There is very little time or point in an explanation. To be
blunt, the audio came from a timeline and dimension that has
collapsed at a quantum level, rendering it null and void in terms
of existence. Operational time in the dimensional continuum where the beings
that created the audio collapsed in on itself, rendering all of
their civilization, including technology, null and void.
Timelines across the entire continuum are collapsing and changing.
The destruction has a nexus that centers on Cinema PsyOps.
10 years. Man 10.
10 years.
10 years Man 10 years. 10 years.
10. 10 years. 10 years.
What is the most likely way humanity will be wiped out? Maybe it's
something from or us. Although the way the
world ends might. Be because of you. And if this is the case,
you. Wouldn'T have any control over it. The global temperature rise underscores
a chilling reality. Our planet is trying to tell us
something, but we don't seem to be listening. A recent study has suggested
that one. Third of an was death due to heat are directly related
to global warming.
On top of the initial flash of thermonuclear light,
which is 180 million degrees, which catches every everything on fire
in a nine mile diameter radius. On top of the bulldozing effect
of the wind, all the buildings coming down and more fires
igniting more fires on top of the radiation if they happen to have survived
poisoning people to death. On top of all that, each one of these fires
creates a mega fire that is a hundred or more
square miles.
Timelines across the entire continuum are collapsing and changing.
The destruction has a nexus that centers on Cinema Psyops.
A breathtaking scientific revolution is taking place.
Biotechnology has been progressing at stunning speeds, giving us
the tools to eventually gain control over biology. Solving the
deadliest diseases while also creating viruses
more dangerous than nuclear bombs, able to devastate
humanity. It's man returning to the most primal,
violent state as people fight over the tiny
resources that remain. What if the world we live in.
Is just a dream or a simulation? Whether it's a dream or some advanced
computer game you are playing right now, now when it ends, you would be
what causes the end of the world. Please do us all a favor.
Continue dreaming or playing this game of life. Because when you wake
up or unplug, there's a chance the rest of us. Will be blaked out of
existence. Timelines across the entire continuum are collapsing
and changing. The destruction has a nexus that centers. On Cinema
s 10 years.
10 years.
Oh, and welcome to the 485th consecutive week
of Cinema Psyops. I'm your host, Cort, the guy that is More
than stoked about the subject matter of our run to the end of our year
10. And joining me in the joy of. That is my co host,
Matt Big Giant Monsters. Kind of like what's happening to our
country, but okay, yay. Eh. I can't get very political,
but I mean, I pretty much figured the world was over. There's a reason why
our show took the weird somber tone. Tone. It's taken as far as like the
music and everything like that and why I'm picking Giant Monsters Fucking
Shit Up. That's basically. I think that's what I'm just going to call this series
for the end of year 10 run that we're doing is Giant Monsters
Fucking Shit Up. Because it's all Kaiju movies. They're all Kaiju, they're all
Japanese made. There will be two different companies. We're going to be covering Toho
films and a small amount of the Daiya
films. We're not going to be doing any of the Gamera stuff, folks. I'm sorry
about that. We're doing pretty much every Godzilla film that we.
That was made in Tokyo. Tokyo or Japan, minus the animated
stuff. So it's all the live action actors movies.
I hate to have to add that preference, but I am. That's basically what we're
stating. There is one Godzilla movie that we have already covered
in very early days, like our fifth episode or something like that. We did a
Godzilla movie. That one we won't be covering. And then there's like a mashup
Godzilla movie where it's like the one with the kid in it and that weird
fantasy movie thing that's just fucking awful. And we're
not doing that one because it's a reaction. I don't even know what that is.
Yeah, you won't even see it that. But the. It sounds like.
I don't want to know what it is. Yeah. So eventually we'll get to like
the DAIM movies as well, which is a very different kind of Kaiju. But mostly
it's safe to say that we're doing just about every Toho giant
monster film in existence, minus a handful of films
that I couldn't get to fit in. Like the really less known ones that are
harder to find, like Varan and stuff like that we won't be doing. But Mothra,
Godzilla, Dimagine, I mean, you know,
all that. We'll be. We'll be hitting everything. Basically.
We'll just be leaving out like Varan and a few of the other
movies as well. But pretty Much from here on out until we hit
was 520 episodes is 10 years, I think.
Nice. Yeah. Because it's 52 weeks is how we've been doing our years.
And so from now until 500,
episode 520, we're doing some kind of giant fucking monsters. I'll Kaiju
all the time. Yeah. Giant monsters. Fucking shit up. That's what I'm going to name
the series. What do you think? You like it? Yeah, I like it. Giant monsters
Fucking shit up. All right, up first is the King Godzilla
1954. I'm assuming this is the first time you've seen the full Japanese
version. I'm like, you may have seen the Raymond Burr version when you were a
kid or something. Yeah, yeah, I did. This is definitely
the first time I saw this Must be original, right? The first ever
Godzilla movie. Yeah, 1954 is Godzilla. This is the very first one.
