The Return Of Godzilla full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

The Japanese fishing vessel Yahata-Maru is caught in strong currents off the shores of Daikoku Island. As the boat drifts into shore, the island begins to erupt, and a giant monster lifts itself out of the volcano. A few days later, reporter Goro Maki is sailing in the area and finds the vessel intact but deserted. As he explores the vessel, he finds all the crew dead except for one young man called Hiroshi Okumura, who has been badly wounded. Suddenly a giant Shockirus sea louse attacks him but he is saved by Okumura.

In Tokyo, Okumura realizes by looking at pictures that the monster he saw was a new Godzilla. Maki writes an article about the account, but the news of Godzilla's return is kept secret and his article is withheld. Maki visits Professor Hayashida, whose parents were lost in the 1954 Godzilla attack. Hayashida describes Godzilla as a living, invincible nuclear weapon able to cause mass destruction. At Hayashida's laboratory, Maki meets Okumura's sister, Naoko, and informs her that her brother is alive and at the police hospital.

A Soviet submarine is destroyed in the Pacific. The Soviets believe the attack was perpetrated by the Americans, and a diplomatic crisis ensues, which threatens to escalate into nuclear war. The Japanese intervene and reveal that Godzilla was behind the attacks. The Japanese cabinet meets to discuss Japan's defence. A new weapon is revealed, the Super X, a specially-armored flying fortress that will defend the capital. The Japanese military is put on alert.

Godzilla attacks the Ihama nuclear power plant. While Godzilla is feeding off the reactor, it is distracted by a flock of birds and leaves the facility. Hayashida believes that Godzilla was distracted instinctively by a homing signal from the birds. Hayashida, together with geologist Minami, propose to the Japanese Cabinet, that Godzilla could be lured back to Mt. Mihara on ?shima Island by a similar signal, and a volcanic eruption could be started, capturing Godzilla.

Prime Minister Mitamura meets with Soviet and American envoys and declares that nuclear weapons will not be used on Godzilla, even if it were to attack the Japanese mainland. Meanwhile, the Soviets have their own plans to counter the threat posed by Godzilla, and a Soviet control ship disguised as a freighter in Tokyo Harbor prepares to launch a nuclear missile from one of their orbiting satellites should Godzilla attack.

Godzilla is sighted at dawn in Tokyo Bay heading towards Tokyo, causing mass evacuations. The Japanese Air Self Defense Force attacks Godzilla but fails to stop its advance on the city. Godzilla soon emerges and makes short work of the JSDF stationed there. The battle causes damage to the Soviet ship and starts a missile launch count-down. The captain dies as he attempts to stop the missile from launching. Godzilla proceeds towards Tokyo's business district, wreaking havoc along the way. There, it is confronted by four laser-armed trucks and the Super X. Because Godzilla's heart is similar to a nuclear reactor, the cadmium shells that are fired into its mouth by the Super X seal and slow down its heart, knocking it unconscious.

The count-down ends and the Soviet missile is launched. The Americans intervene and fire a counter-missile at the Soviet missile. Hayashida and Okumura are extracted from Tokyo via helicopter and taken to Mt. Mihara to set up the homing device before the two missiles collide above Tokyo. The two missiles collide, producing an electrical storm and an EMP, which revives Godzilla once more and temporarily disables the Super X.

Godzilla and the Super X battle through the streets. Godzilla finally destroys the Super X and continues its rampage, until Hayashida uses the homing device to distract it. Godzilla leaves Tokyo and swims across the Japanese sea, following the homing device to Mt. Mihara. There, Godzilla follows the device and falls into the mouth of the volcano. Okumura activates detonators at the volcano, creating a controlled eruption that traps Godzilla inside.

Pre-production

After the box office failure of Terror of Mechagodzilla, Toho attempted to reinvigorate the franchise several times during the late 1970s and early 1980s. The first attempt was the announcement of a color remake of the original 1954 film entitled The Rebirth of Godzilla in 1977, but the project was shelved. A year later, it was announced that Toho would develop a film jointly with UPA studios entitled Godzilla vs. the Devil, though this, along with UPA producer Henry G. Saperstein's proposed Godzilla vs. Gargantua, also never materialized.

Godzilla series creator Tomoyuki Tanaka took charge of reviving the franchise in 1979, Godzilla's 25th anniversary, intending to return the series to its dark, anti-nuclear roots in the wake of the Three Mile Island accident. Hoping to win back adult audiences alienated by the fantastical approach to Godzilla films taken during the 1970s, Tanaka was further encouraged in his vision by the contemporary success of adult-oriented horror and science fiction movies like King Kong, Invasion of the Body Snatchers, Alien and The Thing. A draft story entitled The Resurrection of Godzilla was submitted by Akira Murao in 1980, and had Godzilla pitted against a shape-shifting monster called Bakan in the backdrop of an illegal nuclear waste disposal site, though the project was cancelled without explanation. In 1983, American director Steve Miner proposed directing a Godzilla film at his own expense. Toho approved of the project, and Miner hired Fred Dekker to write the screenplay and paleosculptor Steve Czerkas to redesign the monster. The project was however hampered by Miner's insistence on using prohibitively costly stop-motion animation and shooting the film in 3D, and was thus rejected by major American movie studios. Under pressure from a 10,000-member group of Japanese Godzilla fans calling themselves the "Godzilla Resurrection Committee", Tanaka decided to helm a Japanese film for "strictly domestic consumption" to be released jointly alongside Miner's movie.

Production

In an effort to disavow Godzilla's increasingly heroic and anthropomorphic depiction in previous films, Tanaka insisted on making a direct sequel to the original 1954 movie. He hired screenwriter Shuichi Nagahara, who wrote a screenplay combining elements of the previously cancelled The Resurrection of Godzilla and Miner's still unproduced film, including an intensification of hostilities during the Cold War and a flying fortress which fires missiles into Godzilla's mouth. Koji Hashimoto was hired as director after Ishir? Honda declined the offer, as he was assisting Akira Kurosawa with Kagemusha and Ran, and felt that the franchise should have been discontinued after the death of Eiji Tsuburaya.

Composer Akira Ifukube was offered to score the film but respectfully declined. At the time, it was rumored that Ifukube refused to participate in the film due to the changes made to Godzilla, stating, "I do not write music for 80-meter monsters". However, this quote was later clarified, by Ifukube's biographer Erik Homenick and Japanese Giants editor Ed Godziszewski, as a joke spread by fans which was later misinterpreted as fact. Ifukube declined to score the film due to his priorities, at the time, teaching composition at the Tokyo College of Music.

The special effects were again directed by Teruyoshi Nakano, who had directed the special effects of several previous Godzilla films. The decision was made by Tanaka to increase the apparent height of Godzilla from 50 metres (160 ft) to 80 metres (260 ft) so that Godzilla would not be dwarfed by the contemporary skyline of Tokyo. This meant that the miniatures had to be built to a ?¹?₄₀th scale, and this contributed to an increase in the budget of the film to $6.25 million. Tanaka and Nakano supervised suit-maker Noboyuki Yasumaru in constructing a new Godzilla design, incorporating ears and four toes, features not seen since Godzilla Raids Again. Nakano insisted on infusing elements into the design that suggested sadness, such as downward-facing eyes and sloping should