The purposeful grimace and terrible sounds of Godzilla were hailed as box-office salvation last year, butGodzilla vs. Kongcouldn’t have made such a splash if it came out of nowhere. Legendary’sMonsterVersewouldn’t exist at all if not for the 67-year legacy of the king of the monsters, originating in the Japanese tokusatsu (special effects) pictures of the 1950s and 60s. These were the movies that traveled the world, made Godzilla into a household name, and delighted children of all ages. They’ve often attracted sneers and jeers over bad effects and worse dubbing – and a few might even deserve some of these barbs – but Toho’skaiju(monster) films are a diverse bunch. You can find all sorts of looks, tones, and qualities across their Godzilla series, and even the least of them can boast the charm that only comes from practical, hand-built filmmaking.
Toho has produced four distinct Godzilla series, named for different time periods: Shōwa, Heisei, Millenium, and the ongoing Reiwa. The Shōwa era introduced Godzilla and all his kaiju brethren and lasted from 1954 to 1972, encompassing 15 films starring or co-starring the monster king. And we’ve ranked them all:
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15. Godzilla Raids Again (1955)
What’s Japanese for “quickie sequel?” The box office success of the originalGodzilla(1954) was so impressive to executive producerIwao Morithat, mere weeks after the first film’s release, a sequel was put into production and released not even a full calendar year later. The rushed nature ofGodzilla Raids Againshows in almost every element. There isn’t a plot so much as a loose collection of scene ideas poorly stitched together. There’s a bit of workplace comedy, some cops and robbers intrigue, and military action sequences thrown in at the end.
Sandwiched among all this is the “monster vs. monster” concept, pitting Godzilla against his first foe: the giant Ankylosaurus Anguirus. Their duels certainly enliven the proceedings, but even this aspect of the film feels underdeveloped, wrapping up halfway through with nothing to top it in the remaining run time. It doesn’t help that, while Anguirus looks impressive, the Godzilla suit made for the movie has awkward proportions and a ridiculous expression. The only aspects ofGodzilla Raids Againthat offer their best are the acting and the musical score byMasaru Satō.
14. Son of Godzilla (1967)
Complaints about wardrobe can seem nitpicky, but film is a visual medium, and the way that a star looks and moves in costume does matter to the picture. In the case ofGodzilla and Son, the costume in question is the ugliest suit design for the title monster to date. In the film marking the big guy’s transition into fatherhood, this hunk of rubber leaves him looking dim-witted, half-asleep, and gone to pot. His son Minilla, a bug-eyed rug rat who can barely open his mouth, looks nothing like him, and even as a kid, I found him unimpressive.
It’s a shame that the Godzilla family comes off looking so shabby because the giant insect marionettes and the stage-built jungle island setting are remarkably well-executed. The monsters are more humanized here than in many kaiju pictures, and there is a rather touching father-son comedy within that’s frustrated by the poorly animated suits. Just don’t ask me what the humans are up to; except forBibari Maeda’sfriendship with Minilla, none of it matters.
13. Godzilla vs. Hedorah (1971)
While directorYoshimitsu Bannohas denied it, rumor still holds that Godzilla’s creator-producerTomoyuki Tanakafelt thatGodzilla vs. Hedorah“ruined” the character. If he did say so to Banno, that seems a little harsh. you’re able to’t deny that this is one of the most creative and experimental entries in the series, featuring animated sequences, musical numbers, and psychedelic visual sequences. These elements unfortunately don’t gel with the monster action into a cohesive whole, but I can’t fault Banno or the film for trying new things.
On the other hand,Godzilla vs. Hedorahwas also the most overt allegory of any Godzilla film since the original, and that’s one of its biggest problems. I find allegory a hard sell in even the best efforts at the form, and this movie is far from that. It’s heavy-handed and simplistic, its environmental concerns so exaggerated and so easily solved that it has no useful commentary on the issues it’s concerned with. Asa certain recent comedyhas shown, good intentions and a point of view easy to agree with don’t automatically make your movie worth watching.
12. Terror of Mechagodzilla (1975)
The final entry in the Shōwa series,Terror of Mechagodzillawas one of the few direct sequels Toho made to a kaijupicture in those days. It picks up right where 1974’sGodzilla vs. Mechagodzillaleft off: with the alien Simeons rebuilding their dinosaur-themed robot to continue their schemes for world domination. For insurance, they team with mad scientist Shinzo Mafune (Akihiko Hirata), who has taken control of the aquatic Titanosaurus. Interpol agents are on the case, and one of them has the tragic fate of falling in love with Mafune’s daughter Katsura (Tomoko Ai), who just happens to be a cyborg responsible for controlling the newly restored Mechagodzilla.
It’s a lot of sci-fi melodrama, but it makes for a pretty decent plot on the human side of things. The two evil monsters get good suits and plenty of screentime. The weak link of the movie is Godzilla himself, serving a glorified cameo in his own starring vehicle.Terror of Mechagodzillawasn’t the first or the last film to treat Godzilla more as a means to defeat the bad guys than a character, but it is unique in just how minimal and unsatisfying that treatment is.
11. Godzilla vs. Megalon (1973)
You know that infamous clip of Godzillasliding on his tailto deliver a dropkick? That’s fromGodzilla vs. Megalon. Some might say this marks the nadir of Godzilla’s career, the once terrifying symbol of nuclear destruction reduced to a cuddly mascot performing silly stunts. Myself, I think the movie’s a hoot. The suit introduced here would last until the end of the Shōwa era, and it’s one of the better-looking ones of the series – even if it is “cute.”
