Godzilla (1954 film)

In 1954, Toho originally planned to produce Eikō no Kage ni (In the Shadow of Glory), a Japanese-Indonesian co-production about the aftermath of the Japanese occupation of Indonesia, however, anti-Japanese sentiment in Indonesia forced political pressure on the government to deny visas for the Japanese filmmakers.[24] The film was to be co-produce with Indonesian studio Perfini, filmed on location in Jakarta in color (a first for a major Toho production), and was to open markets for Japanese films in Southeast Asia.[23]

Producer Tomoyuki Tanaka flew to Jakarta to renegotiate with the Indonesian government but was unsuccessful and on the flight back to Japan, conceived the idea for a giant monster film inspired by the 1953 film The Beast from 20,000 Fathoms and the Daigo Fukuryū Maru incident that happened in March 1954.[25] The film's opening sequence is a direct reference to the incident.[26] Tanaka felt the film had potential due to nuclear fears generating news and monster films becoming popular, due to the financial success of The Beast from 20,000 Fathoms and the 1952 re-release of King Kong, the latter which earned more money than previous releases.[27]

During his flight, Tanaka wrote an outline with the working title The Giant Monster from 20,000 Leagues Under The Sea and pitched it to executive producer Iwao Mori. Mori approved the project in April 1954 after special effects director Eiji Tsuburaya agreed to do the film's effects and confirmed that the film was financially feasible. Mori also felt the project was a perfect vehicle for Tsuburaya and to test the storyboarding system that he instituted at the time.[25] Mori also approved Tanaka's choice to have Ishirō Honda direct the film and shortened the title of the production to Project G (G for Giant), as well as giving the production classified status and ordered Tanaka to minimize his attention on other films and mainly focus on Project G.[25][28]

Toho originally intended for Senkichi Taniguchi to direct the film, as he was originally attached to direct In the Shadow of Glory, however, Taniguchi declined the assignment.[29] Honda was not Toho's first choice for the film's director, however, his war-time experience made him an ideal candidate for the film's anti-nuclear themes.[30] Several other directors passed on the project, feeling the idea was "stupid," however, Honda accepted the assignment due to this interest in science and "unusual things," stating, "I had no problem taking it seriously."[27] It was during the production of Godzilla that Honda worked with assistant director Koji Kajita for the first time.[2] Afterwards, Kajita would go on to collaborate with Honda as his chief assistant director for 17 films over the course of 10 years.[31] Due to sci-fi films lacking respect from film critics, Honda, Tanaka, and Tsuburaya agreed on depicting a monster attack as if it were a real event, with the serious tone of a documentary.[23]

Tsuburaya submitted an outline of his own, written three years before; it featured a giant octopus attacking ships in the Indian ocean.[25] In May 1954, Tanaka hired sci-fi writer Shigeru Kayama to write the story. Only 50 pages long and written in 11 days, Kayama's treatment depicted Dr. Yamane wearing dark shades, a cape and living in a European-style house from which he only emerged at night. Godzilla was portrayed as more animal-like by coming ashore to feed on animals, with an ostensibly gorilla-like interest in females. Kayama's story also featured less destruction and borrowed a scene from The Beast from 20,000 Fathoms by having Godzilla attack a lighthouse.[32][25]

Takeo Murata and Honda co-wrote the screenplay in three weeks, confining themselves in a Japanese Inn in Tokyo's Shibuya ward.[33] On writing the script, Murata stated, "Director Honda and I... racked our brains to make Mr. Kayama's original treatment into a full, working vision."[33] Murata stated that Tsuburaya and Tanaka also pitched their ideas as well. Tanaka requested that they do not spend too much money while Tsuburaya encouraged them to "do whatever it takes to make it work".[33] Murata and Honda redeveloped key characters and elements by adding the love triangle. In Kayama's story, Serizawa was depicted as merely a colleague of Dr. Yamane's.[33] Godzilla's full appearance was to be revealed during the Odo Island hurricane but Honda and Murata opted to show parts of the creature as the film built up to his full reveal.[32] Honda and Murata also introduced the characters Hagiwara and Dr. Tanabe in their draft but the role of Shinkichi, who had a substantial role in Kayama's story, was cut down.[32]

The filmmakers took inspiration from various dinosaurs to shape Godzilla's final iconic design.

