The Story of Godzilla’s Birth – Pt 36


The Story of Godzilla's Birth
「ゴジラ誕生語」The Story of Godzilla's Birth by Osamu Yamaguchi

P 81


▲ 和光時計台を破壊するゴジラ3度目にやっと、生き物としての自然な演技ができた。ゴジラを見上げる人間の目線(「アオリ」のショット)が、その大きさを実感させる。

▲ Only the third time Godzilla destroys the Wako Clock Tower is he finally able to act naturally as a living creature. The perspective of a person looking up at Godzilla (a shot of the “tilt”) makes you realize how big Godzilla is.

P 82


Therefore, there is a theory that this is a synthesis.


With the city’s blazing flames in the background, Godzilla approaches the House of Representatives building. He sets his foot on the House of Representatives building on the right side (on the left side of the screen) and somehow breaks through. Tsuburaya’s proposed change in scale was a huge success. The hugeness of Godzilla overlooking the Capitol building is enough to make the audience stop breathing. It is almost impossible to tell the pieces of falling bricks apart from the real thing. In this way, a powerful scene of destruction was created that could hardly be expressed through stop-motion photography.


After this, Godzilla destroys the TV tower where the live broadcast is being broadcast, but at this time, a finger puppet-like model with only the upper body called “Guignol” is used to put his hand on the steel tower and bite Godzilla (23 page, see photo on page 148). This model was also created by Teizo Toshimitsu. The clay model was molded with plaster and then cut out with rubber, making it easy to move the mouth and hands.


Guignol was first operated using a puppeteer in a puppet show, but the movements of the puppets and the movements of the monsters are quite different. Since he couldn’t get the image of his movements right, he decided to bow my head and ask him to go home. In the end, the person who moved Guignol was Fumio Nakadai, who was in charge of “Godzilla’s Tail.”


In this way, Godzilla stomps the streets of Tokyo with his giant feet, smacks them with his tail, and turns the streets of Tokyo into a sea of fire with incandescent light, inflicting many casualties, but strangely, we never see blood on the special effects screen. Tsuburaya is said to have said, “Children are going to see it. Don’t show them blood.” However, there is also evidence that Tsuburaya himself hated seeing blood.