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This article is about the 1962 film. For the upcoming 2020 film, see Godzilla vs. Kong.

King Kong vs. Godzilla (??????????, Kingu Kongu Tai Gojira) is a 1962 Japanese science fiction crossover kaiju film featuring King Kong and Godzilla, produced and distributed by Toho. It is the third film in the Godzilla franchise and Showa series and the first of two Japanese-produced films featuring King Kong. It is also the first time both characters appeared on film in color and widescreen. The film is directed by Ishir? Honda with special effects by Eiji Tsuburaya and stars Tadao Takashima, Kenji Sahara, Y? Fujiki, Ichir? Arishima, and Mie Hama, with Shoichi Hirose as King Kong and Haruo Nakajima as Godzilla. Produced as part of Toho's 30th anniversary celebration, this film remains the most attended of all the Godzilla films to date.

King Kong vs. Godzilla
Theatrical release poster
Directed byIshir? Honda
Produced byTomoyuki Tanaka
Written byShinichi Sekizawa
Starring
  • Tadao Takashima
  • Kenji Sahara
  • Y? Fujiki
  • Ichir? Arishima
  • Mie Hama
  • Shoichi Hirose
  • Haruo Nakajima
Music byAkira Ifukube
CinematographyHajime Koizumi
Edited byReiko Kaneko
Production
company
Toho
Distributed byToho
Release date
  • August 11, 1962 (1962-08-11)
Running time
97 minutes
CountryJapan
LanguageJapanese
Budget¥150 million
(Japan)
$200,000
(USA)
Box office¥352 million
(Japan)
$2.7 million
(USA)

An American production team produced a heavily altered English version that used new scenes, sound and dubbing. The American production was released theatrically in the United States in the summer of 1963 by Universal Pictures. The film was released in Japan on August 11, 1962.

Screenplay

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 immediately sends two men, Sakurai and Kinsaburo, to find and bring back the monster. Meanwhile, the American submarine Seahawk gets caught in an iceberg. The iceberg collapses, unleashing Godzilla (who, in the Japanese version, had been trapped within since 1955), who then destroys the submarine and a nearby Arctic military base.

On Faro Island, a giant octopus attacks the native village. The mysterious Faro monster, revealed to be King Kong, arrives and defeats the octopus. Kong then drinks some red berry juice that immediately puts him to sleep. Sakurai and Kinsaburo place Kong on a large raft and begin to transport him back to Japan. Mr. Tako arrives on the ship transporting Kong, but a JSDF ship stops them and orders them to return Kong to Faro Island. Meanwhile, Godzilla arrives in Japan and begins terrorizing the countryside. Kong wakes up and breaks free from the raft. Reaching the mainland, Kong confronts Godzilla and proceeds to throw giant rocks at Godzilla. Godzilla is not fazed by King Kong's rock attack and uses its atomic breath to burn him. Kong retreats after realizing that he is not yet ready to take on Godzilla and its atomic breath.

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 (50,000 volts were tried in the first film, but failed to turn the monster back), which prove effective against Godzilla. Kong then 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. The JSDF launches capsules full of the Faro Island berry juice in gas form which puts Kong to sleep and are able to rescue Fumiko. The JSDF then decides to transport Kong via balloons to Godzilla, in hopes that they will kill each other.

The next morning, Kong is dropped next to Godzilla at the summit of Mount Fuji and the two engage in a final battle. Godzilla initially has the advantage due to its atomic breath and nearly kills Kong. After knocking Kong out with a devastating dropkick and tail smacks to the head, Godzilla begins burning the foliage around Kong trying to cremate him. Suddenly a bolt of lightning from thunder clouds strike King Kong reviving him and charging him up. The monsters continue their fight with the revitalized King Kong beating up Godzilla. Kong continues to throw rocks to attack Godzilla as Godzilla uses its atomic breath to keep Kong at a distance. The two monsters destroy Atami Castle and both fall off a cliff together into the Pacific Ocean. After an underwater battle, only Kong resurfaces. Kong begins to swim towards his island home. There is no sign of Godzilla, but the JSDF speculates that it is possible that it survived. The JSDF decides not to pursue Kong but, rather, let him return home.

