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Godzilla Raids Again

Godzilla Raids Again (Japanese: Gojira no Gyakushū, lit. 'Godzilla's Counterattack') is a 1955 Japanese tokusatsu kaiju film produced and distributed by Toho Company, serving as the direct sequel to the 1954 film Godzilla.^[1] Directed by Motoyoshi Oda and produced by Tomoyuki Tanaka, the film introduces the monster-versus-monster format to the franchise, pitting Godzilla against the horned dinosaur-like creature Anguirus in a destructive rampage through Osaka.^[2] With a runtime of 78 minutes, it stars Hiroshi Koizumi as pilot Shoichi Tsukioka, Setsuko Wakayama as his fiancée Hidemi, and features veteran actor Takashi Shimura in a supporting role.^[3] The screenplay, written by Shigeaki Hidaka and Takeo Murata based on a story by Shigeru Kayama, follows two fishing scout pilots who discover the battling kaiju on a remote island, leading to chaos as the monsters invade urban areas despite human defense efforts involving fighter jets and avalanches.^[4] Released in Japan on April 24, 1955, the film was a commercial success, grossing approximately ¥170 million (rentals) at the Japanese box office during its initial run, capitalizing on the original Godzilla's popularity as a metaphor for nuclear devastation.^[1] Special effects were overseen by Eiji Tsuburaya, who employed innovative techniques like varying camera speeds for dynamic monster fights and elaborate miniature sets for city destruction scenes, including a notable sequence involving the bombing of Osaka Castle's replica.^[2] In the United States, it premiered on May 21, 1959, under the altered title Gigantis, the Fire Monster, with Godzilla renamed "Gigantis" due to licensing issues, and received a mixed critical reception for shifting focus from the original's anti-war themes to more action-oriented spectacle.^[5] The film marks the debut of Anguirus as Godzilla's first rival and ally in later entries, establishing the Showa era's formula of escalating kaiju battles that defined the series for decades.^[2]

Overview

Plot

Two pilots scouting for fish schools off the coast of Osaka spot a massive bipedal creature locked in combat with a quadrupedal, horned monster on a remote island; the bipedal beast is identified as a second Godzilla, distinct from the one destroyed a year prior in Tokyo.^[6] The pilots narrowly escape as the monsters tumble into the sea and report the sighting to authorities in Osaka, where scientists confirm the creatures as prehistoric survivors awakened by nuclear testing: Godzilla and the ankylosaur-like Anguirus.^[7] Fearing an attack on the city, officials implement a blackout and deploy fighter jets to drop flares, attempting to lure the monsters away from populated areas.^[8] The monsters ignore the diversion and surface in Osaka Bay, resuming their ferocious battle on land and causing widespread devastation as they trample skyscrapers, ignite fires with their thrashing, and reduce historic sites like Osaka Castle to rubble.^[6] Godzilla gains the upper hand, hurling Anguirus into a moat and incinerating it with atomic breath, but the fight's collateral damage leaves neighborhoods in flames and the city center in ruins, evoking memories of wartime bombings and underscoring humanity's vulnerability to uncontrollable natural forces.^[7] With Anguirus defeated, Godzilla rampages further, drawn to a prison by escaping inmates and additional fires set to guide military tanks into position; however, conventional weapons prove futile against its hide.^[8] Desperate to contain the threat, the Japan Self-Defense Forces lure Godzilla to a mountainous region near the city using controlled blazes and aircraft. One pilot sacrifices himself by crashing into Godzilla to disorient it, allowing jets to bomb a cliffside and trigger an avalanche of snow and rock that buries the monster alive, apparently killing it.^[6] In the aftermath, as survivors grapple with the destruction mirroring post-war recovery efforts, a scientist proposes constructing massive electric barriers around urban centers to repel potential future monster incursions, highlighting human hubris in attempting to harness technology against nature's primal wrath.^[7]