And if you watch the Criterion Collection copy that
I had, that is the 100% legit Japanese
version. There's a lot of other versions where they threw Raymond Bur in or
it's dubbed and they recut it and everything. But this
is the original way that the film was written and produced.
That 1954 that we're covering today. Yeah.
Nice. Absolutely. And as much as I would like, I liked it.
As much as I would like to BS about it, before we actually get into
the coverage, why don't we just jump right in? Because we got a lot of
stuff to talk about. Because it's original Japanese language, so no clips
for the next two weeks. This week. And. Oh, God damn.
Yeah, Life is going to be rough there. So note taking.
Yeah. Yeah. But we're willing to suffer for it. So what we're going to do
is on the pirate radio, since there's really no songs
about giant monsters fucking shit up. Really. Or at least enough to sustain us for
the next however many fuckload of weeks we have left to do this stuff.
I'm gonna just pick songs. I'm just gonna pick songs that were released in the
year that the film was released, like I've done before. So up first on the
pirate radio edit for Godzilla released in 1954, the song
Shake, Rattle and Roll will be on the pirate radio edit after
this. This will keep you quiet. You started moshing with the
robots. It was weird. Yes, I was moshing
with the robots. Let's. You know,
I heard that Robot Matt has actually been a little bit upset about
this particular film. I don't know if you. You've heard him complaining? No,
I tend to tune him out a lot. Yeah, he actually called it robot.
He's got to be a whiny little bitch. He said it was robotics. Like it
was robotus. Yeah, like it goes against robots, really. I mean,
it kind of does. Yeah. Well, kind of. Yeah. He's not a lie.
He's not lying. I suppose I can understand how he feels that way. He was
not happy at all. I don't know what's going on with him. My gosh.
What is all of this? Holy Jesus. It smells delicious.
Right? Is this chilly, guys? Yes, it is chilly.
We wanted to do something to commemorate
your 75th episode. We felt that it was a
good idea to get something together for you guys.
Mine's got bear. Thanks, bot 4592.
It's cardbot. That's right, bot 3472.
Why can't you remember my name? I always remember your name,
bot3598.er2 Matt.
It's Cort bot, dude. I build him to be more patterned after
you, and you have this strange animosity towards him. I don't understand it.
I don't know what you're talking about. I always get along with 5:9
or 5:A is an Alpha 2:1.
You constantly berate him and tell him he has no personality and he's got your
personality. I have never done that. Hey, hey, hey. Dumb, dumb,
put the bull down. I'm not done with that yet. Anyway, I'm always
nice to bot54921. I'm sorry,
Matt, but why do continue to make
fun of and antagonize the creator's creation?
Cart worked very hard on Corp,
and you should be nicer to him. Isn't that right, master?
Well, yeah, absolutely. I don't understand it, man. I mean,
he literally has your personality. I cloned your personality directly. I don't
know what the you're talking. I really don't. Sorry, guys. Well, let's.
Let's get to eating some of this delicious chili that Matt bought in
bot 218-677-5309 made.
Spoiler alert. I pissed Dan's ass. And that was
before I tasted any of it. Good job, bot94.
21874. I also switched the labels
between me and Matt. Bot. What? Hopefully I
found the Bill Haley version, because that's the one that I'm going for for
1954. We're kind of recording this in a bit of a
rush because, well, I overslept. Let's just
put it that way, and we'll explain it another time. But. But why don't we
just go ahead and get into actually talking about Godzilla now? All right. Godzilla,
1954, the first 30, a boat we see is attacked. Full of,
I don't know, probably fishermen. A gentleman.
His name is Ogata.
He and his female friend Emo get
a call about it, and he has to go out to handle some situations.
Guess he is, I believe, with the Coast Guard. Yeah. The boat
sinks, we see at the beginning, and he's the one that has to deal with
it because it was one of their boats. And it's a really weird thing that
had happened. Yeah. So we then cut to.
The military is getting alerts, and they don't know what's causing all this. We see
more boats burning, and then we see,
like, the. The civilians, they all want to know, like, you know, who survived
if they're survivors, like their family, all that.
Three dudes do get rescued, and they just describe it
as the ocean blowing up beneath them. Another boat gets
destroyed, and people want answers. This kind of goes very quick.
And there's not a lot to say other than
panic and destruction right now. Yeah. And the only other, which is most.
Kaiju movies is panicking destruction. I would also add that the
thing that seems to be destroying the ship, you can actually see a creature in
some of the flashes, but it's actually. It's absolutely portrayed 100%
as an atomic blast is what you end up seeing more than actually Godzilla.
At the start of this, the news starts coming out. They're reporting on
this, about all these issues happening. And then
a couple guys. It was for people on the shore. They're seeing
a person on a raft, and so they freak out and they grab the
person, and it's a person. They keep saying it's Masagi. It's Masagi.
