The Story of Godzilla’s Birth – Pt 51


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

P 114 – 115

▼ 目劇前を行くゴジラのしっぽ日劇はこのあと中代文雄によるしっぽの操演で破壊される。

▼ Godzilla’s tail, which is running in front of the theater, is later destroyed by Fumio Nakadai’s tail manipulation.

P 116


“Isn’t there a more natural and powerful way to break it?”


Nakadai thought carefully and said to himself, “I’m going to pretend to be a tail.” So he studied various movements and came to the following conclusion.


“If you let the tail float a little and move it toward the building, it will move in a natural, fluffy way. Next, if you let it drop with a thud, the tail will swing and it will feel like it hit the building with a thud.”


It was a manipulation technique.


If we put this scene into words,


“Godzilla, which destroyed the Wako Clock Tower, continues to move forward and passes by the Nichigeki. At this time, its tail swings and destroys the Nichigeki building.”


That’s all. However, here we can see the thoughts that Honda and Tsuburaya put into Godzilla. Godzilla has no intention of “destroying” the Nichigeki Building. However, when he moved my tail, there was a Japanese drama. As a result, it ended up being destroyed. Everything about Godzilla in this movie is like that. There was no malicious intent to destroy anything. It breaks just by walking.


It’s blocking my progress, so he try to remove it. There’s something trying to get in the way, so all you have to do is fight back with incandescent light.


In the 1984 remake of “Godzilla,” there is a scene in which Godzilla destroys a Japanese theater (renamed Marion). However, this Godzilla is smashing the wall of the theater with his right hand, clearly with the intention of destruction. Even though they are both “Godzilla,” this scene clearly shows the different feelings that went into the movie.

P 117


Regarding the operation, cameraman Arikawa introduces one episode. When filming formation flights with special effects, Arikawa thought that a cool formation would be six airplanes strung together by piano wire, lined up in a triangle, and flying at the same height, in the same direction, and at the same speed. . However, Tsuburaya says that the movie cannot be made like that.


“A formation is a struggle to fly, constantly pulling in and out. If you can’t see that, it’s not a formation. You can’t say it’s flying.”


It wasn’t until Tsuburaya told Arikawa, who had experience flying, that he realized, “Ah, that’s right.” With just one control, the miniatures come to life and look like real airplanes with humans on board. The reason why Tsuburaya’s special effects footage is so dramatic and as moving as the main story is largely due to Tsuburaya’s mastery of how to show things off.


The lighting staff also had a lot of trouble. Genbun Ryo was one of those who had a lot of trouble.


“Godzilla’s expression doesn’t change whether he’s sad or happy. That’s why you have to keep the light shining on just his face. Godzilla’s body is dark, so you have to look for a place that shines depending on the situation. There is. That’s what’s difficult.”


Just like the face, Godzilla’s expression does not change, so it changes in various ways as the audience’s feelings are reflected. Godzilla’s glowing eyes stand like a black silhouette against the night sky, and his slimy skin reflects the flames of a burning city.