Cast

Hiroshi Koizumi portrayed Shoichi Tsukioka, the protagonist pilot for a fishing company who discovers the monsters and becomes central to the efforts to combat them, bringing a sense of determination and heroism to the role in his debut lead performance for Toho.^[7]^[9] Setsuko Wakayama played Hidemi Yamaji, the radio operator and love interest who supports the pilots emotionally and operationally, contributing to the film's human drama through her portrayal of resilience amid crisis.^[7]^[9] Minoru Chiaki acted as Koji Kobayashi, Tsukioka's co-pilot partner whose tragic fate underscores the monsters' threat, delivering a performance that highlights camaraderie and vulnerability in the face of disaster.^[7]^[9] Takashi Shimura reprised his role as Dr. Kyohei Yamane, the paleontologist who advocates for studying the monsters rather than destroying them, providing scientific perspective in a brief but authoritative appearance that ties to the franchise's continuity.^[10]^[9] Haruo Nakajima donned the Godzilla suit, performing the monster's powerful movements and roars with enhanced mobility due to the lighter latex construction compared to the original film, emphasizing aggressive charges and combat dynamics in the battle sequences.^[11] Katsumi Tezuka wore the Anguirus suit, executing the creature's quadrupedal agility and biting attacks to convey its feral rivalry with Godzilla, marking his key contribution to early kaiju suit acting through physically demanding choreography.^[12]^[1] Supporting actors like Seijirō Onda as Captain Terasawa, the commander of Osaka's Self-Defense Forces, added to the ensemble's depiction of coordinated human response, enhancing the film's tension between military strategy and monstrous chaos without overshadowing the leads.^[7]^[9]

Production

Development

Following the monumental success of the 1954 film Godzilla, which became Toho Studios' highest-grossing release that year and captured public imagination with its allegorical portrayal of nuclear devastation, studio executives quickly greenlit a sequel to capitalize on the momentum.^[13] Producer Tomoyuki Tanaka, who had spearheaded the original project after a failed international co-production venture inspired its creation, played a pivotal role in initiating development in late 1954, aiming to revive the monster for a new story while navigating the challenges of extending the atomic-themed horror narrative.^[14] The rushed timeline—pre-production began mere weeks after the original's November release—reflected Toho's urgency to sustain franchise viability amid financial pressures and audience demand.^[15] The screenplay for Godzilla Raids Again was penned by Shigeaki Hidaka and Takeo Murata, drawing from a story outline by Shigeru Kayama, who had contributed to the original film's conceptualization. This script marked a departure from the first film's somber, cautionary tone by introducing the series' inaugural kaiju-versus-kaiju confrontation, pitting Godzilla against a new adversary to inject action and spectacle into the proceedings. Anguirus, Godzilla's quadrupedal dinosaur-like foe—envisioned as an armored, horned creature evoking prehistoric reptiles—was conceived to embody this shift toward a more adventurous, battle-driven plot, allowing the narrative to explore themes of monstrous rivalry while diluting the original's heavy emphasis on post-atomic trauma.^[13] Early concept sketches for the monsters, including Anguirus's design, involved special effects supervisor Eiji Tsuburaya, who helped translate the script's visions into feasible production elements.^[14] Development decisions prioritized a modest budget allocation, estimated at around ¥32 million (equivalent to approximately $88,000 USD in 1955 exchange rates), which constrained elaborate sets but encouraged innovative storytelling focused on urban destruction and human resilience rather than expansive philosophical undertones.^[16] This approach addressed the creative hurdle of resurrecting Godzilla without fully retreading the atomic allegory, opting instead for a lighter, action-oriented framework that broadened the monster's appeal beyond horror.^[17]

Crew

Motoyoshi Oda directed Godzilla Raids Again, stepping in after Ishirō Honda proved unavailable due to prior commitments on another Toho production. A Toho veteran who joined the studio in 1935 as an assistant director following his graduation from Waseda University, Oda had by then directed over 50 films, including genre efforts like the 1954 adaptation Invisible Man, which showcased his proficiency with special effects-driven narratives. For Godzilla Raids Again, Oda's stylistic choices emphasized brisk, straightforward action sequences, employing dynamic camera angles and pacing to amplify the intensity of the monster confrontations without the allegorical depth of the original film.^[18]^[19]^[13] Producer Tomoyuki Tanaka guided the film's development, exerting primary oversight on the emerging Godzilla franchise's direction to sustain momentum from the 1954 original. Tanaka, who originated the Godzilla concept amid Japan's postwar nuclear anxieties, prioritized rapid production—completing the sequel in under six months—to capitalize on the first film's commercial success while establishing the monster-versus-monster formula. Shigeru Kayama, a prominent postwar science fiction author who penned the story treatment, collaborated on adapting the narrative to introduce a rival creature, influencing the sequel's focus on inter-kaiju conflict.^[15]^[20]^[21] Cinematographer Seiichi Endo captured the film's visuals, skillfully integrating live-action sequences with Eiji Tsuburaya's miniature sets to convey the scale of urban destruction and monster battles. Endo's black-and-white photography maintained a documentary-like realism in human scenes while heightening the spectacle of the kaiju rampages through strategic lighting and composition.^[2] Editor Kazuji Taira assembled the footage with rapid cuts during the monster fights, creating a frenetic rhythm that underscored the chaos and urgency of the clashes, though the haste of production sometimes led to uneven pacing.^[2] Masaru Sato composed the score for Godzilla Raids Again, marking his early major collaboration with Toho and the Godzilla series after studying under Fumio Hayasaka. Sato's orchestral arrangements featured swelling strings and brass to punctuate the kaiju clashes, providing a more adventurous tone than Akira Ifukube's ominous original while evoking tension in the action set pieces.^[22]^[3]