And he tells them that it was a monster and then passed us out.
An old man on the shore said it must be Godzilla. And they
all kind of give him, because Godzilla is a legend to
them. And so everyone gives him shit about that. Do you notice
how fucking misogynistic he gets where he threatens to feed a bunch of cows,
meaning the women that are making fun of him to Godzilla. Whenever Godzilla
shows up for making fun of him. Oh, yeah, it's.
It's not good. The patriarchy is alive and well in that dude's heart.
Yeah, right. No kidding. So then we have a ceremony
where I think they're trying to interact for
better. We're not trying to Interact. They're trying to appease Godzilla. And the old man
tells a story how they used to do sacrifices to Godzilla. All this
kind of stuff. Yeah, he almost sounds like he misses the days whenever he could
just have a woman killed by being thrown into the ocean for talking back to
him the way he. Well, that's for sure. Yeah, He. He was definitely more into
like hating women than more people than I've seen.
Yeah, he feels like the ritual, at. Least he feels like the ritual is.
Not going to work because he's not allowed to kill women. Yeah, basically. Yeah.
So then there that night, everyone's sleeping and there is a big wind
and all of a sudden the village is being destroyed and everyone's
freaked out. Later on they all the survivors give testimony that it was
a giant animal who did this. Then A paleontologist,
a Dr. Yamini, he speaks
and he tells that this is something they have never seen. But he
and a group will go out to Investig. He is joined by
of course Oada and his daughter Amiko
out in there. And Okada is very nervous
that this could be their last journey. So he's afraid of this
mission. As they check the village that was attacked,
they find that the well is radioactive. And then they find a giant
footprint of Godzilla that is radioactive as well.
Can we go back a second? As they're leaving, the scientist Serizawa
is there to see them off. It seems like Amika and Serizawa may or
may not have been a thing before the war. Sirazara lost his eye.
Agata and Miko are now a thing and they feel
very guilty about that because they're essentially
seeing each other and falling in love behind Sirazawa's
back, who it was presumed that they were going to be. They are an arranged
marriage. They're not in a marriage yet, but arrange engagement.
Yes, Sirazawa is. And she says that he's more like with.
With Amiko. Yeah. And she says that Sarah Zaw is more like a brother to
her and she's about to break off that arrangement. However, that comes later.
Right? That comes later. Which describes him as a brother. Yeah,
but I'll get to that. Yeah. But as they're going away in the ship,
he says that he's surprised that he left. And you can see the tension there.
I'm just saying that that's all in there and we have to mention it.
Oh yeah, There's. There's a love story weaved in here and also
tension of that sort all weaved in. So. And we can Absolutely
ignore it. It's just that Sir Z's first appearance was there
on the docks, looking all dour as. And we need to mention that for sure.
Agreed. So. So then.
Then they find a small little creature that they believed like
in the footprint that they were believed it was long extinct.
Alert is sounded and all the villagers go running and they
say it's coming out of the mountain. Coming out of the mountain. And we see
Godzilla really for the. First time, peeking out over the mountain,
looking all adorable like, hey, what you guys up to? Why is everybody running
away? I was like, come here, Godzilla.
If not friend, why friendship? Yeah, yeah, he's definitely got the friend
shape. I wanna. I wanna scritch him behind the haunches, but he's like, this one's
165.
Then we cut to a presentation about dinosaurs.
And really, it's just. They kind of discuss about the timeline of dinosaurs
and then what came after. And they discuss how Godzilla is a creature
that may have been between the dinosaurs and other sea life that we know
today that we've just never learned about. I just did the math.
Godzilla is 33 times my size. Yes.
Nice. And they believe the
atomic testing in the water has actually freed Godzilla,
so. And that Godzilla probably
absorbed radiation while he's leaking it. Well, most of the dudes in
this cabinet want to keep this information quiet from the public
because it could cause a stir. Of course. Yeah, it's going to. There's a lot
of fighting about that. Yeah, it's going to affect his bottom line.
Whereas people who want actual people to be safe are arguing,
which. It's funny that the men are concerned about the bottom line and the women
in there are concerned about keeping people alive. Oh, how times have not
changed since 1954. Yeah, right now. Yeah, we're well away.
Still just as dumb, folks. Yeah. But as long as you can
create shareholder value, that's all that really matters in the world,
Right? Well, what's. I mean, duh. Hey,
are you a capitalist or not, motherfucker? I mean, come on. Anyway,
you might want to be careful. We've had meetings
about that.
MacArthur got in a lot of trouble about shit.
So then, peeps, we have some peeps on the train, which is Okada,
I believe it's. I'm sorry, Oada and Emiko and somebody else.