  • Tadao Takashima as Osamu Sakurai
  • Kenji Sahara as Kazuo Fujita
  • Y? Fujiki as Kinsaburo Furue
  • Ichir? Arishima as Mr. Tako
  • Mie Hama as Fumiko Sakurai
  • Jun Tazaki as General Masami Shinzo
  • Akiko Wakabayashi as Tamie
  • Akihiko Hirata as Shigesawa, Doctor
  • Somesho Matsumoto as Onuki, Doctor
  • Akemi Negishi as Chikiro's Mother, Faro Island Native
  • Senkichi Omura as Konno, TTV Translator
  • Sachio Sakai as Obayashi, Mr. Tako's Assistant
  • Haruya Kato as Obayashi's Assistant
  • Nadao Kirino as General's Aide
  • Yoshio Kosugi as Faro Island Chief
  • Shin Otomo as Ship Captain
  • Harold Conway as Scientist on Submarine
  • Shoichi Hirose as King Kong
  • Haruo Nakajima as Godzilla
 
A painting done by Willis O'Brien for the proposed King Kong meets Frankenstein. This project evolved into King Kong vs. Godzilla with Godzilla replacing the Frankenstein giant as King Kong's opponent

The film had its roots in an earlier concept for a new King Kong feature developed by Willis O'Brien, animator of the original stop-motion Kong. Around 1960, O'Brien came up with a proposed treatment, King Kong meets Frankenstein, where Kong would fight against a giant version of Frankenstein's monster in San Francisco. O'Brien took the project (which consisted of some concept art and a screenplay treatment) to RKO to secure permission to use the King Kong character. During this time the story was renamed King Kong vs. the Ginko when it was believed that Universal had the rights to the Frankenstein name (it actually only had the rights to the monster's makeup design). O'Brien was introduced to producer John Beck, who promised to find a studio to make the film (at this point in time, RKO was no longer a production company). Beck took the story treatment and had George Worthing Yates flesh it out into a screenplay. The story was slightly altered and the title changed to King Kong vs. Prometheus, returning the name to the original Frankenstein concept (The Modern Prometheus was the alternate name of Frankenstein in the original novel). Unfortunately, the cost of stop-motion animation discouraged potential studios from putting the film into production. After shopping the script around overseas, Beck eventually attracted the interest of the Japanese studio Toho, which had long wanted to make a King Kong film and was also planning for Godzilla to make a comeback around the same time. After purchasing the script, they decided to replace the Frankenstein creature with Godzilla to be King Kong's opponent and would have Shinichi Sekizawa rewrite Yates's script. The studio thought that it would be the perfect way to celebrate its thirtieth year in production. It was one of 5 big banner releases for the company to celebrate the anniversary alongside Sanjuro, 47 Samurai, Lonely Lane, and Born in Sin. John Beck's dealings with Willis O'Brien's project were done behind his back and O'Brien was never credited for his idea. In 1963, Merian C. Cooper attempted to file a lawsuit against John Beck claiming that he outright owned the King Kong character, but the lawsuit never went through as it turned out he was not Kong's sole legal owner as he had previously believed.

Ishiro 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. The various rating wars between the networks and banal programming that followed this event caused widespread debate over how TV would effect Japanese culture with Soichi Oya stating TV was creating "a nation of 100 million idiots". 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" and "the reason I showed the monster battle through the prism of a ratings war was to depict the reality of the times". 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.". 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".

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 Kaguyahime (Princess Kaguya), but he postponed those to work on this project with Toho instead since he was such a huge fan of King Kong. 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."

 
A Shinto priest performs a purification ceremony prior to the start of filming.

Eiji Tsuburaya had a stated intention to move the Godzilla series in a lighter direction. This 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. But Tsuburaya wanted to appeal to children's sensibilities and broaden the genre's audience. This approach was favoured by Toho and to this end, King Kong vs. Godzilla has a much lighter tone than the previous two Godzilla films and contains a great deal of humor within the action sequences. 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. Ishir? Honda was not a fan of the dumbing down of the monsters. Years later, Honda stated in an interview. "I don't think a monster should ever be a comical character." "The public is more entertained when the great King Kong strikes fear into the hearts of the little characters." 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. Additionally, the theatrical release was accompanied by both a true 4.0 stereophonic soundtrack, and a regular monaural mix.King Kong Vs. Godzilla

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