Special effects

The special effects for Godzilla Raids Again were supervised by Eiji Tsuburaya, who employed suitmation techniques involving actors wearing heavy latex suits to portray the monsters.^[23]^[24] The Godzilla suit was a modified version of the one used in the 1954 film, made leaner to allow greater flexibility during action sequences, while the new Anguirus suit depicted an Ankylosaurus-like quadrupedal creature, constructed specifically for the film's monster battles.^[23]^[25] These suits, weighing around 100 kilograms each, were designed to convey the monsters' massive scale and weight through physical performance.^[26] Tsuburaya's team built detailed miniature sets representing Osaka's architecture, including a plaster model of Osaka Castle that required 15 days of construction and was rebuilt after an accidental early destruction during filming.^[27]^[28] Destruction scenes were achieved using pre-cut elements, internal wires to facilitate controlled breakage, and elaborate pyrotechnics to simulate explosions and fires as the monsters rampaged through the city.^[28]^[20] Key techniques included high-speed photography to capture monster movements, which added dynamic energy to the battle sequences despite an accidental fast-pace filming error that Tsuburaya ultimately retained for its intensity.^[1] Optical compositing was used to blend footage of the suited actors with live-action elements, such as crowds fleeing, creating seamless integrations of the giant monsters into real-world settings.^[24] The suits' limited durability posed significant challenges during prolonged fight choreography, with the heavy latex restricting actor mobility and causing physical exhaustion; Tsuburaya addressed this by observing performances and iteratively adjusting suit designs and shooting plans to enhance flexibility.^[26] These adaptations, influenced by the film's tight production schedule, marked early innovations in suitmation for more fluid kaiju combat.^[20] Sound design for the monster roars was created by Akira Ifukube, who integrated distinctive monster roars into the effects, with Godzilla's iconic cry produced by dragging a resin-coated leather glove across a double bass string, layered with echoes for depth; Anguirus's growls employed similar experimental methods to evoke its reptilian ferocity.^[29]^[30]

Release

Theatrical release

Godzilla Raids Again premiered on April 24, 1955, in theaters distributed by Toho across Japan.^[1] The film was marketed under its Japanese title Gojira no Gyakushū (lit. "Godzilla's Counterattack"), with promotional posters prominently featuring the dramatic duel between Godzilla and the ankylosaurus-like monster Anguirus to capitalize on the spectacle of monster combat.^[31] Newspaper advertisements and early tie-in merchandise, including toys and trading cards, further promoted the sequel by building on the massive success of the 1954 original Gojira.^[32] In the context of post-war Japan, where film content was still influenced by occupation-era guidelines and self-regulation, the movie was approved for general audiences by the industry's ethical committee, allowing broad accessibility without restrictive ratings.^[33]

American version

The American version of Godzilla Raids Again, re-titled Gigantis, the Fire Monster, was released theatrically in the United States on May 21, 1959, by Warner Bros. Pictures as a double feature with Teenagers from Outer Space.^[15] Produced by Paul Schreibman to market the film as an original monster story rather than a sequel, the adaptation changed the lead creature's name from Godzilla to Gigantis and altered the narrative to imply it was the monster's debut, while retaining core elements like its battle with a secondary beast called Angurus near a Japanese city.^[1]^[15] The film underwent significant edits, including the removal of all Japanese dialogue in favor of a new English dub scripted by Hugo Grimaldi at Ryder Sound Services, featuring voice work by actors such as George Takei and Paul Frees, along with added narration by Marvin Miller that highlighted nuclear testing dangers.^[15] Additional changes involved cutting scenes for faster pacing, inserting stock footage such as rocket launches, modifying sound effects like overlaying Angurus's roar on Gigantis, and replacing composer Masaru Sato's original score with generic library music from films including The Deerslayer and Kronos.^[34]^[15] Released in black-and-white to match the original production, the dubbing's stiff delivery and tonal inconsistencies introduced unintended humorous shifts that emphasized its low-budget aesthetic.^[1] This limited theatrical engagement reinforced an early Western view of the property as a campy B-movie, distinct from its more serious Japanese origins.^[15]