Godzilla was designed by Teizo Toshimitsu and Akira Watanabe under Eiji Tsuburaya's supervision.[34] Early on, Tanaka contemplated on having the monster be gorilla-like or whale-like in design due to the name "Gojira" (a combination of the Japanese words for gorilla, gorira, and whale, kujira) but eventually settled on a dinosaur-like design.[35] Kazuyoshi Abe was hired earlier to design Godzilla but his ideas were later rejected due to Godzilla looking too humanoid and mammalian, with a head shaped like a mushroom cloud,[34] however Abe was retained to help draw the film's storyboards.[36]

Toshimitsu and Watanabe decided to base Godzilla's design on dinosaurs and, by using dinosaur books and magazines as a reference, combined elements of a Tyrannosaurus, Iguanodon and the dorsal fins of a Stegosaurus.[34] Despite wanting to have utilized stop motion animation, Tsuburaya reluctantly settled on suitmation.[34] Toshimitsu sculpted three clay models on which the suit would be based. The first two were rejected but the third was approved by Tsuburaya, Tanaka, and Honda.[34]

The Godzilla suit was constructed by Kanji Yagi, Koei Yagi, and Eizo Kaimai, who used thin bamboo sticks and wire to build a frame for the interior of the suit and added metal mesh and cushioning over it to bolster its structure and finally applied coats of latex.[34] Coats of molten rubber were additionally applied, followed by carved indentations and strips of latex glued onto the surface of the suit to create Godzilla's scaly hide.[34] This first version of the suit weighed 100 kilograms (220 pounds). For close-ups, Toshimitsu created a smaller scale, mechanical, hand-operated puppet that sprayed streams of mist from its mouth to act as Godzilla's atomic breath.[37]

Haruo Nakajima and Katsumi Tezuka were chosen to perform in the Godzilla suit, due to their strength and endurance.[34] At the first costume fitting, Nakajima fell down while inside the suit,[38] due to the heavy latex and inflexible materials used to create the suit.[34] This first version of the suit was cut in half and used for scenes requiring only partial shots of Godzilla or close-ups, with the lower-half fitted with rope suspenders for Nakajima to wear.[38][37] A second identical suit was created for full-body shots, which was made lighter than the first suit but Nakajima was still only able to be inside for three minutes before passing out.[38] Nakajima lost 20 pounds during the production of the film.[39] Nakajima would go on to portray Godzilla and other monsters until his retirement in 1972.[40] Tezuka filmed scenes in the Godzilla suit but due to his older body, he was unable to fully commit to the physical demands required of the role. As a result, few of his scenes made it to the final cut as very few scenes were considered usable.[41] Tezuka filled in for Nakajima when he was unavailable or needed relief from the physically demanding role.[37]

Godzilla's name was also a source of consternation for the filmmakers. Because the monster had no name, the first draft of the film was not called Gojira but rather titled G, also known as Kaihatsu keikaku G ("Development Plan G"), the "G" of the title stood for "Giant", however. Nakajima confirmed that Toho held a contest to name the monster.[42] The monster was eventually named Gojira, a combination of the Japanese words gorira (gorilla) and kujira (whale).[43] One explanation that is chalked up to legend is that a hulking Toho Studios employee's physical attributes led him to be nicknamed Gojira.[43] In a 1998 BBC documentary on Godzilla, Kimi Honda, the widow of the director, dismissed the employee-name story as a tall tale, believing that Honda, Tanaka, and Tsuburaya gave "considerable thought" to the name of the monster, stating, "the backstage boys at Toho loved to joke around with tall stories, but I don't believe that one".[35] In 2003, a Japanese television special claimed to have identified the anonymous hulking Toho employee as Shiro Amikura, a Toho contract actor from the 1950s.[44]

For Godzilla's roar, the recording artists initially used multiple roars from various large animals. These recordings ended up sounding like their animal counterparts and went unused.[45] The film's composer Akira Ifukube decided to create the roar with instruments. Ifukube rubbed a leather glove through the loosened lower strings of a contrabass and altered the pitch and speed of the recording until the final roar was conceived.[46]

The Godzilla suit was produced with rough materials, which only granted suit-performer Haruo Nakajima three minutes in the suit before passing out from heat and exhaustion. The miniatures were constructed at certain scales to appear smaller than the Godzilla suit.

