We posted this in the past now they are showing up as pre-orders on a number of sites, all Godzilla 60th anniversary Blu-ray & DVD releases (all of the 29 titles including the '98 American Godzilla film) will be available. 16 titles are newly released as Blu-ray format, and other 13 ones are reissued. They are listed close to $50 US but should be had for less, these show in listings on CD Japan as being region free, if so then for possible the first time US buyers can get the highly sort after Godzilla 1984 in these formats. Most include bonus material, trailers, making of, poster art, etc. You can go to the CD Japan site here.
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The Japanese network will celebrate Godzilla's 60th anniversary with two documentaries and a number of Godzilla films. The documentaries are "The Premium: Godzilla’s Counterattack: Who Are You?" and "The Man Who Painted Monsters With Sound: Godzilla vs. Akira Ifukube", info direct from there site below. "The Man Who Painted Monsters With Sound: Godzilla vs. Akira Ifukube" Sunday July 6th Navigator Sano Shiro actor also appeared experience in "Godzilla 2000", Godzilla music stay alive in '60 or was born in what way, and sprinkled with a dramatic re-enactment with the testimony of the person in charge the process to completion from the birth secret story as well as look back, Akira Ifukube composer is in deciphering the message I put in the sound. For movie "Godzilla", a film director has likened this. "The movie is said to be a masterpiece, there is music that has excellent characteristics that always, also Godzilla, it is in the works to be engraved in the memory by the music" ---. It adds special effects to the video and intense character of Godzilla, is what makes a masterpiece "Godzilla" another, it is the music. It was the composer, composer Akira Ifukube greeting 100th birthday this year. His music will be the decisive impression of the Godzilla movies, and continue to influence also sequel. Also composer Alexander Desupura known was in charge of the music Hollywood version of a new work of this summer of "GODZILLA", or "speech of the King of England" and "Treasures of Harry Potter death", and without learning the music of Ifukube, It is said that it is not possible to express the existence of Godzilla. Music Ifukube is on the show? Whether continue to be loved, to Navigator Sano Shiro actor also appeared experience in "Godzilla 2000", Godzilla music stay alive in '60 or was born in what way, why, complete from its birth secret story as well as look back and sprinkled with a dramatic re-enactment with the testimony of the person in charge of the process up, Akira Ifukube composer is in deciphering the message I put in the sound. [Cast] Shiro Sano (Actor), Tetsuko Kuroyanagi (actress) Alexander Desupura ("GODZILLA" music composer) other reproduction drama: Yoshizawa Yu (Actor), Kana Harada (actress), etc. "The Premium: Godzilla’s Counterattack: Who Are You?" Saturday July 5th Film critic of the United States has likened this Godzilla. '60 From the birth of the movie "Godzilla" - ". Monster immortal can live in any era, it's Godzilla's existence that can be reborn in the clothing appropriate for the age always commit our thoughts the most." Spawn of atomic and hydrogen bombs, Hero, as the presence of sound the alarm to the human race at the children, Godzilla has engaged in a desperate struggle with the human being appeared in front of us, to destroy the city earnestly, and then, fight the Wild Things Are at at were. And summer this year. Godzilla revives 3D movie which made full use of state-of-the-art technology in Hollywood as "GODZILLA". Why Godzilla is what continues to be superstar of the movie? Is it a who exactly is Godzilla beyond the age difference and culture, the country, coming resurrected screen time after time? The movie covered the people of Japan and the United States, which has been wrestling with Godzilla. Generously errand video so far ranging '60 Godzilla, 28 installment, and while exchanging the latest research and unpublished materials, in the Japanese star movie largest, King of the Monsters of the world's most famous, the charm of Godzilla I will focus on. [Appearance] Takarada Akira, Ken Watanabe, Takao Okawara, Kazuki Omori, Shusuke Kaneko, Ryuhei Kitamura, Masaaki Tezuka, KenAkira Yamashita, Koichi Kawakita, Shogo Tomiyama, Wataru Mimura, Gareth Edwards, William Tsutsui, Gregory Flew Films being shown: GODZILLA 60th Anniversary Digitally Remastered (1954) MOTHRA VS GODZILLA (1964) GHIDORAH: THE THREE-HEADED MONSTER (1964) INVASION OF ASTRO-MONSTER (1965) RETURN OF GODZILLA (1984) GODZILLA VS MECHAGODZILLA II (1993) GODZILLA VS DESTOROYAH (1995) GODZILLA, MOTHRA AND KING GHIDORAH: GIANT MONSTERS ALL-OUT ATTACK (2001) GODZILLA AGAINST MECHAGODZILLA (2002) Famitsu has just released screenshots of the new Namco Godzilla game for the PS3, we mentioned. I must say that these two screenshots above look pretty amazing! In the other pics, you can defintiely see that the models came from the MonsterArts G'94.