Reception

Critical response

Upon its release in Japan in 1955, Godzilla Raids Again received mixed reviews from critics, who praised its action sequences and special effects while criticizing the rushed script and lack of emotional depth compared to the original Godzilla film.^[13] The sequel's hasty production, completed just six months after the 1954 original, led to perceptions of it as a commercial follow-up that prioritized spectacle over narrative substance, though it was commercially successful.^[13] In the United States, the film's edited and dubbed version, released in 1959 as Gigantis, the Fire Monster, was received as an entertaining science-fiction offering, with reviewers noting the appeal of its monster battles despite the alterations that diluted its coherence.^[5] Retrospective critical reception has been similarly mixed, with the film holding a 64% approval rating on Rotten Tomatoes based on 11 reviews, averaging 5.0/10.^[5] Modern analyses often view it as less profound than its predecessor, lacking the original's stark nuclear allegory, but foundational in establishing the kaiju genre's sequel formula through the introduction of monster-versus-monster conflict.^[35] Scholarly interpretations highlight subtle anti-war undertones, portraying the monsters' battles as metaphors for postwar Japan's societal trauma and the futility of conflict, with Godzilla symbolizing lingering national scars from the Pacific War and Anguirus representing aggressive nationalism.^[36] While not as thematically resonant as the 1954 film, it shifts focus to resilience and recovery, influencing the franchise's evolution into action-oriented narratives.^[6]

Box office performance

Godzilla Raids Again achieved significant commercial success in Japan, earning ¥170 million in distributor rentals, which equated to roughly $500,000 USD based on 1955 exchange rates of approximately 360 yen per dollar.^[37] This performance corresponded to 8.34 million admissions, making it one of the top-grossing Japanese films of the year and the third highest-attended Godzilla entry domestically to date.^[38] Internationally, the film's earnings were more modest, with the U.S. release as Gigantis, the Fire Monster in 1959 estimated to have added about $100,000 to the total, reflecting limited appeal outside Japan due to the altered version and niche market for kaiju films at the time. The production budget of ¥32 million was recouped rapidly through domestic returns, allowing Toho to profit and expand investments in the kaiju genre, including future sequels.^[13] Attendance was driven by hype surrounding the sequel to the original Godzilla's blockbuster success, as well as the film's portrayal of urban destruction in Osaka, resonating with post-war audiences amid Japan's economic recovery. Adjusted for inflation using U.S. Consumer Price Index data, the domestic rentals equate to approximately $5 million USD in 2025 terms, underscoring the film's enduring financial impact relative to its era.^[39] To arrive at the inflation adjustment: The 1955 USD value of $500,000 is multiplied by the cumulative inflation factor from 1955 to 2025, approximately 11.82 (derived from annual CPI averages where $1 in 1955 equals $11.82 in 2025), yielding $5,910,000, rounded to $5 million for contextual emphasis.^[40]

Home media

Japanese releases

The Japanese home video release of Godzilla Raids Again (original title: Gojira no Gyakushū) began with Toho's VHS edition in 1982, marking the film's initial availability for home viewing in the country. This was followed by a LaserDisc release in 1986, providing higher-quality analog playback for enthusiasts during the early era of optical disc media. The DVD debut occurred in 2002, integrated into Toho's comprehensive Godzilla anthology set, featuring a restored color palette and Japanese subtitles for enhanced accessibility. In 2014, to commemorate the film's 60th anniversary, Toho issued a Blu-ray edition.^[41] Digital streaming options emerged in 2020, with the film becoming available on Toho's proprietary platforms and Netflix Japan. The most recent physical re-release arrived in 2025 as part of Toho's Godzilla 70th Anniversary 4K Remaster Box in 4K UHD Blu-ray format.^[42]^[43] This Japanese lineup contrasts with global editions, such as the U.S. Criterion Collection inclusion, which emphasizes international archival preservation.

