Godzilla Raids Again English Full Movie Dubbed

1955 Japanese film directed by Motoyoshi Oda

Godzilla Raids Again
Theatrical release affiche
Japanese	ゴジラの逆襲
Hepburn	Gojira no Gyakushū
Directed by	Motoyoshi Oda
Screenplay by	Takeo Murata Shigeaki Hidaka[ane]
Story past	Shigeru Kayama[1]
Produced by	Tomoyuki Tanaka
Starring	Hiroshi Koizumi Setsuko Wakayama Minoru Chiaki Takashi Shimura
Cinematography	Seiichi Endo[one]
Music by	Masaru Satō[1]
Production company	Toho Co., Ltd[1]
Distributed by	Toho[ane]
Release engagement	April 24, 1955 (1955-04-24) (Japan)
Running fourth dimension	81 minutes[ane]
Country	Nippon
Language	Japanese
Box office	¥170,000,000 (equivalent to ¥1,048,908,353 in 2019) (Nippon rentals)[ii]

Godzilla Raids Over again (Japanese: ゴジラの逆襲, Hepburn: Gojira no Gyakushū , lit. 'Godzilla'southward Counterattack') is a 1955 Japanese kaiju film directed by Motoyoshi Oda, with special furnishings past Eiji Tsuburaya. Produced and distributed by Toho Co., Ltd, information technology is the second film in the Godzilla franchise. The film stars Hiroshi Koizumi, Setsuko Wakayama, Minoru Chiaki, and Takashi Shimura, with Haruo Nakajima as Godzilla and Katsumi Tezuka as Anguirus. In the film, Japan struggles to survive Godzilla's return, as well every bit its destructive battle confronting its ancient foe Anguirus.

Executive producer Iwao Mori instructed producer Tomoyuki Tanaka to immediately commence production on a second Godzilla picture, fearing to lose the momentum of the get-go film's success. Oda was chosen to direct the moving-picture show equally Ishirō Honda was busy directing Lovetide.^[3]

Godzilla Raids Once more was released theatrically in Nippon on April 24, 1955. A re-edited, English dubbed version was released theatrically in the U.s.a. on June ii, 1959, by Warner Bros. Pictures, under the title Gigantis, the Fire Monster.

The film was followed by King Kong vs. Godzilla, released on August 11, 1962.

Plot [edit]

Working for the Kaiyo Fishing, Inc., a pilot named Shoichi Tsukioka guides a angling trawler towards a school of Bonito. Koji Kobayashi, another pilot, faces engine troubles and makes an emergency landing on Iwato Island. Tsukioka is sent to rescue Kobayashi, but they both encounter ii giant dinosaur-like creatures locked in battle: Godzilla and a new quadruped monster. The pilots escape equally the monsters tumble into the ocean.

Tsukioka and Kobayashi go to Osaka to aid Dr. Yamane and the authorities investigate the encounter. The new monster is identified as an Anklyosaurus and named Anguirus. Dr. Yamane shows the authorities footage of the get-go Godzilla'due south set on and notes that it was killed past the Oxygen Destroyer, only its inventor died, and that at that place are no proven countermeasures left against Godzilla. Dr. Yamane suggests issuing a coma and using driblet flares to lure Godzilla away due to the first Godzilla being sensitive to light.

Tsukioka's girlfriend, Hidemi, expresses her concern for Osaka to him, and he reveals that he thought about her when he thought he might die on Iwato Island. They watch equally the Japan Air Cocky-Defense Force (JASDF) takeoff to observe Godzilla, but scientists notation that information technology may prove difficult due to the possibility of Godzilla hiding in caves within the seabed. After, Godzilla is spotted heading for the Kii Channel between Shikoku and Wakayama Prefecture. Yamaji, Tsukioka's dominate and Hidemi's father, notes that if Godzilla wrecks havoc in those waters, their line-fishing company will lose valuable fishing ground and strike a accident at production.

Afterwards, an alarm is issued for the Osaka region as Godzilla changes form for Osaka Bay. The Japan Self-Defense Forces (JSDF) cut off the lights in the urban center and lure Godzilla with flares. Tsukioka leaves Hidemi at her abode for safety and leaves with Kobayashi to meet Yamaji at his cannery. Convicts escape from their send and pb police on a chase that ends with a few convicts crashing into an oil refinery, triggering an explosion, while other convicts escape into Osaka. The explosion lures Godzilla dorsum to Osaka, forcing the JSDF to attack it. Attracted past the flares, Anguirus emerges and engages Godzilla. They motion their battle throughout the urban center, destroying Yamaji's cannery and killing the convicts in the process. Godzilla kills Anguirus and returns to the sea after burning the torso with its atomic jiff.