They're all talking about what if Godzilla comes out of Tokyo Bay,
attacks the city and kind of what they do, and they want to get shelters
built. And that's the end of the opening. 30 minutes. Yeah. What a great
solid opening. One of the things that I wanted to mention
is when they're talking about Godzilla,
they think that he is a dinosaur that had been living below
the, like, ocean floor surface in like, underground caves,
even further below, like deep in the earth, which is something
that gets brought into a lot of other Godzilla movies, particularly in
the American Monster Monsterverse. They have this Hollow Earth theory where
there's like underground tunnels where all these monsters come from. And it turns out that
it's actually like sort of like a portal to another dimension that we're connected to
of what we thought was the Hollow Earth and stuff like that. In this case,
they're just like, well, look, there's, you know, the Mariana Trench. There's a bunch of
unexplored. He's been living down there. And it's the bombs
and the testing of the H bombs underwater that we've been doing to keep it
safe for us. That's been up for Godzilla. And basically
we fried his natural habitat. So he's leaving his natural habitat
to come hunting for food. And it just so happens that he finds us very
tasty in this. Yes. Or it's that fact that we
woke him up like a dummy. Right. He's also a
radiation burned dinosaur. In this as well,
is what they basically explain that he is.
Essentially, Godzilla is us. Right. He's a
monster from a long gone era that has been powered
by atomic radiation through the discovery
of the H bombs that is just rolling through and
destroying life everywhere in Japan. Godzilla is us.
Godzilla is the United States, for fuck's sakes. Let's just come right out and say
it. Sorry about that, everyone. Yeah.
Their view of us is what changes. How Godzilla
changes over there as far as a character and like,
how he. Like we see him behaving very much like King Kong in the first
King Kong film, because that was a heavy influence. Whenever he appears,
he's like, you know, he's stomping shit, he's biting shit, he's eating shit.
Later on, he just stops eating things altogether. You're not even supposed to see Godzilla
eat anything. No, he just destroys. And also later,
he becomes the defender of Earth from other Kaijus. Yeah, yeah, kind of.
He just hates other monsters more than us. And we'll get there when we get
there. But anyway, this is a very different Godzilla than
what you see in subsequent movies like that. Their fear
and hatred of us after the atomic bomb evolves
over time and so does their view of Godzilla.
And he becomes sort of a folk hero while they also start to kind of
like us again too. It's strange. Oh no, they're not
so bad. Right? But Godzilla is essentially the United States. It's the monster with
atomic power. That's us. Yeah, and they're
not wrong in this film. We can move on. I'm sorry, I just had to
say it. Sorry fellas. Sorry everyone.
Our bad. All right, so we start the next 30min.
They're sitting on a fleet to hunt kind of Godzilla,
I guess. And the there's warnings going
around to the surrounding areas to clear out. The feat is
flowing massive depth charges down to see if they can stop
Godzilla. People are watching the news, seeing all this happening.
And the professor is very angry about that because he does
not want Godzilla killed. Then we cut to a party bout everyone's having a
good time and Godzilla shows up, freaks them all out.
The government brings in the professor and they really want to kill
Godzilla. But the professor says they should be studying why Godzilla
is even still alive. Then a
reporter, we cut to a reporter, Hagiwara,
who is assigned this current story. Then we cut
to Amiko and Ogata and this is where they're discussing
her arranged engagement to Sarazawa. Okada feels
very bad because Sarazada was damaged in the war. That's why he wears an
eye patch. Yeah, that's where she says he's like a brother to her.
Sarazawa. Well, anyway, the reporter comes in and he wants to interview
with Serizawa. So Amiko takes him
to meet him for the interview. Then as they're leaving,
she tells Ogada that she
needs to talk to Sarasota herself. He wants to talk to him man
to man, say, hey, listen, this is happening. She's like, I need to
do this. This is my responsibility. I have to tell him my way. Yeah,
this feels like it's just because it's a break in tradition. They have
to kind of go around and like he's. He's nervous to ask the father for
permission to marry her. And also he feels bad about
basically stealing her ass from Serizawa as far as it's concerned in
their tradition. But it's very much them breaking with
tradition and being afraid to do so because of the generation before
them. Oh my, how times have never fucking changed.
Exactly. So anyway, during the interview,
he gives up nothing to the reporter, like nada.
And gets rather fucking violent about giving up nothing too.
At some point. Yeah, he's like, I'm not working on nothing. I'm not doing,
doing nothing. Leave me, you know, the alone.
I'M a reclusive mad scientist. Just let me be that.
Yeah, yeah, yeah. Please, if you will. So and
so the reporter leaves and then he decides to take his
fiance Amiko down. He says, I have been working on something. I need
you to see this. It's for your eyes only.
Yep. And he shows her something he's been working on. We don't
get to see it, but whatever it is, it horrifies her. Yeah,
she like classic movie screams like,
like early 1930s monster appearance screams at whatever the
fuck Surizawa's up to. So you know, it's fucking
horrible because it puts her on her ass. Right? She just basically faints.
