerslayer.
LeMay – Big Book 1
- This film had the first tie-in merch for the franchise: A gun and target game for kids.
Classic Media commentary
- That as real ice at the end. You can even see frost on the neck of the suit where Nakajima could see out.