International releases

In the United States, the edited American version titled Gigantis, the Fire Monster was first released on VHS by Video Treasures in 1989, running approximately 78 minutes and available in both EP and LP formats.^[44] A significant milestone in international home media came with the Criterion Collection's 2019 Blu-ray box set, Godzilla: The Showa-Era Films, 1954–1975, which included Godzilla Raids Again in its original uncut Japanese version with high-definition restoration, Japanese audio track, and English subtitles, alongside optional English-dubbed audio for the American cut.^[45] The film became available for streaming internationally on platforms such as HBO Max from May 2020, though availability varied by region and shifted after HBO Max's rebranding to Max in some markets.^[46] It has been accessible globally on Prime Video since 2022, offering the original Japanese version with English subtitles.^[47] As of November 2025, it remains available on Max, the Criterion Channel, and free with ads on Plex Channel. In 2025, Godzilla Raids Again featured in a special streaming event on Pluto TV's Godzilla Channel to commemorate its 70th anniversary, allowing free access to the original Japanese cut.^[48]

Legacy

Franchise influence

Godzilla Raids Again marked a pivotal shift in the Godzilla franchise by introducing the monster-versus-monster format, where Godzilla battles another kaiju rather than solely threatening humanity.^[2] This approach contrasted with the original 1954 film's standalone horror narrative centered on atomic devastation, establishing a template for conflict-driven spectacles that became a hallmark of subsequent entries. The film's climactic duel between Godzilla and Anguirus directly inspired later matchups, such as the 1962 production King Kong vs. Godzilla, which capitalized on the format's commercial appeal to blend kaiju action with crossover elements.^[2] The introduction of Anguirus in Godzilla Raids Again established the character as Godzilla's first recurring rival and occasional ally, a role that extended across several films in the franchise.^[49] Anguirus debuted as an antagonistic ankylosaur-like creature awakened by nuclear testing, engaging Godzilla in brutal combat that highlighted the potential for kaiju alliances or enmities in future stories. This dynamic recurred in Showa-era films like Destroy All Monsters (1968), Godzilla vs. Gigan (1972), Godzilla vs. Mechagodzilla (1974), and Terror of Mechagodzilla (1975), solidifying its status as a foundational supporting monster in Toho's kaiju universe.^[49] Unlike the isolated terror of the 1954 Godzilla, Raids Again transitioned the series toward serialized adventures, laying the groundwork for the expansive Showa era that produced fifteen Godzilla films from 1954 to 1975.^[45] This evolution emphasized ongoing narratives of monster resurgences and human responses, influencing the era's lighter, more fantastical tone while retaining undertones of nuclear peril. The film's structure of recurring threats and ensemble kaiju encounters paved the way for interconnected plots in later Showa entries, transforming Godzilla from a singular destroyer into a persistent icon of spectacle.^[45] Technically, Godzilla Raids Again set precedents for suitmation techniques in kaiju battles, with its redesigned Godzilla suit enabling more dynamic fight choreography than the original's cumbersome design.^[8] The enhanced mobility allowed performers like Haruo Nakajima to execute wrestling-style maneuvers against the Anguirus suit, a method refined and adopted in subsequent films such as Mothra (1961), where human-kaiju interactions demanded similar physicality. These innovations in practical effects became standard for Toho's tokusatsu productions, enabling the elaborate monster clashes that defined the franchise's visual language.^[8] Narratively, the film introduced a template of debates over human-monster coexistence, as scientists and officials weigh eradication against the risks of further provocation, a motif that echoed through later Godzilla plots.^[45] In Raids Again, characters grapple with using military force or natural barriers like avalanches to contain the beasts, foreshadowing recurring themes in Showa-era stories where Godzilla's role blurs between villain and anti-hero. This philosophical tension influenced entries like Mothra vs. Godzilla (1964), where environmental harmony versus exploitation drives the conflict, embedding ethical questions into the series' adventurous framework.^[45]

