King Kong vs. Godzilla
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is a 1962 tokusatsu kaiju film directed by Ishiro Honda with visual effects by Eiji Tsuburaya. It was the third installment in the Japanese series of kaiju films featuring the monster Godzilla. It is an eccentric departure from the visual effects style of the original 1933 film King Kong, this film features a man in a gorilla suit playing Kong instead of stop-motion animation. Godzilla, freshly released from his iceberg enclosure from the end of Godzilla Raids Again (U.S. title: Gigantis the Fire Monster) rampages through Japan. He eventually faces King Kong, brought from his island originally as a publicity stunt by the greedy head of a pharmaceutical company (played by Ichiro Arishima).
Overview
Unlike the other films in the series King Kong vs. Godzilla overtly emphasizes comedy, both in the human and monster scenes. This is usually attributed to Eiji Tsuburaya, who wanted to move the Godzilla series in a lighter direction. The film is obviously a spoof of commercialism and the burgeoning media in Japan. Some critics also claim that Kong, and in the following film Mothra, represent the resources of the Pacific Islands with Godzilla as symbol of the United States's nuclear power. However, Kong is usually viewed as an 'American' monster (as it was an American film company that first came up with him).Much of the overt comedy of the film disappears in the re-edited version released in America by Universal International. Producer John Beck cut large amounts of the Japanese footage and replaced it with new footage of American actors playing newscasters commenting on the action. The score by Akira Ifukube was also replaced with library music, much of it replaced by stock music from the movie Creature from the Black Lagoon by Henry Mancini. The score swap angers many fans to this day.
The film had its roots in earlier concepts for a new Kong feature put out by Willis O'Brien in his search to fund another film starring the famous ape. In O'Brien's original proposed treatment, the gorilla King Kong fought against a giant version of the Frankenstein creature. After American producer John Beck sold the concept to Toho Studios (much to O'Brien's dismay), the Japanese executives replaced the Frankenstein monster with their own flagship giant monster, Godzilla. This was the first color feature for either monster.
Plot summary
A TV company travels into the wildness of Faro Island to find King Kong, while at the same time a nuclear submarine is destroyed by Godzilla, who resurrects after a 7 year absence. When Kong is brought back to Japan, he encounters Godzilla, and both creatures fight for supremacy. An earthquake sends both creatures into the depths of the ocean, and Kong later resurfaces and returns to his home island.Notes
- In Japan, this film had the highest box office attendance figures of all of the Godzilla series to date.
- Not only was this the first Godzilla and King Kong movie in "Scope" ratio (2.35:1), but also their first appearances in color.
- While many fans of King Kong hated the ape's portrayal in this film, it was said that Eiji Tsuburaya deliberately made Kong comical as to not frighten young children, and make the audience root more for Kong than the frightening Godzilla.
- The Davy Crockett, a portable rocket system for launching a small nuclear or conventional warhead, appears in the movie while still classified.
- This movie is discussed by Donkey Kong and Diddy Kong in the Donkey Kong Country episode "From Zero to Hero", though it is not mentioned by name.
- The picture of Kong on the US-release poster was a cropped still from the original 1933 production (during his fight with the pterodactyl), rather than as he actually appears in this film.
- The bigger draw of the 2 monsters in Japan was King Kong, who at the time was far more popular there than their own Godzilla.
- King Kong's original creator, Willis O'Brien had created a treatment in the 60's called King Kong vs. Frankenstein. O'Brien planned on using stop animation, like he had in the original King Kong, to bring the monsters to life. O'Brien sparked the interest of producer John Beck with some concept art and several screenplay treatments to make the film. Unfortunately, the cost of stop animation prevented the film from being put into production. Beck took O'Brien's main idea to Toho, who was planning to make Godzilla return to the big screen after his seven year absence since Godzilla Raids Again. Toho also wanted a big movie to celebrate their thirtieth year in production. The O'Brien treatment was changed to feature Godzilla to battle King Kong instead of Frankenstein's monster.
- In 1991, the film was to be "remade" as "Godzilla vs King Kong" with the names in reverse order, as part of the Hesei Series. Turner asked too much money for Kong's use, then "Godzilla vs Mechani-Kong" was attempted, but Turner tried to sue Toho for "Mechani-Kong being too similar to Kong". In the end, the film became Godzilla vs King Ghidorah
- Ishiro Honda had toyed with the idea of using Willis O'Brien's stop motion technique instead of the suitmation process used in his films. Unfortunately, budgetary concerns prevented him from using the process. However, there are a couple of brief scenes where Honda makes use of stop motion photography. The first use of it is in the scene where the giant octopus grabs one of the natives and swings him around. Another is the scene Kong's fight with Godzilla. In that scene it is used when Godzilla hits Kong with a drop-kick.
- There were four live octopuses used in the scene where it fights the natives. They were forced to move by blowing hot air on them. After the filming of that scene was finished, three of the four were released. The fourth became special effects director Eiji Tsuburaya's dinner.
Dual ending
There is an urban legend about a dual ending, a victory for Kong in the American version, a victory for Godzilla in the Japanese one. This is false. Both versions end with the monsters toppling into the sea, then Kong emerging and swimming away victorious. In the Japanese version, when Kong emerges from the sea, the Japanese characters seem happy and relieved. They consider Godzilla to be dead, not just defeated. The minister of Defense claims that they should all remember the lesson Kong taught them. Just like the American version, only difference is when "THE END" pops up, Godzilla's roar erupts followed immediately after another sound bite of Kong's to ensure that he is indeed the winner here. The American version ends with reporter Eric Carter wishing Kong luck, and then Kong roars before the movie ends.
Either way, Toho has stated that it is Kong who was meant to be the victor. In Mothra vs. Godzilla the following year, it is learned Kong somehow stuffed his opponent in a fissure, trapping him until the water is drained to make way for more construction.
External link
- Archer, Eugene. "[King Kong vs. Godzilla]" (film review) The New York Times. June 27, 1963.
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