In the backwash, Yamaji moves operations to Hokkaido to brand full use of the fisheries and cannery, and also sends Kobayashi to guide trawlers. During a company dinner, Tsukioka reunites with Tajima, a friend from college and the war. Kobayashi hints to Hidemi that he's fallen in dear with a certain woman. The dinner is interrupted by news that a ship was sunk past Godzilla. The following morn, Tsukioka helps the JASDF search for Godzilla, and tracks its location to Kamiko Island. Kobayashi departs to aide Tsukioka, but leaves his notebook backside. Hidemi peaks at the notebook and discovers a pic of her within.

Kobayashi attempts to terminate Godzilla from escaping, but is struck past Godzilla's atomic breath and crashes into the mountaintop, killing him. The crash creates a minor avalanche that engulfs Godzilla, inspiring the JASDF to bury information technology with a bigger barrage but lack firepower. The JASDF render to base of operations to reload missiles and Tajima reluctantly accepts Tsukioka'south request to accept him. The JSDF create a wall of fire to block Godzilla's escape, while the JASDF trigger avalanches by blasting the mountaintops. Godzilla exhales one final atomic jiff earlier existence completely buried past the final avalanche triggered past Tsukioka. Relieved, Tsukioka lets Kobayashi's spirit know that they take finally defeated Godzilla.

Cast [edit]

• Hiroshi Koizumi as Shoichi Tsukioka
• Setsuko Wakayama equally Hidemi Yamaji
• Minoru Chiaki as Koji Kobayashi
• Takashi Shimura equally Dr. Kyohei Yamane
• Masao Shimizu as Zoologist Dr. Tadokoro
• Seijirô Onda as Captain Terasawa, JASDF
• Sônosuke Sawamura as Hokkaido Branch Director Shingo Shibeki
• Yoshio Tsuchiya as Tajima, JASDF
• Mayuri Mokushô equally Radio Operator Yasuko Inouye
• Minosuke Yamada every bit Master of Ceremonious Defense
• Yukio Kasama as Kohei Yamaji, President of the Fishery
• Senkichi Ômura equally Escaped Captive
• Ren Yamamoto equally Commander of Landing Craft
• Shin Ôtomo as Convict Leader
• Haruo Nakajima every bit Godzilla^[4]
• Katsumi Tezuka as Anguirus^[4]

Bandage taken from Nippon's Favorite Mon-star, except for the roles of Godzilla and Anguirus.^[5]

Production [edit]

Crew [edit]

• Motoyoshi Oda – director
• Eiji Tsuburaya – special effects director
• Eiji Iwashiro – assistant manager
• Kazuo Baba – product coordinator
• Takeo Kita – art director
• Teruaki Abe – art managing director
• Sadamasa Arikawa – special effects photography
• Akira Watanabe – special effects art managing director
• Kiroshi Mukoyama – optical effects
• Masayoshi Onuma – lighting
• Masanobu Miyazawa – sound recording
• Ichiro Mitsunawa – audio furnishings

Personnel taken from Nippon's Favorite Mon-star.^[5]

Development [edit]

A few weeks afterward the release of Godzilla in November 1954, a welcome dwelling party was held for executive producer Iwao Mori. During the party, Mori instructed producer Tomoyuki Tanaka to produce a sequel, due to Mori beingness pleased with the box function results for the first film.^[half-dozen] Ishirō Honda was unavailable to render to direct the sequel due to directing Lovetide at the fourth dimension. Japanese publications indicated that Tanaka attached Motoyoshi Oda to direct the picture show, rather than waiting for Honda, due to Mori fearing to lose the momentum of the beginning Godzilla moving picture's success.^[seven] Screenwriter Takeo Murata originally wanted to show a scene of chaos and looting in the middle of the monster boxing, but time and budget limitations forced him to drop this idea.^[8] The Dinosaur Volume by Edwin H. Colbert was used during the film's conference scene.^[ix]

Special furnishings [edit]

In early on 1957, Toho shipped the Godzilla and Anguirus suits to Los Angeles for additional photography for The Volcano Monsters.

