Godzilla vs Kong: The Hidden Easter Eggs and References You Might Have Missed
King Kong vs. Godzilla was released theatrically in Japan on August 11, 1962 and grossed ¥352 million, making it the second-highest-grossing Japanese film in history upon its release. The film remains the most attended Godzilla film in Japan to date,[7] and is credited with encouraging Toho to prioritize the continuation of the Godzilla series after seven years of dormancy. A heavily re-edited "Americanized" version of the film was released theatrically in the United States by Universal International Inc. on June 26, 1963.
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Mr. Tako, head of Pacific Pharmaceuticals, is frustrated with the television shows his company is sponsoring and wants something to boost his ratings. When a doctor tells Tako about a giant monster he discovered on the small Faro Island, Tako believes that it would be a brilliant idea to use the monster to gain publicity. Tako sends two men, Osamu Sakurai and Kinsaburo Furue, to find and bring back the monster. Meanwhile, the American nuclear submarine Seahawk gets caught in an iceberg. The iceberg collapses, unleashing Godzilla, who had been trapped within it since 1955.[b] Godzilla destroys the submarine and makes his way towards Japan, attacking a military base as he journeys southward.
The JSDF digs a large pit laden with explosives and poison gas and lures Godzilla into it, but Godzilla is unharmed. They next string up a barrier of power lines around the city filled with 1,000,000 volts of electricity, which proves effective against Godzilla. Kong approaches Tokyo and tears through the power lines, feeding off the electricity, which seems to make him stronger. Kong then enters Tokyo and captures Fumiko, Sakurai's sister, taking her to the National Diet Building which he then scales. The JSDF launches capsules full of vaporised Farolacton juice, which puts Kong to sleep, and rescue Fumiko. The JSDF decides to transport Kong via balloons to Godzilla, in hopes that they will kill each other.
Director Ishirō Honda wanted the theme of the movie to be a satire of the television industry in Japan. In April 1962, TV networks and their various sponsors started producing outrageous programming and publicity stunts to grab audiences' attention after two elderly viewers reportedly died at home while watching a violent wrestling match on TV.[31] The various rating wars between the networks and banal programming that followed this event caused widespread debate over how TV would affect Japanese culture with Sōichi Ōya stating TV was creating "a nation of 100 million idiots".[32] Honda stated "People were making a big deal out of ratings, but my own view of TV shows was that they did not take the viewer seriously, that they took the audience for granted...so I decided to show that through my movie"[31] and "the reason I showed the monster battle through the prism of a ratings war was to depict the reality of the times".[33] Honda addressed this by having a pharmaceutical company sponsor a TV show and going to extremes for a publicity stunt for ratings by capturing a giant monster stating "All a medicine company would have to do is just produce good medicines you know? But the company doesn't think that way. They think they will get ahead of their competitors if they use a monster to promote their product."[34] Honda would work with screenwriter Shinichi Sekizawa on developing the story stating that "Back then Sekizawa was working on pop songs and TV shows so he really had a clear insight into television".[33]
Special effects director Eiji Tsuburaya was planning on working on other projects at this point in time such as a new version of a fairy tale film script called Princess Kaguya, but he postponed those to work on this project with Toho instead since he was such a huge fan of King Kong.[35] He stated in an early 1960s interview with the Mainichi Newspaper, "But my movie company has produced a very interesting script that combined King Kong and Godzilla, so I couldn't help working on this instead of my other fantasy films. The script is special to me; it makes me emotional because it was King Kong that got me interested in the world of special photographic techniques when I saw it in 1933."[36]
Early drafts of the script were sent back with notes from the studio asking that the monster antics be made as "funny as possible".[37] This comical approach was embraced by Tsuburaya, who wanted to appeal to children's sensibilities and broaden the genre's audience.[38] Much of the monster battle was filmed to contain a great deal of humor but the approach was not favoured by most of the effects crew, who "couldn't believe" some of the things Tsuburaya asked them to do, such as Kong and Godzilla volleying a giant boulder back and forth. With the exception of the next film, Mothra vs. Godzilla, this film began the trend to portray Godzilla and the monsters with more and more anthropomorphism as the series progressed, to appeal more to younger children. Ishirō Honda was not a fan of the dumbing down of the monsters.[34] Years later, Honda stated in an interview. "I don't think a monster should ever be a comical character," and "The public is more entertained when the great King Kong strikes fear into the hearts of the little characters."[39] The decision was also taken to shoot the film in a (2.35:1) scope ratio (TohoScope) and to film in color (Eastman Color), marking both monsters' first widescreen and color portrayals.[40]
Beck spent roughly $12,000 making his English version and sold the film to Universal-International for roughly $200,000 on April 29, 1963.[4] The film was released theatrically in the United States on June 26 of that year,[19] as a double feature with The Traitors.[86]
The reviews tended to evaluate the film as an exploitation or kiddie film. Some of the more positive reviews were from James Powers of The Hollywood Reporter who wrote "A funny monster picture? That's what Universal has in "King Kong Versus Godzilla [sic]". Audiences which patronize this kind of picture will eat it up. It should be a big success via the multiple booking, exploitation route."[104] While the review from Box Office stated "Exploitation-minded exhibitors should have a field day with this Japanese import. While the story is preposterous and loaded with stilted dialogue...the special effects are unusual and merit considerable praise".[104] John Cutts of Films and Filming wrote "Sublime stuff. Richly comic, briskly paced, oddly touching, and thoroughly irresistible. Outrageous of course, and deplorably acted and atrociously dubbed to boot. But what matters most is the sheer invention of its exemplary trick work."[104]
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Den of Geek ranked the film at number eight in their 2019 ranking of the Shōwa Godzilla films, writing that the film has a "sturdy, surprisingly crafty story" but calling Kong's design and appearance a "major drawback."[106] Variety listed it number sixteen on their 2021 ranking of every Godzilla film.[107] Collider ranked the film number two on their Shōwa Godzilla list in 2022, describing the fight choreography as "beautiful."[108]
Due to the great box office success of this film, Toho wanted to produce a sequel immediately.[112] Shinichi Sekizawa was brought back to write the screenplay tentatively titled Continuation: King Kong vs. Godzilla (続 キングコング対ゴジラ, Zoku Kingu Kongu tai Gojira).[113] Sekizawa revealed that Kong had killed Godzilla during their underwater battle in Sagami Bay with a line of dialogue stating "Godzilla, who sank and died in the waters off Atami".[114] As the story progressed, Godzilla's body is salvaged from the Ocean by a group of entrepreneurs who hope to display the remains at a planned resort. Meanwhile, King Kong is found in Africa where he had been protecting a baby (the sole survivor of a plane crash). After the baby is rescued by investigators, and is taken back to Japan, Kong follows the group and rampages through the country looking for the infant. Godzilla is then revived with hopes of driving off Kong. The story ends with both monsters plummeting into a volcano.[115] The project was ultimately cancelled.[116] A couple of years later, United Productions of America (UPA) and Toho conceived the idea to pit Godzilla against a giant Frankenstein Monster and commissioned Takeshi Kimura to