Godzilla
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Synopsis
Godzilla (a.k.a. Gojira) is the roaring granddaddy of all monster movies. It’s also a remarkably humane and melancholy drama, made in Japan at a time when the country was reeling from nuclear attack and H-bomb testing in the Pacific. Its rampaging radioactive beast, the poignant embodiment of an entire population’s fears, became a beloved international icon of destruction, spawning more than thirty sequels. A thrilling, tactile spectacle that continues to be a cult phenomenon, the original 1954 Japanese version is presented here, along with Godzilla, King of the Monsters, the 1956 “Americanized” version.
Picture 8/10
The Criterion Collection updates their special edition of Ishiro Honda’s Godzilla to 4K UHD, presenting the film on a triple-layer disc in its original aspect ratio of 1.37:1. The 10-bit SDR 2160p/24hz ultra high-definition presentation is sourced from a new 4K restoration performed by Toho, utilizing a scan of a 35mm master positive. The release also includes a standard dual-layer Blu-ray replicating the disc from Criterion’s 2012 edition (not the 2019 Showa Era box set version). This Blu-ray hosts a 1080p version of the film (from the older restoration), the American cut, and all of the previously released video supplements.
While it falls a little short of the heights of Criterion’s stellar 4K presentation for another Toho classic, Seven Samurai, this new presentation of Godzilla still represents a significant upgrade over the Blu-ray releases. Criterion’s previous editions were serviceable, but the restoration left room for improvement, and the digital encode for the 2012 edition has aged poorly, with noticeable artifacts (the presentation in the Showa Era set benefits from a slightly better encode). The new 4K restoration addresses these issues head-on, cleaning up much of the damage visible in older presentations while delivering a much stronger encode. Grain is rendered far more cleanly, though it occasionally falls slightly short, with subtle evidence of noise reduction—likely applied by Toho—in some scenes. Despite this, the grain appears much stronger overall compared to previous presentations, and this is by far the sharpest and cleanest the film has ever looked.
Contrast has seen marked improvement, greatly enhancing visibility in darker scenes. The expanded grayscale adds depth to shadows and ensures smooth tonal transitions, such as the seamless blending of sky tones in the background. Finer details, like the textured scales of Godzilla’s suit, are more pronounced, though the foam exterior becomes more apparent. While some sequences with optical effects appear slightly darker than the rest of the film, they’re still noticeably clearer than in previous presentations.
The absence of HDR is a slight letdown, as its inclusion could have elevated the presentation further. That said, the SDR grading still holds up remarkably well, delivering solid black levels, smooth gradations in grays, and well-defined highlights. This keeps the overall visual experience pleasant, even without the extra push HDR might have provided.
Though some limitations in the source materials remain, this 4K release is a remarkable upgrade over all prior presentations. It’s the best Godzilla has ever looked, offering a clean and faithful restoration worthy of the film's legacy.
Audio 5/10
Criterion appears to be reusing the same PCM monaural soundtrack featured in their previous editions. As before, it’s limited in range, sounding a bit flat and tinny at times, but it remains clean and clear overall, with no significant damage or distortion. Dialogue and sound effects are easy to hear, at least. It’s serviceable, but there’s certainly room for improvement.
Extras 10/10
Criterion has ported over all of the features from their 2012 Blu-ray edition (since the included Blu-ray is the same one used in 2012), beginning with two excellent audio commentaries by film historian David Kalat.
The first commentary, recorded for the Japanese version of the film and found on both the 4K disc and Blu-ray, is a passionate and highly engaging track. Kalat begins by addressing the critical reputation of Godzilla, noting the film’s dismissal by some and outright defense by others. While he strives not to take a defensive stance, he does push back against dismissive critiques (he highlights The New York Times’ contradictory praise of Takashi Shimura in Ikiru compared to its slight of his performance in Godzilla). Kalat also dives into the film’s production history, tracing its inspiration from the Daigo Fukuryu Maru incident and covering how Honda and his team balanced their vision with technical challenges, including the decision to use a man in a suit instead of stop motion. He also delves into the film's political commentary, its visual style, and its pioneering special effects, even addressing the cultural debate surrounding the title Godzilla versus Gojira. Kalat’s enthusiasm and depth of knowledge make this track a highlight of the set.