The pic's special effects were directed by Eiji Tsuburaya.^[4] Some of the effects footage was shot at a slower speed, xviii frames per second. Three cameras were fix to capture the effects footage. Two cameras were set at loftier speed, while the third was indirectly left at deadening speed. Despite the mistake, Tsuburaya felt the dull speed footage was usable and since and then, used different camera speeds for unlike scenes. Some Japanese publications identified Yoichi Manoda every bit the cameraman who accidentally left the third camera on wearisome speed, while others identified Koichi Takano as the culprit.^[10]

Haruo Nakajima portrayed Godzilla and Katsumi Tezuka portrayed Anguirus, respectively. Nakajima and Tezuka were able to motility in the suits more fluidly due to the suits being made from lighter materials, as well every bit casting them from plaster molds to fit the suit performers' physiques. For Godzilla, the new design was sculpted by Teizo Toshimitsu. The Godzilla adapt was constructed with a cloth-base of operations where latex was applied over it. A motor was built into the head to move the eyes and mouth, with the batteries congenital at the base of operations of the tail. Due to this, Nakajima felt discomfort each fourth dimension he jumped in the suit. For Anguirus, Tezuka had to crawl on his knees with the bottom of his feet exposed. The effects crew hid this by placing trees, buildings, and other obstacles in the foreground and filming from certain angles that hid the hind legs.^[x]

Paw puppets were built for close-up shots. The Godzilla puppet had a spray built in to describe the atomic jiff. Some of the monster battles were photographed from low angles to emphasize size and calibration. The Osaka miniature set was synthetic at Toho's then-new soundstage No. eight, which allowed the effects crew more space to work in. The Osaka castle miniature failed to crumble equally planned. Wires were attached to the castle that ran beneath the platform. Due to heavy construction, the model failed to collapse fifty-fifty when the suit performers rammed into information technology every bit the crew members pulled the wires. Tsuburaya ordered to "cut" but the crew members did not hear him and the castle model collapsed when photographic camera were not rolling. Due to this, the model had to be partially rebuilt. The ice island battle was partially filmed on an outdoor set. To bury Godzilla in water ice, an ice car was borrowed from the Tokyo skating rink.^[8]

For the opening scene, Nakajima and Tezuka were required to be in the suits as they plummeted into the water in order to avert having the suits float upon affect. Several handlers were on-ready to prevent Nakajima and Tezuka from drowning.^[11] A Godzilla prop equipped with a wind upward motor was built to walk during the water ice isle scenes, however, the prop malfunctioned and was filmed in a stationary position instead.^[12] Real snowfall was added for the ice island set.^[13] Several shots of Godzilla reacting to the ice canyon explosions were filmed outdoors in order to avoid filming the roof of the studio set.^[fourteen]

Release [edit]

Theatrical [edit]

Godzilla Raids Once more was distributed theatrically in Japan by Toho on April 24, 1955.^[ane] The film generated 8.3 million tickets, less than what the first Godzilla film drew but still considered moderate business. The film drew little enthusiasm from audiences, the printing, and Toho staff. Tanaka later admitted that the coiffure had picayune fourth dimension to fix and hardly considers the film a success.^[8] The Japanese version was released to Japanese speaking theaters in the United States prior to the contradistinct American version.^[1] The pic was Toho's fourth highest-grossing film of the year domestically, and the 10th highest grossing Japanese release domestically.^[i]

American version [edit]

American theatrical poster for Gigantis, the Fire Monster. Schreibman renamed Godzilla as "Gigantis" in an endeavor to pass it off as a make new monster due to the previous film having killed off Godzilla.

The Due north American rights to the film were purchased by Harry Rybnick, Richard Kay, Edward Barison, Paul Schreibman, and Edmund Goldman, the aforementioned producers who caused the rights to Godzilla and released information technology equally Godzilla, King of the Monsters!. Instead of dubbing the film, the producers first planned to produce a new film titled The Volcano Monsters, while utilizing the effects footage from the original Japanese film.^[15] The producers announced in Variety that filming was expected to embark on June 17, 1957.^[16] Rybnick hired Ib Melchior and Edwin Watson to write the screenplay.^[15]