Eiji Tsuburaya directed the film's special effects.[47] In order for the effects footage to sync with the live-action footage, Honda and Tsuburaya would develop plans early during development and briefly meet prior to the day's shoot. Kajita would shuttle Tsuburaya to Honda's set to observe how a scene was being shot and where the actors were being positioned. Kajita also ushered Honda to the effects stage to observe how Tsuburaya was shooting certain effects. While Honda edited the live-action footage, he left blank leaders for Tsuburaya to insert the effects footage. At times, Honda had to cut out certain effects footage. Tsuburaya disapproved of these decisions due to Honda's cuts not matching the effects, however, Honda had final say in these matters.[48]

Tsuburaya originally wanted to use stop motion for the film's special effects but realized it would have taken seven years to complete based on the then-current staff and infrastructure at Toho.[49] Settling on suitmation and miniature effects, Tsuburaya and his crew scouted the locations Godzilla was to destroy and were nearly arrested after a security guard overheard their plans for destruction but were released after showing police their Toho business cards.[38] Kintaro Makino, the chief of miniature construction, was given blueprints by Akira Watanabe for the miniatures and assigned 30 to 40 workers from the carpentry department to build them, which took a month to build the scaled down version of Ginza.[38] A majority of the miniatures were built at 1:25 scale but the Diet building was scaled down to a 1:33 scale to look smaller than Godzilla.[38]

The buildings' framework were made of thin wooden boards reinforced with a mixture of plaster and white chalk.[38] Explosives were installed inside miniatures that were to be destroyed by Godzilla's atomic breath while some were sprayed with gasoline to make them burn more easily; others included small cracks so they could crumble easily.[38] Optical animation techniques were used for Godzilla's glowing dorsal fins by having hundreds of cells drawn frame-by-frame.[50] Haruo Nakajima perspired inside the suit so much that the Yagi brothers had to dry out the cotton lining every morning and sometimes re-line the interior of the suit and repair damages.[50]

The typhoon waves were created by stagehands who overturned barrels of water into a water tank where the miniature Odo Island shoreline was built.[51] Multiple composition shots were used for the Odo Island scenes.[52] Most of the Odo Island scenes were filmed near rice fields.[53] Toho hired en masse part time employees to work on the film's optical effects.[54] Half of the 400 hired staff were mostly part-timers with little to no experience.[55] An early version of Godzilla's full reveal was filmed that featured Godzilla, via hand-operated puppet, devouring a cow. Sadamasa Arikawa thought the scene was too gruesome and convinced Tsuburaya to re-film it.[56] Optical effects were utilized for Godzilla's footprints on the beach by painting them onto glass and inserting it onto an area of the live-action footage.[57] Special effects photography lasted for 71 days.[50]

On the first day of filming, Honda addressed a crew of 30 to read the script and leave the project if they did not feel convinced, wanting only to work with those who had confidence in him and the film.[2] Most of the film was shot in the Toho lot.[58] Honda's team also filmed on location in the Shima Peninsula in Mie Prefecture to film the Odo Island scenes, which used 50 Toho extras and Honda's team establishing their base in the town of Toba.[58] Local villagers were also used as extras for the Odo Island scenes.[59] The dance ritual scene was filmed on location in Mie Prefecture, with local villagers performing as the dancers.[60] The cast and crew commuted every morning by boat to Toba, Mie, working under harsh weather temperatures. Honda worked shirtless and as a result, suffered blistering sunburn on his back that left permanent scars.[31]

Toho had negotiated with the Japan Self-Defense Forces to film scenes requiring the military and filmed target practices and drills for the film; Honda's team followed a convoy of JSDF vehicles for the convoy dispatch scene.[58] 2,000 girls were used from an all-girls high school for the prayer for peace scene.[58] The filmmakers had little cooperation from the Japan Self-Defense Forces and had to rely on World War II stock footage, provided by the Japanese military, for certain scenes.[61] The stock footage was sourced from 16mm prints.[62] Honda's team spent 51 days shooting the film.[58]

Godzilla was first released in Nagoya on October 27, 1954.[63] A week later, it was released nationwide on November 3, 1954.[64] From 1955 into the 1960s, Godzilla played in theaters catering to Japanese-Americans in predominantly Japanese neighborhoods in the United States. An English subtitled version was shown at film festivals in New York, Chicago, and other cities in 1982.[65] An 84-minute cut of the Japanese version was theatrically released in West Germany on April 10, 1956 as Godzilla. This version removes the Japanese Parliament argument, acknowledgement of Godzilla as a "child of the H-bomb," references to Hiroshima and Nagasaki, and an altered translation of the mother holding her children.[66] Since its release, the 1954 film remained unavailable officially in the West until 2004.[67]