Cultural impact

Godzilla Raids Again (1955) symbolizes the anxieties of postwar Japan, with its kaiju battles serving as metaphors for Cold War tensions between superpowers and the pervasive fears of urban devastation in a nuclear age. The film's depiction of Godzilla clashing with Anguirus amid the destruction of Osaka reflects Japan's recovery struggles and the lingering trauma from atomic bombings, portraying monsters as embodiments of uncontrollable forces threatening modern cities.^[50] Scholars note that this sequel shifts from the original's solitary horror to inter-monster conflict, mirroring bilateral confrontations and Japan's position in international geopolitics during the 1950s. The film influenced the global monster genre by pioneering the kaiju-versus-kaiju format, which inspired subsequent productions emphasizing epic creature clashes over isolated threats. Released shortly after The Beast from 20,000 Fathoms (1953), Godzilla Raids Again expanded on atomic-age monster narratives, establishing a template for rivalrous spectacles that permeated Hollywood and international cinema.^[51] In popular culture, elements from Godzilla Raids Again appear in video games like Godzilla: Destroy All Monsters Melee (2002), where Anguirus debuts as a playable character drawn from the film's iconic rivalry. The franchise's early entries, including this sequel, have been parodied in animated series such as The Simpsons, with episodes featuring Godzilla-like attacks that nod to the destructive chaos of 1950s kaiju films.^[52] Academic analyses, such as those in the 2023 University of Minnesota Press edition of Shigeru Kayama's original novellas Godzilla and Godzilla Raids Again, explore the sequel's dynamics in processing Japan's ethical and societal rebuilding. In 2025, amid the film's 70th anniversary and the acclaim for Godzilla Minus One (2023) along with its announced sequel, Raids Again has seen renewed appreciation through fan restorations, podcasts, and articles praising its underrated contributions to kaiju lore.^[53]^[54]^[55]