Melchior and Watson spent hours watching the Japanese version on a Moviola to build an American story around the footage and to notation downwardly footage of the monsters, military machine mobilization, crowds fleeing, and jets flying and attacking. The duo completed a 129 paged script, dated May 7, 1957, with instructions for the editor of where the Japanese footage was to be used. In their script, Godzilla and Anguirus were changed to dinosaurs, with Godzilla identified as a female person Tyrannosaurus. All shots of Godzilla using his atomic breath were eliminated, to exist replaced with new footage of Godzilla swiping his claws at jets. Panic, disaster, and military mobilization scenes from news reels were to exist included between the Japanese monster footage. The blackout was re-written to signify that the monsters destroyed a power found. The new effects footage was to be shot at Howard A. Anderson'due south special furnishings studio.^[17]

Toho canonical of the idea and in early 1957, shipped the Godzilla and Anguirus suits to Los Angeles for additional photography.^[18] While filming Invasion of the Saucer Men, Bob Burns Iii and Paul Blaisdell recalled stumbling upon two crates holding the Godzilla and Anguirus suits. Burns recalls that the suits were fabricated out of rubber over sheet and had already been used due to significant burns and damages. Howard A. Anderson Jr. told Burns that they recently received them at the time and were intended for "shooting some inserts."^[19]

Rybnick and Barison initially struck a deal with AB-PT Pictures Corp. to co-finance the motion picture just the company closed shop in 1957.^[15] Schreibman, Goldman, and and so-new financier Newton P. Jacobs decided to dub the film instead. Hugo Grimaldi was hired to oversee the dubbing and editing of the film.^[20] Masaru Sato's original music was replaced (except for a couple of tracks) with stock music from various libraries, including the MUTEL library, every bit well as music from films such as Kronos (1957), Projection Moonbase (1958) and The Deerslayer (1957).^[21] Godzilla's roar was largely replaced with Anguirus' roar. This version had the working title of Godzilla Raids Over again, just the film was released in May 1959 equally Gigantis the Fire Monster on a double-neb with Teenagers from Outer Space.^[20] Schreibman took full credit for changing Godzilla's proper name to Gigantis, which was an attempt to convince audiences that "Gigantis" was a brand new monster, stating, "We called it 'Gigantis' considering we did not want it to be dislocated with 'Godzilla' [who had clearly been killed irreparably by the oxygenator]." At 1 indicate, Schreibman inaccurately told reporters that the original Japanese film was called Angirus.^[22]

The pic was dubbed at Ryder Audio Services in New York and featured the voice talents of Keye Luke, Paul Frees, and George Takei.^[23] The English dialogue was based on a loose interpretation, rather than an accurate translation, of the original Japanese dialogue.^[24] Credit for the English dialogue script had non been revealed since the release of the film.^[25] According to Takei, the word "banana oil" was created past the dub'south managing director due to having difficulty finding a word to lucifer the lip motility of the original Japanese give-and-take "bakayaro".^[26] Takei stated that people laughed during the recording due to the word being an outdated expression.^[27] The English version utilizes stock footage from various films, such as Unknown Isle and the showtime Godzilla film, also as news reels, military footage, the space programme, and educational films.^{[28] [29]}

Prior to the motion picture's release, Schreibman approached Bill Foreman (then-President of Pacific Theaters) and convinced him to purchase the theatrical and television rights to both Gigantis and Teenagers from Outer Infinite and helped Foreman sell the theatrical rights to Warner Bros. According to the deal, Foreman agreed to show both films in all of his theatres while Warner Bros. would distribute the films to other theatres and were given the American and Latin American theatrical rights to both films for four years.^[20] The American version of the film was released theatrically on May 21, 1959, where it played as a double feature with Teenagers from Outer Space.^[1]

After the motion picture reverted to Foreman and his attorney Harry B. Swerdlow (who became designated owner of both films because Foreman did non want his name to appear on the copyright notices), they did non pursue any involvement in standing to sell the tv set rights, which resulted in Gigantis the Fire Monster disappearing from American theatres and television for two decades until the rights reverted to Toho in the mid-1980s.^[20]

Critical response [edit]

On review aggregator Rotten Tomatoes, the film has an approval rating of 60% based on 10 reviews, with an average rating of 5.00/10.^[30]