To coincide with Godzilla's 50th anniversary, art-house distributor Rialto Pictures gave the film a traveling tour-style limited release, coast-to-coast, across the United States, on May 7, 2004. It ran uncut with English subtitles until December 19, 2004.[9] The film never played on more than six screens at any given point during its limited release. The film played in roughly sixty theaters[68] and cities across the United States during its ​7 ¹⁄₂-month release. On April 18, 2014, Rialto re-released the film in the United States, coast-to-coast, using another limited-style traveling tour. This coincided with not only Godzilla's 60th anniversary, but also celebrated the American Godzilla film which was released that same year. To avoid confusion with the Hollywood feature, the Rialto release was subtitled The Japanese Original.[12] It was screened in 66 theaters in 64 cities from April 18 to October 31, 2014.[69]

Following the film's success in Japan, Toho sold the American rights to Joseph E. Levine for $25,000. A heavily altered version of the film was released in the United States and worldwide as Godzilla, King of the Monsters! on April 27, 1956.[4]

This version trimmed the original down to 80 minutes and featured new footage with Canadian actor Raymond Burr interacting with body doubles mixed with Honda's footage to make it seem like he was part of the original Japanese production. Many of the film's political themes were trimmed or removed completely. It was this version of the original Godzilla film that introduced audiences worldwide to the character and franchise and the only version that critics and scholars had access to until 2004 when the 1954 film was released in select theaters in North America. Godzilla, King of the Monsters grossed $2 million during its theatrical run, more than what the 1954 film grossed in Japan.[70]

Honda was unaware that Godzilla had been re-edited until Toho released Godzilla, King of the Monsters in Japan in May 1957 as Monster King Godzilla. Toho converted the entire film from its original scope to a widescreen 2.35:1 scope, which resulted in an awkward crop for the entire film. Japanese subtitles were given to the Japanese actors since their original dialogue differed greatly from the original script and were dubbed in English.[70] Since the release of the film, Toho had adopted the moniker "King of the Monsters" for Godzilla, which has since appeared in official marketing, advertisement, and promotional materials.[71]

The 1956 Godzilla, King of the Monsters! version of the film was released on DVD by Simitar in 1998[72] and Classic Media in 2002.[73]

In 2005, BFI released the original Japanese version in the UK theatrically, and later in the same year on DVD. The DVD includes the original mono track and several extra features, such as documentaries and commentary tracks by Steve Ryfle, Ed Godziszewski, and Keith Aiken. The DVD also includes a documentary about the Daigo Fukuryu Maru, a Japanese fishing boat that was caught in an American nuclear blast and partially inspired the creation of the movie.[74]

In 2006, Classic Media and Sony BMG Music Entertainment Home Entertainment released a two-disc DVD set titled Gojira: The Original Japanese Masterpiece. This release features both the original 1954 Japanese Gojira film and the 1956 American Godzilla, King of the Monsters! version, making the original Japanese version of the film available on DVD in North America for the first time. This release features theatrical trailers for both films, audio commentary tracks on both films with Godzilla scholars Steve Ryfle (author of Japan’s Favorite Mon-Star: The Unauthorized Biography of the Big G) and Ed Godziszewski (editor of Japanese Giants Magazine), two 13-minute documentaries titled "Godzilla Story Development" and "Making of the Godzilla Suit," and a 12-page essay booklet by Steve Ryfle. This release also restores the original ending credits of the American film which, until recently, were thought to have been lost.[75]

In 2009, Classic Media released Godzilla on Blu-ray. This release includes the same special features from the 2006 Classic Media DVD release, but does not feature the 1956 American version.[76] In 2012, the Criterion Collection released a "new high-definition digital restoration" of Godzilla on Blu-ray and DVD. This release includes a remaster of the 1956 American version, Godzilla, King of the Monsters, as well as other special features such as interviews with Akira Ikufube, Japanese film critic Tadao Sato, actor Akira Takarada, Godzilla performer Haruo Nakajima, effects technicians Yoshio Irie and Eizo Kaimai and audio commentaries on both films by David Kalat, author of A Critical History and Filmography of Toho’s Godzilla Series.[1][11]

In 2014, Classic Media reissued Gojira and Godzilla, King of the Monsters! on DVD, to commemorate the release of Legendary's Godzilla film. This release retained the same specs and features as the 2006 DVD release.[77] In 2019, the film was included as part of a Blu-ray box set released by the Criterion Collection, which included all 15 films from the franchise's Shōwa era.[78]