References

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Godzilla Raids Again - Toho Kingdom
On March 7th, 1983, Toho submitted a renewal registration for the movie, using the title Godzilla Raids Again and its Romaji title, Gojira no Gyakushu. In ...
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Godzilla Raids Again
### Film Details
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Godzilla Raids Again (1955) - IMDb
Rating 5.7/10 (9,414) Godzilla Raids Again ... Fishing scout-pilots are startled to discover a new monster named Anguirus alongside a second.
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Godzilla Raids Again | Rotten Tomatoes
Rating 64% (11) With an even more explosive climax involving air raids and avalanches, Godzilla Raids Again may not be as emotionally satisfying as the original film.
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Godzilla Raids Again (1955) | Wikizilla, the kaiju encyclopedia
Godzilla Raids Again was the first Godzilla film to feature multiple monsters. The Godzilla suit used for this film, the GyakushuGoji, was slimmer and ...King Kong vs. Godzilla (1962) · Gallery.png · Soundtrack.png
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Godzilla Raids Again (1955) – Gigantis, The Fire Monster (1959)
Anguirus is one of my all-time favorite Toho kaiju, and makes its debut here as the first non-human foe Godzilla has ever faced in a feature film. From its cool ...
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Godzilla Raids Again (1955) - Full cast & crew - IMDb
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the first confrontation between two monsters in the history ...<|control11|><|separator|>
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Godzilla Raids Again (1955) — The Movie Database (TMDB)
Rating 6/10 (312) Nov 24, 2024 · Godzilla Raids Again (1955). User Score. What's your Vibe? Login ... Original Language Japanese. Budget $800,000.00. Revenue $1,952,653.00 ...
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The Three Ages of Godzilla | Den of Geek
May 9, 2014 · The picture was such a hit producer Tomoyuki Tanaka rushed a sequel into production. The following year's Godzilla Raids Again didn't have Honda ...<|separator|>
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Toho Studios followed the enormous success of the original Godzilla with this sequel, efficiently directed by Motoyoshi Oda as a straight-ahead monsters-on-the- ...
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Student of Fumio Hayasaka's, Masaru Sato really started his career as a composer in 1955, when he landed the coveted role of composing for the second Godzilla ...
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Q: The big battle between Godzilla and Angilas in GODZILLA RAIDS AGAIN takes place in front of a highly detailed miniature of Osaka Castle. ... fireworks. Q ...
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GODZILLA RAIDS AGAIN, (aka GOJIRA NO GYAKUSHU), top right
GODZILLA RAIDS AGAIN, (aka GOJIRA NO GYAKUSHU), top right: Godzilla on poster art, 1955. Available for Editorial use only.
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In contrast, there's Japan and GRA was when they really started merchandising these movies. I have photos of cards, toy guns, even a restaurant menu tied to the ...<|control11|><|separator|>
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Godzilla Raids Again (1955)/Gigantis: The Fire Monster (1959)
Sonosuke Sawamura as Hokkaido Branch Manager Shingo Shibeki; Seijiro Onda as Commander of Osaka's SDF Terasawa; Yoshio Tsuchiya as Member of Osaka's SDF ...<|control11|><|separator|>
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### Summary of Special Effects in *Godzilla Raids Again* (Criterion Article)
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Inflation Calculator | Find US Dollar's Value From 1913-2025
Easily calculate how the buying power of the U.S. dollar has changed from 1913 to 2025. Get inflation rates and U.S. inflation news.Current US Inflation Rates · Historical Inflation Rates · FAQ's · Inflation and Prices
[41]
Calculate the Value of $1.00 in 1955 - DollarTimes
Adjusted for inflation, $1.00 in 1955 is equal to $11.82 in 2025. Annual inflation over this period was 3.59%.<|control11|><|separator|>
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Godzilla Raids Again Blu-ray (Gojira no gyakushû | ゴジラの逆襲
730-day returnsGodzilla Raids Again Blu-ray Release Date July 16, 2014 (Gojira no gyakushû | ゴジラの逆襲 | Godzilla 60th Anniversary Edition). Blu-ray reviews, news, ...
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Godzilla Raids Again Blu-ray (ゴジラの逆襲 / Gojira no gyakushû ...
Rating 4.0 (1) · 730-day returnsGodzilla Raids Again Blu-ray Release Date June 18, 2025 (ゴジラの逆襲, Gojira no gyakushû). Blu-ray reviews, news, specs, ratings, screenshots.
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Watch all the classic Godzilla movies on Netflix Japan right now
Nov 20, 2020 · Starting from December 1, you'll be able to see virtually every Godzilla movie ever made on Netflix so you could – in theory – binge them all back to back.
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Godzilla Raids Again | VHSCollector.com
Oct 6, 2011 · Catalog Number. SV9107. -. Primary Distributor (If not listed, select "OTHER"). Video Treasures ; Running Time. 78 mins (NTSC) ; Audio / Screen / ...
[46]
https://www.justwatch.com/us/movie/godzilla-raids-again
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Godzilla Raids Again streaming: where to watch online? - JustWatch
Rating 55% (196) Watch "Godzilla Raids Again" · Full movie online for free · Check all streaming services such as Netflix, Prime Video & Disney+ – including 4K options!Missing: Toho 2020
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Watch Godzilla Raids Again | Prime Video - Amazon.com
Rating 4.3 (205) This time around, Godzilla is reawakened by an A-Bomb again but decides to wreak havoc on Osaka.
[49]
https://godzilla.com/blogs/news/godzilla-raids-again-pluto-tv-streaming-live-event
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東宝株式会社
**Summary of Godzilla Raids Again and Its Influence on the Franchise:**
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In The Bomb's Long Shadow: Review of Shigeru Kayama's Godzilla ...
Feb 2, 2024 · With Godzilla and Godzilla Raids Again, we scrape away decades of media interpretations and pop icon status to reveal the source material at Godzilla's heart.Missing: direction | Show results with:direction
[52]
A Brief History of Godzilla's Rise - Motion Picture Association
Aug 16, 2018 · The monster was inspired by 1953's The Beast From 20,000 Fathoms ... Godzilla Raids Again, which gave the king of monsters a foe roughly ...
[53]
Destroy All Monsters Melee Guide - Godzilla - IGN
Mar 27, 2012 · This oversized Ankylosaur was the first monster that Godzilla ever fought, way back in 1955's Godzilla Raids Again. ... Destroy All Monsters Melee ...
[54]
Godzilla and Godzilla Raids Again - University of Minnesota Press
14-day returnsGodzilla and Godzilla Raids Again. Shigeru Kayama. Translated by Jeffrey Angles. ISBN: 9781517915230. Publication date: October 3rd, 2023. 256 Pages.
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Nightmare Revisited: GODZILLA RAIDS AGAIN At 70 - Fangoria
Apr 24, 2025 · It's a film that revisits the themes and ideas of the original by thrusting the horror and violence of Godzilla – both the monster itself and its symbolic ...
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10 Most Underrated Godzilla Movies That No One Seems To Love
Nov 10, 2024 · 10 Most Underrated Godzilla Movies That No One Seems To Love · 10 Godzilla vs. Mechagodzilla II (1993) · 9 Godzilla Raids Again (1955) · 8 Godzilla ...