From contemporary reviews in the United States, Joe R. Patrick of Des Moines Tribune described the movie as "amateurish", finding the acting to exist "bars primarily to facial expressions, in tight close-ups" and that the film "suffers most of all from dubbed-in English." The review did praise the animation of the monsters as "at times very skilful, at other times poor," and concluded that the moving picture was non besides made as its double feature, Rodan.^[31] Donald Willis of Variety declared the film as being "inept and deadening" but declared the miniature work as "remarkably good" specifically that scenes of "the dinosaur-similar animal crunching his style through houses, traffic and high-tension wires are interesting and exciting."^[32]

Ishirō Honda (managing director of the previous Godzilla film) noted that reviews for Godzilla Raids Over again were more positive compared to the previous film, stating that it was considered "stupid" past the media for a manager to add together "ideas or themes" into a science fiction film, he commented, "That'south why I think that the starting time Godzilla was only considered a 'weird' picture show. That'due south probably why they liked the 2nd movie much better."^[33] Motion picture historian Steve Ryfle noted that some writers felt that while Godzilla (1954) was a metaphor for the Hiroshima bombing, Godzilla Raids Over again serves as metaphor for the Nagasaki bombing. Ryfle noted the scene of Hidemi gazing at the flames of Osaka strikes parallels with the imagery of a mushroom cloud.^[34]

Home media [edit]

Nippon [edit]

In 1982, the Japanese version was released on VHS in Japan by Toho. In 1986, Toho released the film on LaserDisc. In 1991, Toho reissued the motion picture on VHS. In 1993, Toho released a new master of the moving picture on LaserDisc. In 2001, Toho released the film on DVD. In 2005, Toho included the film on the Godzilla Final Box DVD Set. In 2014, Toho released the film on Blu-ray.^[35]

Usa and Canada [edit]

In 1989, Video Treasures released the American version on EP and LP VHS in the The states and Canada.^[36] In 2007, Classic Media and Sony BMG Home Entertainment released both the Japanese and American versions on DVD in the United States and Canada. The special features include an audio commentary by Steve Ryfle, a featurette titled The Art of Accommodate Acting by Ed Godziszewski and Bill Gudmundson, and a slideshow of the film's theatrical posters. Per Toho's request, the original title carte for Gigantis, the Fire Monster was replaced with a new title carte du jour sporting the film'due south official English title.^{[37] [38]}

In 2017, Janus Films and The Criterion Collection acquired the movie, likewise as other Godzilla titles, to stream on Starz and FilmStruck.^[39] In 2019, the Japanese version was included as part of a Blu-ray box set released by The Criterion Drove, which includes all 15 films from the franchise's Shōwa era.^[40] In May 2020, the Japanese version became available on HBO Max upon its launch.^[41]

Legacy [edit]

The film was followed by Male monarch Kong vs. Godzilla, released on August 11, 1962.^[42] Godzilla Raids Again introduced the monster vs. monster formula that would be become prominent and synonymous with the franchise.^[43] After the release of the movie, Toho featured Anguirus in various multimedia (see Appearances).

References [edit]