During its initial Japanese theatrical run, the film sold approximately 9.61 million tickets and was the eighth best-attended film in Japan that year. It remains the second most-attended Godzilla film in Japan, behind King Kong vs. Godzilla.[5] The film earned a distribution rental income of ¥183 million ($2.25 million) during its initial 1954 theatrical run in Japan.[4][5] 9.61 million Japanese ticket sales are equivalent to gross receipts of ¥605 million at an average 1955 ticket price.[79] In 1957, the film was released in France, where it sold 835,511 tickets.[6] This is equivalent to an estimated 101,932,342 FF ($291,235) at an average 1957 French ticket price.[7] During its 2004 limited theatrical re-release in North America, the film grossed $38,030 on its opening weekend and grossed $412,520 by the end of its limited run. For the 2014 limited re-release in North America, it grossed $10,903 after playing in one theater in New York and grossed $150,191 at the end of its run.[8] This adds up to $562,711 grossed from the North American re-releases in 2004 and 2014.

In the United Kingdom, the film sold 3,643 tickets from limited releases during 2005–2006 and 2016–2017,[80] equivalent to an estimated gross revenue of approximately £19,022[81] ($24,387). This adds up to a total estimated worldwide gross of $3,128,333. Adjusted for inflation, 9.61 million Japanese ticket sales are equivalent to $170 million at an average 2014 Japanese ticket price, while 835,511 French ticket sales are equivalent to $10.3 million at an average 2014 French ticket price.[82]

Prior to the release of the film, skeptics predicted the film to flop.[2] Initially, the film received mixed to negative reviews in Japan. Japanese critics accused the film of exploiting the widespread devastation that the country had suffered in World War II,[83] as well as the Daigo Fukuryū Maru (Lucky Dragon) incident that occurred a few months before filming began. Ishiro Honda lamented years later in the Tokyo Journal, "They called it grotesque junk, and said it looked like something you'd spit up. I felt sorry for my crew because they had worked so hard!"[84] Honda also stated, "At the time they wrote things like 'This movie is absurd, because such giant monsters do not exist.'"

Others said that depicting a fire breathing organism was strange. Honda also believed Japanese critics began to change their minds after the good reviews the film received in the United States. He stated "The first film critics to appreciate Godzilla were those in the U.S. When Godzilla was released there as Godzilla, King of the Monsters! in 1956, the critics said such things as, 'For the start, this film frankly depicts the horrors of the Atomic Bomb.', and by these evaluations, the assessment began to impact critics in Japan and has changed their opinions over the years."[85]

As time went on, the film gained more respect in its home country. In 1984, Kinema Junpo magazine listed Godzilla as one of the top 20 Japanese films of all time, while a survey of 370 Japanese movie critics published in Nihon Eiga Besuto 150 (Best 150 Japanese Films), had Godzilla ranked as the 27th best Japanese film ever made.[86] The film was nominated for two Japanese Movie Association awards. One for best special effects and the other for best film. It won best special effects[87] but lost best picture to Akira Kurosawa's Seven Samurai.[88] The film was re-released theatrically in Japan on November 21, 1982, as part of Toho's 50th anniversary.[89]

On review aggregator website Rotten Tomatoes, the film has a 93% approval rating based on 70 reviews, with an average score of 7.7/10. The site's consensus states: "More than straight monster-movie fare, Gojira offers potent, sobering postwar commentary".[90] On Metacritic, which assigns a weighted average based on selected critic reviews, the film has a score of 78/100, based on 20 critics, indicating "generally favorable reviews".[91]

In Entertainment Weekly, Owen Glieberman, who gave the film an A- rating, wrote:

"Godzilla, an ancient beast roused from the ocean depths and irradiated by Japanese H-bomb tests, reduces Tokyo to a pile of ash, yet, like Kong, he grows more sympathetic as his rampage goes on. The characters talk about him not as an enemy but as a force of destiny, a "god". The inescapable subtext is that Japan, in some bizarre way, deserves this hell. Godzilla is pop culture's grandest symbol of nuclear apocalypse, but he is also the primordial spirit of Japanese aggression turned, with something like fate, against itself".[92]

In the Dallas Observer, Luke Y. Thompson wrote:

"A lot of people are likely to be surprised by what they see. The 1954 Japanese cut is shot like a classic film noir, and the buildup to Tokyo's inevitable thrashing is quite slow by today's standards. The echoes of World War II are very strong, and the devastation wrought by Godzilla (played by Haruo Nakajima) is not sugar-coated; it eerily mirrors that of Hiroshima and Nagasaki, and the deaths and injuries are dwelt upon. The monster himself is not fully revealed for quite a while, and even when he finally shows up, he's a malevolent black predator with glistening skin, who stays mostly in the shadows, many times more fearsome than the green-skinned cookie monster who showed up in the various sequels to layeth the smacketh down on the candyasses of numerous alien invaders in ugly leotards".[93]