Megalon has a nice design as well, a beetle-like creature teaming nicely with his nefarious birdlike back-up from outer space, Gigan. Helping Godzilla take on this twosome is Jet Jaguar, a robot designed by a schoolchild for a contest hosted by Toho. None of the human action stays with you except for the Seatopians who control Megalon, and the film was clearly made on the cheap, but it’s a harmless child-friendly superhero story. You have to be willfully disgruntled not to smile at it.
10. Godzilla vs. Gigan (1971)
When the Seatopians ofGodzilla vs. Megalonsent out a distress call to the insectoids of M Space Hunter Nebula for Gigan’s aid, they were also providing a callback to their film’s immediate predecessor.Godzilla vs. Giganwas another two-on-two monster battle, but even with copious amounts of stock footage, the fight choreography is more impressive here. Anguirus has evolved from Godzilla’s first foe to his chief lieutenant in the war against no-goodnik kaiju, and we get a few translations of their strategizing here that are delightful to watch.
Gigan and his partner, King Ghidorah (oh, how the mighty have fallen – from Godzilla’s archnemesis to the latest villain’s backup) get no such humanization, which seems appropriate. Building up to the clash of beasties, there is entertaining human drama centered around a monster-inspired theme park, featuring comic book artists, aliens in disguise, and a hippie. It’s all cheap and cheesy, but any kid or kid-at-heart looking for a bellyful of suitmation can enjoyGodzilla vs. Giganas comfort food.
9. All Monsters Attack (1969)
Even more than entries likeGodzilla vs. Megalon,All Monsters Attackattracts the ire of many Godzilla fans. It often ranks at or near the bottom of many lists. Some of that displeasure no doubt comes from the fact that this isn’t really a Godzilla movie. The plot centers around Ichiro (Tomonori Yazaki), a young boy with bullying and self-confidence struggles. To cope with his problems, he imagines himself exploring Monster Island with Minilla, who suffers from the same sort of woes.
Together, they take inspiration watching the exploits of Godzilla (courtesy, for the most part, of stock footage). It is, quite literally, a children’s story, with Godzilla as a hero of the child’s imagination. And if you can accept the film as that instead of what you might want it to be, it’s rather sweet. Though I strongly recommend watching it in Japanese to spare yourself the dubbed voice of Minilla. Oh, right – he can talk in Ichiro’s daydreams. Enjoy that.
8. Destroy All Monsters (1968)
We take it for granted today that hundreds or even thousands of monsters can reach the screen through digital technology, but in the late 1960s, bringing just eleven together for a decisive battle for Earth was an enormous undertaking and a worthy swan song for special effects pioneerEiji Tsubaraya’s direct involvement in the genre he helped create. Set in the faraway future of 1999,Destroy All Monstersdoesn’t give Godzilla and his followers on Monster Island a whole lot of screen time.
When the alien Kilaaks take control of the lot, they’re sent around the world for brief glimpses of city destruction, often alone or with just a few companions. But they all assemble at the finale for a wonderful tag-team battle with King Ghidorah. On the road there, those brief city attacks are lively and colorful, as is the “futuristic” production design and the plotting sessions of the Kilaaks. The film isn’t as slick as contemporary monster mashes, but good luck finding one from our era with this much fun and charm.
7. Godzilla vs. Mechagodzilla (1974)
Next to King Ghidorah, the most notorious of Godzilla’s enemies is probably Mechagodzilla, and this is the film that launched his career. With Godzilla himself so firmly established as a hero by this time, the movie has some fun in the beginning with an apparent heel turn before loyal Anguirus, and later the monster king himself, blow off fake Godzilla skin to reveal the robot underneath. Just why the Simeon aliens wanted their planet-conquering mecha in the shape of an irradiated dinosaur isn’t explained, nor is such an explanation necessary or wanted.
The human drama isn’t the greatest these films have ever offered, but it does culminate in a lengthy musical scene to revive King Caesar, a kaiju drawn from traditional mythology, to aid Godzilla in his struggles with his mechanized counterpart. Unlike the sequel, King Caesar’s appearance feels obligatory rather than the starring monster’s, but he slides into the plot more seamlessly to make for an exciting two-on-one climax.
6. Ebirah, Horror of the Deep (1966)
I readily concede that nostalgia helped placeEbirah, Horror of the Deepso high on this list. I have fond memories of watching it on TV as a kid. But setting that aside, there’s plenty to recommend here. Where so many of these movies follow along with scientists or reporters as they mix with politicians to address looming crises for Japan or the entire world, Ebirah stars a couple of unlucky schmucks who wash up on a desert island. There they find a giant lobster, Ebirah, controlled by a terrorist organization that has enslaved the natives of nearby Infant Island, home of Mothra.
Why have they done this? Why are they on a desert island? Do you ask these questions of Saturday morning cartoon villains? That’s the level this film works at, and it works very well indeed. Godzilla, naturally, is asleep on the island, and our band of humans can think of nothing more natural than to revive him so he can destroy Ebirah and the terrorists while Mothra flies everyone to safety. The story is slight and leisurely paced, making for a very relaxing watch on a lazy weekend.