1. ^ ^{a b c d e f yard h i j k} Galbraith Four 2008, p. 110.
2. ^ "歴代ゴジラ映画作品一覧／年代流行". Nendai Ryuukou. Archived from the original on December 2, 2020. Retrieved December 2, 2020.
3. ^ Ryfle 1998, p. 61–62.
4. ^ ^{a b c} Kalat 2010, p. 34.
5. ^ ^{a b} Ryfle 1998, p. 352.
6. ^ Ryfle 1998, p. 61.
7. ^ Ryfle 1998, p. 62.
8. ^ ^{a b c} Ryfle 1998, p. 64.
9. ^ Ryfle 2007, 00:11:59.
10. ^ ^{a b} Ryfle 1998, p. 63.
11. ^ Ryfle 2007, 00:09:36.
12. ^ Ryfle 2007, 01:04:45.
13. ^ Ryfle 2007, 01:eleven:23.
14. ^ Ryfle 2007, 01:13:31.
15. ^ ^{a b c} Ryfle 1998, p. 67.
16. ^ Kalat 2010, p. 37.
17. ^ Ryfle 1998, p. 68.
18. ^ Ryfle 1998, p. 67-68.
19. ^ Ryfle 1998, p. 68-69.
20. ^ ^{a b c d} Ryfle 1998, p. 72.
21. ^ The Missing Music of Gigantis, the Fire Monster
22. ^ Ryfle 1998, p. 74.
23. ^ Ryfle 1998, p. 73.
24. ^ Ryfle 2007, 00:10:52.
25. ^ Ryfle 2007, 00:12:17.
26. ^ Burns 2005, 00:15:29.
27. ^ Ryfle 2007, 00:xviii:05.
28. ^ Ryfle 2007, 00:00:40.
29. ^ Ryfle 2007, 00:14:34.
30. ^ "Godzilla Raids Again". Rotten Tomatoes. Fandango Media. Retrieved October xvi, 2021.
31. ^ Patrick 1959.
32. ^ Willis 1985, p. 138.
33. ^ Ryfle & Godziszewski 2017, p. 107.
34. ^ Ryfle 2007, 00:46:50.
35. ^ "ゴジラの逆襲". LD, DVD, & Blu-ray Gallery. Archived from the original on July four, 2019. Retrieved July iv, 2019.
36. ^ Ryfle 1998, p. 367.
37. ^ DeSentis, John (June 4, 2007). "DVD Reviews: Godzilla Raids Once again and Mothra vs. Godzilla". SciFi Japan. Archived from the original on July four, 2019. Retrieved July 4, 2019.
38. ^ Erickson, Glenn (November viii, 2006). "DVD Savant Review: Godzilla Raids Again". DVD Talk. Archived from the original on July 4, 2019. Retrieved July 4, 2019.
39. ^ Squires, John (November 8, 2017). "Criterion Collection Has Obtained Most of the Shōwa Era 'Godzilla' Films!". Bloody Disgusting. Archived from the original on Baronial 13, 2021. Retrieved November viii, 2017.
40. ^ Patches, Matt (July 25, 2019). "Criterion reveals the collection's 1000th disc: the ultimate Godzilla ready". Polygon. Archived from the original on December 17, 2019. Retrieved July 25, 2019.
41. ^ Alexander, Julia (May 18, 2020). "Hither are the hundreds of archetype movies people tin can stream on HBO Max". The Verge. Archived from the original on June 28, 2020. Retrieved November 7, 2021.
42. ^ Kalat 2010, p. 55.
43. ^ Godziszewski 2019, p. 8.

Sources [edit]

• Burns, Kevin (2005). Creature Icons: Information technology Came from Japan (Television Special). Animal Planet.
• Galbraith IV, Stuart (2008). The Toho Studios Story: A History and Complete Filmography. Scarecrow Press. ISBN978-1461673743.
• Godziszewski, Ed (2019). Notes on Godzilla, the Showa–Era Films. The Criterion Collection. ASIN B07VLJ9KB6.
• Kalat, David (2010). A Critical History and Filmography of Toho'southward Godzilla Series (Second ed.). McFarland. ISBN9780786447497.
• Lees, J.D.; Cerasini, Marc (1998). The Official Godzilla Compendium. Random Firm. ISBN0-679-88822-five.
• Patrick, Joe R. (June xi, 1959). "Japanese Effort Mitt at Horror Motion-picture show". Des Moines Tribune. p. 26. Retrieved Oct 28, 2021 – via Newspapers.com.
• Ragone, August (2007). Eiji Tsuburaya: Principal of Monsters. Chronicle Books. ISBN978-0-8118-6078-ix.
• Ryfle, Steve (1998). Japan's Favorite Mon-Star: The Unauthorized Biography of the Big G. ECW Press. ISBN1550223488.
• Ryfle, Steve (2007). Godzilla Raids Again Audio Commentary (DVD). Archetype Media.
• Ryfle, Steve; Godziszewski, Ed (2017). Ishiro Honda: A Life in Picture show, from Godzilla to Kurosawa. Wesleyan University Press. ISBN0819570877.
• Solomon, Brian (2017). Godzilla FAQ: all that's left to know about the king of the monsters. Milwaukee, Wisconsin, U.Due south.: Applause Theatre & Cinema Books. ISBN9781495045684.
• Willis, Donald, ed. (1985). Variety's Complete Science Fiction Reviews. Garland Publishing Inc. ISBN978-0-8240-6263-7.

External links [edit]

• Official Godzilla website by Toho
• Godzilla Raids Once again at IMDb
• Gigantis, the Fire Monster at AllMovie
• Godzilla Raids Once more at Rotten Tomatoes
• Godzilla Raids Again at the TCM Motion picture Database
• ゴジラの逆襲 (Gojira no Gyakushū) at Japanese Movie Database (in Japanese)

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Source: https://en.wikipedia.org/wiki/Godzilla_Raids_Again

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