One of the few negative reviews was written by Roger Ebert in the Chicago Sun-Times. Ebert admitted the film was an important one and "properly decoded, was the Fahrenheit 9/11 of its time", but he also said:

"In these days of flawless special effects, Godzilla and the city he destroys are equally crude. Godzilla at times looks uncannily like a man in a lizard suit, stomping on cardboard sets, as indeed he was, and did. Other scenes show him as a stuffed, awkward animatronic model. This was not state-of-the-art even at the time; King Kong (1933) was much more convincing. When Dr. Serizawa demonstrates the Oxygen Destroyer to the fiancee of his son [sic], the superweapon is somewhat anticlimactic. He drops a pill into a tank of tropical fish, the tank lights up, he shouts "stand back!," the fiancee screams, and the fish go belly up. Yeah, that'll stop Godzilla in his tracks".[94]

Since its release, Godzilla has been regarded not only as one of the best giant monster films ever made but an important cinematic achievement.[95] The film was ranked No. 31 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010.[96] In 2015, Variety named it among the "10 Best Monster Movies of All-Time".[97]

In 1998, TriStar Pictures released a reimagining, titled Godzilla, directed by Roland Emmerich. Emmerich wanted his Godzilla to have nothing to do with Toho's Godzilla but chose to retain key elements from the 1954 film, stating, "We took part of [the original movie’s] basic storyline, in that the creature becomes created by radiation and it becomes a big challenge. But that’s all we took."[107] In 2014, Warner Bros. and Legendary Pictures released a reboot, also titled Godzilla, directed by Gareth Edwards. Edwards stated that his film was inspired by the 1954 film,[108] and attempted to retain some of its themes, stating, "Godzilla is a metaphor for Hiroshima in the original movie. We tried to keep that, and there are a lot of themes from the '54 movie that we've kept."[109]

• Barr, Jason (2016). The Kaiju Film: A Critical Study of Cinema's Biggest Monsters. McFarland. ISBN 978-1476623955.CS1 maint: ref=harv (link)
• Galbraith IV, Stuart (1998). Monsters Are Attacking Tokyo! The Incredible World of Japanese Fantasy Films. Feral House. ISBN 0922915474.CS1 maint: ref=harv (link)
• Galbraith IV, Stuart (2008). The Toho Studios Story: A History and Complete Filmography. Scarecrow Press. ISBN 9781461673743.CS1 maint: ref=harv (link)
• Godziszewski, Ed (1994). The Illustrated Encyclopedia of Godzilla. Daikaiju Enterprises.CS1 maint: ref=harv (link)
• Kalat, David (2010). A Critical History and Filmography of Toho's Godzilla Series - Second Edition. McFarland. ISBN 9780786447497.CS1 maint: ref=harv (link)
• Kalat, David (2012). Godzilla Audio Commentary (Blu-ray/DVD). The Criterion Collection.CS1 maint: ref=harv (link)
• Lees, J.D.; Cerasini, Marc (1998). The Official Godzilla Compendium. Random House. ISBN 0-679-88822-5.CS1 maint: ref=harv (link)
• Ragone, August (2007). Eiji Tsuburaya: Master of Monsters. Chronicle Books. ISBN 978-0-8118-6078-9.CS1 maint: ref=harv (link)
• Rhoads, Sean; McCorkle, Brooke (2018). Japan's Green Monsters: Environmental Commentary in Kaiju Cinema. McFarland. ISBN 9781476663906.CS1 maint: ref=harv (link)
• Ryfle, Steve (1998). Japan's Favorite Mon-Star: The Unauthorized Biography of the Big G. ECW Press. ASIN 1550223488.CS1 maint: ref=harv (link) CS1 maint: ASIN uses ISBN (link)
• Ryfle, Steve; Godziszewski, Ed (2006). Gojira Audio Commentary (DVD). Classic Media.CS1 maint: ref=harv (link)
• Ryfle, Steve; Godziszewski, Ed (2017). Ishiro Honda: A Life in Film, from Godzilla to Kurosawa. Wesleyan University Press. ISBN 9780819570871.CS1 maint: ref=harv (link)
• Solomon, Brian (2017). Godzilla FAQ: All That's Left to Know About the King of the Monsters. Applause Theatre & Cinema Books. ISBN 9781495045684.CS1 maint: ref=harv (link)