Yeah. So it's something. You know, this is a
very interesting thing and I'm kind of
excited. You're, you're kind of excited because you're like, what is this?
And well, and here's the thing. Like she works with someone
who is a zoologist, she is a scientist, so you
know that she's not going to be weak hearted. And she has definitely already
seen some shit that will turn you white. And what is it that he's
working on that's going to make someone like that lose their composure? Yeah. Later that
night, Godzilla attacks from Tokyo Bay.
He takes a train that comes in and after a short
attack he leaves. So we have a new military meeting. God damn,
this can go so quick without clips. I just realized, Jesus Christ,
it is what it is. It'll get longer too once we get into the actual
real Godzilla part where he starts destroying.
And also real. And also I'll keep interrupting you, which will make things longer
because I'll fuck you up. Yeah, yeah. Well, yeah, of course. Makes me
have to find my place again. Yeah. It's fucking Godzilla. I'm going to interject.
I'm sorry, it's just. You better. Yeah, yeah. This is your shit, man. So now
we have a new military meeting. And here the Japan Self
Defense forces construct a 30 meters or 98
foot tall 50,000 volt electrified fence along the coast
and deploy forces to kill Godzilla. At 165ft
tall, that would be about midway up. Which whenever you see him interact with it,
it is about midway up. Yeah. We see more villagers are being evacuated
from certain areas. The military's moving the radio announcing
more evacuation orders. While he's doing that,
Okada, Oada and Emiko are listening.
He says he's going to ask the professor for his permission
to marry her tonight. Then the radio announces that the fence
has been electrified. The professor's very Angry that they want to kill
Godzilla and he comes home. But Oana agrees.
Agrees with the military and also wants to have Godzilla killed.
This causes the professor to be very angry and storms out.
Also tells the guy to get the out of his house for saying that too.
Yep. Tells him to get the out. Tells him he's dumb. Piece of all
that. All that. Yeah, all that. Kind of. So pretty much you ain't.
If you really wanted to marry this guy's daughter, you really kind of it up.
Yeah. He wrote a critical failure in this one for sure.
Yeah, yeah, yeah. Critical failure. Yeah. His charisma
check failed miserably. Charisma. That was a one. Yeah, a one
at best. Yep.
And then Godzilla attacks Tokyo.
And here's where we can go. It really expound before
the final 30 minutes. Because after is this attack. This is the longest
attack in the film. It's kind of the titular attack where he actually goes
through Tokyo and really mows through and flattens it entirely.
Yeah, the special effects is a extravaganza.
Yeah. Just the way that they had to animate
the electricity that was supposed to be shocking Godzilla when he walks up.
And they said that it was like a barbed wire fence, but it very clearly,
when the model that they walk in on, it just is just electrical. It's just
a giant electrical structure. But the fact that they built that so
quickly around the entirety of the coastline and that that is
essentially the solution that most people can come up with is either a giant fucking
wall to keep the Kaiju out or giant fucking electrical fence to try and
shock them out. I mean, they're trying everything. They've dropped depth charges which sunk
submarines easily, uncovered Godzilla left and right.
And that did fuck all. Which the professor is like,
look, y'all, this is a radiated creature. He can teach us a lot about how
to live through an H bomb because he's done it. We should be studying
him. And that's why he really is kind of upset. And then
also he's a zoologist, so he feels like every living creature should have
a right to exist on this planet. And yeah, this particular one
is our fault. So he feels even more bad about it is what I'm assuming,
like why it's a radiated monster attacking us instead of just staying where
the fuck it was. That's our fault. And it's just.
I don't know, it's just kind of an interesting dichotomy that they have. And I
love the sympathy for the giant monsters. It's always a thing where mostly
you can't blame them. They were probably here first. In Godzilla's case, he definitely was
here first. Right. He's a holdover from that era
somehow. And the only reason that he's really being a problem to us is our
fault anyway. Pretty much.
And then, I mean, what's with all assholes wanting to build walls? What's with that?
I have no idea what you're talking about. I know you don't. It's all right.
All right. China. I do. China and the Great Wall. Gotcha. Gotcha.
Yeah, yeah. Wow. Really, really dig into the old history books
for that one, aren't you? I mean. Yeah, yeah. It's a
great thing. And, in fact, the attack continues into
our final 30. I just reached this, but it's
kind of this major attack, and then we go kind
of quiet for a little bit before the final 30. But,
yeah, this attack is pretty cool. It's where you first see his
atomic breath, or, you know, that's how he destroys the
wall and the fences, is with his breath. So it's the first time we know
he has that. Oh, this is the sequence where the lady is clutching
her kids and saying, like, yeah, don't be afraid. We'll be with Daddy soon.
And then he torches the block that they just showed you them in.
Yeah. I mean, this is hardcore. Yeah, yeah. This film pulls
no punches for 1954. That's why it was 1954,
man. A woman clutching her kids say, we're going to be with Daddy soon because
Dad's probably dead. You're. That's just.