The second commentary accompanies the American version, Godzilla, King of the Monsters, which is only found on the Blu-ray. Kalat provides a thorough analysis of this re-edited version, which drastically alters the narrative by inserting new footage with Raymond Burr. Instead of outright dismissing this adaptation, Kalat argues for its importance in introducing the franchise to American audiences. He explores how the film reflects mid-century trends in distributing foreign films in the U.S., including the controversial practice of dubbing and "Americanization." He also discusses how new scenes were integrated with the original footage, noting the technical and creative choices involved. This track complements the first commentary while offering fresh perspectives, even if one doesn’t fully agree with Kalat’s arguments.
Regarding the American version's presentation, it is presented in 1080p and looks surprisingly strong given its patchwork origins. The new footage featuring Burr is sharp and clean, showing less wear compared to the reused material from the Japanese version, which appears rougher in comparison. It’s a fine enough presentation, though falls far short of the 4K presentation for the original film, and it's a shame it didn't receive a new restoration as well.
As for the film itself—for those unfamiliar—Godzilla, King of the Monsters is a fascinatingly bizarre "Americanized" edit of the original, assembled by Terry Morse. At its core, the Japanese version was heavily cut down (with roughly 50 minutes of the original footage remaining) and supplemented with newly shot material featuring American actors, most notably Raymond Burr as reporter Steve Martin. Burr’s character is conveniently placed in Tokyo to witness the events, though the narrative and structure are drastically altered.
The integration of the new material with the original footage is clunky at best. Scenes with Burr are awkwardly edited into the film, with his character primarily relegated to observing events and asking for translations. In scenes where Burr’s character interacts with original cast members, like Takeshi Shimura’s, the execution is laughably obvious, often relying on shots of Burr and the back of a stand-in’s head. The dubbing for some of the Japanese dialogue adds another layer of awkwardness. Despite these shortcomings, the version remains a fascinating artifact, offering a wholly different—and at times unintentionally comedic—interpretation of the original film.
Moving on through the rest of the disc, Criterion next provides a series of interviews with cast and crew members. Akira Takarada (Ogata) offers a charming 13-minute reflection on his experience working on the film, from his excitement at working with Shimura to the challenges of reacting to effects that weren’t there. Haruo Nakajima’s 10-minute interview proves even more intriguing as he recounts his process in bringing Godzilla to life, including the physical challenges of the suit and his attention to making the monster’s movements believable. Yoshio Irie and Eizo Kaimai, effects technicians, provide a 30-minute deep dive into the film’s groundbreaking visual effects, including the design of the Godzilla suit and the intricacies of model destruction. Their insights are supported by photos, sketches, and storyboards.
Composer Akira Ifukube is featured in a longer 51-minute archival interview from 2000. Though slower-paced, the discussion is rich in detail, covering his career and the enduring impact of his iconic score for Godzilla.
Additional features explore the film’s legacy and context. Photographic Effects is a 9-minute featurette showcasing raw footage of effects shots before and after matte work, revealing some surprises about sequences that appear deceptively simple. Tadao Sato provides a thoughtful 14-minute analysis of the film’s cultural significance in Japan, its postwar anxieties, and its enduring emotional resonance. The essay The Unluckiest Dragon examines the Daigo Fukuryu Maru incident that inspired the film, offering a concise yet thorough look at its political ramifications and cinematic influence.
The set also includes theatrical trailers for both the Japanese and American versions and a collection of stills and promotional materials. The original booklet from the 2012 release has been retained, featuring J. Hoberman’s essays on the Japanese and American versions. Criterion also recreates the charming pop-up packaging of the original Blu-ray release, though it still uses the Heisei-era Godzilla design rather than the Showa-era version.
Criterion’s exhaustive collection of supplements is anchored by Kalat’s outstanding commentaries but rounded out with a wealth of engaging material that explores the film’s production, legacy, and cultural context. It’s an essential release for fans and newcomers alike.
Closing
Criterion's 4K UHD upgrade of Ishiro Honda’s Godzilla to 4K UHD delivers a significant visual improvement alongside a wealth of excellent supplements, including David Kalat’s essential commentary tracks and the fascinating American re-edit, Godzilla, King of the Monsters.
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