The Puchon International Fantastic Film Festival in Korea will have aspecial program for Godzilla's 60th Annivesary, The Great Kaiju, Godzilla 60 Years. I will feature program for the annivesary as well as showings of seven Godzilla films. The festival is from July17th to the 27th in Puchon, Kyounggido, Korea. Details from there site below and check out the full details here.The legend of the present, and way into the future, of the monster, Godzilla! It is no exaggeration that all western and eastern monster-characters are, in some way, influenced by the great Godzilla. The legendary monster is still alive today, and will, no doubt show up again – in a different guise perhaps – before too long in the future. To mark the 60th anniversary of Godzilla’s birthday, PiFan has organized a special exhibition called, ‘The Great Kaiju: Godzilla – 60 Years’ this year. From the original Godzilla of way back in 1954, which spawned the monster-movie genre, to Invasion of Astro Monster and Destroy All Monsters – which featured a showdown between Godzilla and King Ghidorah – to Godzilla vs. Hedorah, and Terror of Mechagodzilla. Then there was Godzilla vs. Biollante, cited as one of the most precious masterpieces among all 'Godzilla VS' series, leading ultimately to the all-star monster-movie: Godzilla: Final Wars. So, sit back and enjoy the greatest of the original monster-movies, in the Great Kaiju. Here is the article and image from the Japanese Godzilla site. Godzilla 60th anniversary of Desi Tell Remastered June 7, reprinted rare item of the public at that time in 1954 the "theatrical programs and advertising materials reprint set" will be sold at the screening theater. Price 1,500 yen (excluding tax). Sale → (Saturday) from 11:00 June 7 in mail order Stella mail order is here by all means, please buy it at this opportunity. Please note that the occasion of a sellout Note because there is a limited number. There will be a limited edition 60th Anniversary t- shirt given away to those attending the Best of Godzilla presentation on July 19 in Japan, the movie will be selected it seems from a contest called the Godzilla General Election. The presentation will apparently feature four "famous" people, assuming they are actors and very possible including Gareth Edwards, maybe. It's hard to make out specifics due to the site being in Japanese. Check out the event site here. Sony Movie Channel will be showing a Godzilla double feature, which will be featuring Godzilla Vs. Mothra (1992) and Godzilla 2000 (1999) both english dubbed prints, times below.