Yeah, and that's why it was heavily edited in America,
too. I mean, they recut it because I don't think that they understood that
anything about the actual story and what the story was trying to be told.
And then they inserted Raymond Burr and all of that stuff. But it
starts with an already Godzilla attack happened in the Raymond Burr
version. Like some of the field hospital stuff. They have Raymond Burr talking
over top of it with it showing up already. Like it's very different.
I don't remember everything about it because it's been so long since I watched it.
And for obvious reasons, this is my preferred version because it is a
stomp in the nuts with a Kaiju. It is, man. It really is.
You are. You're in for the. Yeah, yeah. I. That's the
one that I definitely wanted to remember to mention because there's a lot of sequences
like that where people are losing their lives, or you see the aftermath
of it, which is even worse, is even More fucking heartbreaking.
The people with the radiation burns and, like, getting triage
treatments and everything like that. Yeah, that's coming up in the final 30.
Yeah. Yeah, but that's. That's the heart. Like, I mean,
yeah, if we knew all of those structures, because obviously they are going through
Tokyo in 1954. So it's very specific landmarks and buildings that he's destroying,
and rather big ones to begin with as well, like cathedrals and all of
that kind of stuff looking type of big buildings and industrial factory
areas. He just walks through them because they're just in his way. Right.
It's not. Yeah, it's not with any malice. Like, he's burning shit because people
are running and getting his attention. And then he just starts lighting shit up
because it's in his way. And that's the easiest way to get it out of
his way. Like, it's. I don't think there's. He's not going specifically
after humanity. It's just. He's a bumbling giant lizard in
a china shop. Right. Well, I also think they're all kind of
pissing him off. So he's just like, you know, fuck it all. Well, right.
When they're attacking him or the lights and things like that, they do figure that
out that it's the lights that are attracting him. And, like,
the flashing bulbs from the. Like when he attacks the radio
tower, I think is in this sequence or is the next sequence.
But, like, it's. There's very specific moments where you see lights flashing at him that
gets his attention and he's like, stomping it out is all it is,
you know, that's basically what's happening. It's just like a animal. All right, we can
move on. I just wanted to point that out. So in the final 30,
we see alerts are coming in all over about damage and injuries and
the attack continuing. Military is having no luck repelling
Godzilla. Radio guys in a tower reporting it, and they are
reporting all the way up to their death. Jets start coming in and
they fire on Godzilla, which causes everyone to cheer because
finally Godzilla seems tired of this and he's just going to leave because
he's like I and can't stand any of this.
Leave the fuck alone. They literally swarmed him with just enough,
like, bee stings for him to be like, okay, fuck this, I'll walk away.
All right, I'm out. Yeah. And they seem like they're even less than bee stings.
It's like when gnats start swarming your eyes. And like, you don't care, you know?
Yeah. Until they, like, are just get so annoying, you go away from where
the fuck they are. That's basically what happened. All right, I guess I'm out
of here. Stupid gnats, stupid gats
all over the place. So then we see
the dead and the dead dying and the radioactive burns and people are suffering
in hospitals, and like a whole bunch of children saw their dead mother taken away,
and you're just like, God damn. Like, could you be
chill for a minute, Godzilla? Yeah, Godzilla 1954 has
no chill. No, no, there's no chill, man. There are children wailing
for their mothers and you're just like, yeah, okay, well. Then,
yeah, orphans and widows. That's all you get in this film is orphans and
widows. And it's horrifying. Oh, yeah.
Later on, Amo, just blown away by all this destruction,
tells Oada about Sarazawa's work. And what
it is, is. It is called the. He called
it the Oxy Destroyer. It disintegrates oxygen
atoms and causes organisms to asphyxiate and
then dissolve, leaving nothing behind. Yeah, it removes.
She was so freaked out. Out of the water. It only works under water.
And apparently it somehow he says something about it removes the oxygen from the
liquid to create this effect. So it's like instaboil,
where it goes from liquid to gas everywhere around. And I can see where
that would just dissolve flesh, as I think is what they're trying to say.
Like the pseudoscience sort of checks out logically, if you think
about it. Yeah, I agree with you.
It's there. It's very clearly pseudoscience,
but it checks out as far as I'm going to go with my I believe
button. Yeah, yeah, I believe it too. So I'm okay,
right? If you have a problem with the Oxygen Destroyer in a movie where a
giant atomic lizard start stomping, you're focusing in on the wrong stuff.
Yeah, yeah, it's. Yeah, no, that is a definite fact.
Yeah, you're. You're focusing in on all the wrong
dude. I mean, I don't know what's going on with you, but maybe just handle
yourself. All right? Yeah, get your together, folks.
We're. We're watching Godzilla. All right? Stop trying to make it make sense.
