“To say that this Oriental monster is fantastic is to state but half the case. Godzilla, produced in a Japanese studio, is an incredibly awful film … the whole thing is in the cheap cinematic-horror stuff … ” (Crowther 1956).
In his review of the very first Gojira 1954 screening in the States, New York Times’ critic Crowther mercilessly bashed director Ishirō Honda’s sci-fi Kaiju film, dedicating a full paragraph to complaining that the iconic sequence of the nuclear-activated monster’s rampage through Tokyo carried little meaning and was done “for no clear reason”. Crowther’s blunt scorn might (understandably) enrage those who have already known the meaning behind this film—nuclear disaster and the loss and pain it brings. But one could also cut him some slack, for he spoke from the point of view of a person from a vastly different culture,
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