Godzilla Vs.Mothra Monday, June 2 10.00 pm E | 7.00 pm P Monday, June 2 1.30 am E | 10.30 pm P Saturday, June 7 1.10 pm E | 10.10 am P Monday, June 9 5.00 pm E | 2.00 pm P Sunday, June 22 7.30 am E | 4.30 am P Monday, June 30 10.35 am E | 7.35 am P Godzilla 2000 Monday, June 2 11.45 pm E | 8.45 pm P Monday, June 2 3.15 am E | 12.15 am P Saturday, June 7 2.55 pm E | 11.55 am P Monday, June 9 6.45 pm E | 3.45 pm P Saturday, June 21 5.50 am E | 2.50 am P Monday, June 30 8.50 am E | 5.50 am P From The Japan Times “Godzilla” was the first Japanese movie I saw. It was also the first for many other American baby boomers, though we did not view Ishiro Honda’s 1954 original, but a version that had been heavily edited and dubbed for the U.S. market, with additional footage featuring Raymond Burr as an intrepid American reporter in Tokyo. This version was released in the U.S. in 1956 as “Godzilla, King of the Monsters!” and it became a big hit, opening the floodgates for other Japanese films starring various kaijū (giant monsters). A little over a year later, this Americanized version was then imported back to Japan as “Kaiju o Gojira” (literally, “Monster King Godzilla”) and was received enthusiastically by local fans. Since 1954, the”King of the Monsters” has appeared in 28 Toho films (and two big-budget Hollywood films, including Gareth Edwards’ new one, which opens in Tokyo on July 25), but has the old thrill gone? Though crude by today’s CGI standards, the original Godzilla has retained his primitive power — he represents powerful forces, from the natural to the manmade, that humans struggle to control or understand. In the 1954 film, the only effective weapon against Godzilla is the Oxygen Destroyer — itself so fearsome (it transforms living creatures into lifeless skeletons in seconds) that Dr. Serizawa, its conflicted creator, finally burns his research papers and ends his own life. He tries to put the dangerous genie back into the bottle, something the inventors and users of the atomic bomb knew was impossible. I saw “Godzilla, King of the Monsters!” on television sometime during the late 1950′s and, though its anti-nuclear message flew over my 9-year-old head (as was intended by the U.S. producers, who had excised most of it from the film), it left a huge impression on me. Instead of beating my chest like King Kong, the other influential creature of my childhood, I took to terrorizing the ant colonies around our house with Godzilla-like stomps. I wanted to be Godzilla, with all that destructive power at my command and the license to use it anyway I wanted, smashing Tokyo for the sheer naughty thrill of it. Or at least that’s the way it seemed to me then. Seeing the original again recently as a digitally remastered version (that Toho will release locally on June 7), I found a film which was serious and sad — utterly unlike the cheesy, campy reputation the series acquired in its other Toho entries. (The last, Ryuhei Kitamura’s “Godzilla: Final Wars,” was released to a lukewarm box office reception in 2004.) As has often been noted, “Godzilla” references the atomic bombings of Hiroshima and Nagasaki, with its stark scenes of destroyed cityscapes and radiated victims, as well as the tragic March 1954 encounter of a Japanese fishing boat, the Daigo Fukuryu Maru (Lucky Dragon 5), with fallout from a U.S. hydrogen bomb test on Bikini Atoll. In the film, the radiation that sickens the sailors comes not from a bomb but a nuclear-radiated monster: Godzilla. Though it’s obvious from the beginning that Godzilla is a stand-in for nuclear destruction, to a Japanese audience in ’54 — with World War II ending less than a decade earlier — his epic tromps through Tokyo, leaving flaming ruins in his path, would have reminded many of the fire-bombings unleashed by allied warplanes on major cities throughout the country. And older viewers may have associated his ground-rattling stomps with the 1923 Great Kanto Earthquake that leveled much of Japan’s capital and caused an estimated 142,800 deaths. That is, as a metaphor, Godzilla is somewhat mixed, but not one to be treated lightly, as every note of Akira Ifukube’s famous slashing score makes clear. What is also apparent from the new, meticulously restored version, is that, far from being a B-grade cheapie, “Godzilla” was intended as a head-to-head challenge by Toho to Hollywood’s science fiction films, then popular with young fans. At the time, Toho was one of Japan’s leading studios in terms of talent (director Ishiro Honda’s mentor and friend Akira Kurosawa was on the payroll) and resources — both financial and technical. At the same time, Toho effects wizard Eiji Tsuburaya and his staff did not have the sort of lengthy production schedule accorded to the makers of the 1953 Warner Brothers hit “The Beast from 20,000 Fathoms,” which was a “Godzilla” inspiration