So they go to talk to him
to use it, but he hates the oxen Destroyer and he's decides to burn
his work so no one will see it. Well, well, him and Ogata
get into a pretty nasty fight over this, in which he smacks
Ogata over the head, making a bleed. And then he feels like.
Because, again, Serizawa is a good man. He does not.
He didn't mean to create a weapon. He thought he was creating something else.
He did not mean. And he doesn't want it to be used as a weapon.
It sounds like he was trying to get fusion so that, like, he could literally
power the world safely and cleanly. But he ended up
with Oxygen Destroyer, which is essentially how he got the H bomb,
too, because they were trying to create power and they made a weapon. Listen,
man, it's. The road to hell is paved with good intentions.
So, yeah, scientists are not immune to that statement either, dude.
Nope. So then after they listen to, like,
a bunch of people, you know, singing, and they are,
you know, a bunch of kids singing on the radio, because pretty much the radio
is like, we're all going to die. This is. This is going to be the
end. He agrees. I love how mournful it sounds. And they actually
give you. On the tv, they. They go and show you more of the wreckage
and more of the loss, sadness. And the kids
are being broadcast over the TV with those images, but they're also performing
on the radio. So it's being broadcast all over Japan at once.
And it's this very somber, like, you know, song of Peace.
And it's like this last hopeful thing that they're essentially trying to do where they're
resigned to what's happening and Serizawa has
to make a decision, right? Like, there's only one way to stop this beast that
is clearly not going to stop destroying their little island of a
country. So he has to do it. And it's essentially very
much allegoric to the H bomb, right? Like, that's. That's what they're dealing
with here. Only the Oxygen Destroyer is even worse because now
they. Zerizawa, 100% is death. That's all this guy does. He can't
find any other use for it than death. Exactly.
But he is. He says that he will do it, but he'll only
build one bomb, and he's. Then he's going to destroy his work so
that it can never be used again. So then we cut to. They are
all in a boat. They're going to go find Godzilla, and they're using,
you know, they're using his radioactive weapon ways to, you know, the waves
to try to, you know, locate them. When they finally do,
Sara says, get me a suit. I'm going down there and I'm going to
launch the bomb. Nobody Wants him to do that, especially in Aragata,
because he's not, you know, he. He doesn't know how. He says he has to
be the one to do the bomb because no one else is going to know
how. And he's not going to tell anybody else how to do how. That's how
much he's. He's hiding this from, you know, he doesn't want anybody else
to know. So. So then Okada
says, yo, you can't go alone, though. You won't know how to dive. I'll go.
So they both go down there, they find Godzilla, they set the bomb. And then
as they're going up, Sarazada stays behind. As Ogata goes up,
he, you know, sets the bomb. Then he cuts off his oxygen
supply and the weapon goes off, killing both Serizawa
and Godzilla. We see Godzilla rise from the ocean and
then fall. We cut to, you know, the country everyone's
morning serves as death. Oh, wait, right. You actually do
see in a sequence where the, where he falls down to the ground.
It's very quick, but like, you see a Godzilla skeleton including
all of the plates on his back. And then that even dissolves in the oxygen
destroyer bubbling. And then it's over. And then this is very much a
he does get destroyed type of thing. Yeah. And everybody's fucking not okay
with it. Like they all. You can see the people on the boat are like,
they're not happy that they did this, but they're glad that it's over. Or so
they think, you know, like, yes, this is not a good thing that they
had to destroy the last of. This is kind. Yeah, this. They're not
happy about it, but they, they, they figured it was something that had
to be done. Cut to the country was the thing that you just said.
Yeah, yeah. And then. Hold on.
Okay, okay. And then as they all mourn
Cerz death, Professor Yaman just believes that if
we continue testing nuclear weapons, another Godzilla will rise in
the future. That's a very sombering thought. And we go into
roll credits. Cinema scops. Ten years.
Ten years. Oh, man.
I've done it for an hour and 36 movie. It goes quick.
Yeah, of course, because there's no clips. The show seems a bit shorter because
it's a lot of action. There's a dickless amount of action in this. What I
saw was the 1954. I didn't really know what to expect when it came to
what the, the effects would be like. The effects were great for
1954. I can't say enough about how they made Godzilla
look, how they made the destruction look. The destruction looked really
good. Ye. Two thumbs up from me.
Way up. I'm. I enjoyed it. Well, you're going
to have to strap in, man, because it can. I'm strapping in. You go,
man. That's why I just wanted to get mine out of the way so you.
Could go, no, I'm not going to freak out as much as you would absolutely
expect. I would say that these effects are 100% groundbreaking
the way that they did. What was my favorite term for it is
suit. A nation where they put a person in a suit and then
that's. They kind of animate a background around them with like the planes coming
in and stuff like that. I think that's kind of a cool phrase for it.
This was something that had been played around with here and there to try
and make giant monsters happen, but never anything to this scale.