that featured a stop-motion dinosaur awakened from its 100-million-year sleep by atomic explosions. Their solution — an actor in a Godzilla suit, trashing miniature cityscapes — became a series signature, if one that grew dated over the decades, as CGI technology made its relentless advance. Nonetheless, Toho effects technicians made doing more with less a sophisticated craft. “The work that went into making Godzilla films astounded me,” comments Norman England, a lifelong Godzilla fan who worked on the six Godzilla films of the so-called Heisei era series, which streched from 1999 to 2004. “You’d have dozens of people laboring for days on end just to make one brief shot of Godzilla’s foot smashing into a country hotel,” says England. Also, though big, scaly and fire-breathing, the first Godzilla looks little like his latter incarnations, which have ranged from the grotesquely cute (including Godzilla’s bumpy-headed son, Minilla) to the atomically glowing and ferocious. “A new suit is built for almost every film, with each somewhat different from the last.” England notes — which makes snarky fan nit-picking over the look of the title monster in Gareth Edwards’ new “Godzilla” seem beside the point. Yes, he’s bigger and bulkier than the original, but so are many latter Toho Godzillas. That is, he’s squarely within the series’ hypertrophied tradition, in contrast to the iguana-like beast in Roland Emmerich’s 1998 Godzilla film — an aberration rightly derided by Japanese fans. Despite Dr. Serizawa’s sacrificial suicide in the original 1954 version, Godzilla returns in film after film, sometimes as humankind’s enemy and sometimes, as in the latest Hollywood iteration, its unlikely protector. England says that diversity is the character’s strength: “Godzilla has been everything: nuclear metaphor, the hero of humanity and even a parent.” Toho is set to release a digitally remastered version of the original, viewable now as close to its pristine 1954 condition as 2014 technology can make it. The Gareth Edwards version may be the franchise’s biggest box-office monster ever — it earned nearly $200 million worldwide in its first weekend — but if you don’t know the first film, you don’t know Godzilla. And not, please, the one with Raymond Burr. For the first time ever on vinyl the full score to the legendary monster movie that started it all GODZILLA by AKIRA IFUKUBE
Death Waltz Recording Company are proud to be unearthing the legendary monster of our time and bringing him to vinyl in the shape of Akira Ifukube’s score to GODZILLA. Starkly different to the usual view of The Big G as the ultimate monster wrestler, Ifukube’s music is intense, dark, and reflects Ishiro Honda’s film as a pure horror film. While the score opens with the jaunty riff that would eventually become Godzilla’s Theme, the majority of the music alternates between pounding brass and mournful strings as we witness the death and destruction that comes in Godzilla’s wake. Ifukube uses low string notes as a sinister motif to herald the arrival of the creature, and then turns up the brass to eleven, creating an atmosphere of pure apocalypse. More horrifying still are the piercing strings that score the oxygen destroyer, the device that would destroy Godzilla. Big laments are used as the characters question the use of the machine as a weapon of mass destruction, and it’s this remarkable human quality that infuses the score with its unique feel. Help us celebrate the sixtieth birthday of the greatest monster to walk the earth, and the powerhouse musical experience that is Akira Ifukube’s GODZILLA. DELUXE GATEFOLD EDITION LTD TO 400 WORLDWIDE (£22.00) 180g Atomic Breath vinyl, housed in a heavyweight tip-on, case-bound gatefold jacket printed on beautiful textured Galtex Prima card containing an exclusive full colour booklet with liner notes by Japanse cinema expert Jasper Sharpe & Film On Wax Editor Charlie Bridgen , with exclusive art by Cheung Chung Tat wrapped in an OBI strip. STANDARD EDITION LTD TO 400 WORLDWIDE (£17.00) 180g Green vinyl housed inside a 350gsm single pocket jacket with a poster. Check out Death Waltz's site here (Note: These are not available in the US.) TRACKLISTING SIDE 1 Godzilla Approaches Godzilla Main Title Medley/ Ship Music / Sinking Of Eikou – Maru Sinking Of Bingou Maru Anxieties On Ootojima Island Ootojima Temple Festival Stormy Ootojima Island Theme For Ootojima Island Japanese Army March I Horror Of The Water Tank Godzilla Comes Ashore SIDE 2 Godzilla’s Rampage Desperate Broadcast Godzilla Comes To Tokyo Bay Intercept Godzilla Tragic Sight Of The Imperial Capital Oxygen Destroyer Prayer For Peace Japanese Army March II Godzilla At The Ocean Floor Ending Secret Hidden Track Also check out Empire Magazine to listen to the full soundtrack here. |
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