Yeah, it's so ambitious. Just the entire model
city and just taking the time and planning out and having
the explosions and the fire with him walking through. Because let's face it,
there's a dude in a suit walking through a burning set of a
city that he can barely navigate through. And then
they animate in the atomic breath, making the fires happen, but there's explosions
happening around them. They're shooting bottle rockets at this motherfucker to
get some of these shots for like the missiles going off and stuff. I mean,
they are not fucking around. And that guy in that suit is in danger at
all fucking times to make this happen. And then,
you know that motherfucker didn't get hazard pay. Right?
Right. And they're doing some crazy shit to this guy in
his suit. And it's going to get even crazier from here. Right. Because they just
keep amping it up from here. They do. They absolutely do. Definitely. Yeah.
And that's one of the things that I love the most about Godzilla. This is
the one that I have fun with watching,
obviously, because it's intentionally supposed to be a downer, just destroying
everything around you. You're supposed to feel every fucking second of that, man. It's supposed
to be a cautionary tale. You're supposed to feel the mourning and the
widows and orphans wailing and the gnashing of the heath. You really
are. This is supposed to be against nuclear perforation,
really. That's what this is all supposed to be. Right. And even the Raymond Burwin
is somber, but they really trying to lessen the impact on that because
somebody somewhere, whenever they picked that up to release it in America was like,
oh, shit, Godzilla is us. And they're. We got. We got to fix this.
We got to get one of ours in there. So that doesn't seem like it's
us. Yeah. And I don't. I don't hate the Raymond Burr version at all.
I used. That's used to be the only version I could watch as a kid,
you know, so that's what I'm used to. But the impact and the power of
this film with what is inarguably one of the
most ridiculous premises you can come up with, which is giant monster fuck
shit up, right? That's. That's the most high concept fucking thing ever
is giant monster just shows up and fucks shit up. Purely and simply. That's what
it is. And to take something like that high concept of
a film and root it in true human misery and
allegory in such a way is just masterful.
It's just. It changes the face of filmmaking from this
point forward in all of the best possible ways. You know,
that's why I love Godzilla. It's just. Yeah. Like, I mean, yeah, King Kong
may have been first, but it was stop motion animation 100%.
And no one had done suit stuff on this scale before.
Really, the city model building is impeccable and
is what really sells the scale of the monsters. Because when the
budgets start to dwindle and the buildings look less and less realistic,
it doesn't have the impact that this one does because you feel every
building crunch. Every train munch. Every fucking
person stomp. Every attack, Every woman's
wail, Every man's scream, Every child's cry. Yeah.
Yeah. Every tongue confess that Godzilla is Lord
when he's around, Dude. Pure and sin he is lord and
savior of your or destructor of your planet.
Bow to Godzilla. Yeah. What we're trying to say is all y'all motherfuckers
need Godzilla. Yeah.
You can pray to Jesus if you want, but Godzilla might not like it.
All right, so on the pirate radio edit and playing underneath us right
now. We're gonna go into Matt's storytime after this. We're gonna have the song from
1954, Stranger in Paradise, on the pirate radio.
Editor.
This is some good chili. Man, I'm so touched.
For being soulless beings that were originally created just to be
war robots. They're so thoughtful and sentimental and just.
Wonderful when you describe them like that. I don't know if you're talking about the
robots or yourself. Well, I did pattern them after me in my
own image, as any creator would. So I am
kind of talking about me a little bit, I suppose. I don't know. Totally.
Originally built for war. God, this chili's so good. We're gonna have a hard time
getting through this episode. I know, man. Yeah. Every single bot has
a little bit of a sample. But right now, I'll tell you what, even though
it's got a high robot urine content, I'm leaning very hard
towards Corbots. Is it robot urine? Just beer.
Well, in the case of Corbot, absolutely. Because, as you know,
when I wanted to make a robot specifically to be patterned for your
personality type, I basically made a bender bot with my voice.
Very true, but your voice a little off. Your voice.
Yeah, yeah, because I'm a little messed up. Well, he's.
He's. He's got your personality, so that's why he's messed up. That's not
quite my personality. Know that, right?
See, Matt's getting kind of cheated here because, well, he doesn't
get to actually hear the songs that I'm mentioning that I'm gonna go back and
find later to put into the pirate radio edit because I know. Well, my pee
pees are hurt. Yeah, I overslept. I had a hard time falling asleep last night.
And then when he texted me, I had, like, 40 minutes of
extra sleep thanks to Matt being gentle and kind. And. Yeah,
despite all the things I might say about him, he's actually not a bad dude.
I'm not. I'm actually pretty decent of a human being.
Just don't get to know me too well, all right? Because nobody needs that.
Well, in order for them to get to know you well, why don't you give
them a story?
Story time.
Story time. Nearly 10 years and we still have that
back and forth alley oop that we always do. Really do. We really
do. My story time, in keeping with the spirit of Kaijunis
is the first time. The first, well and
only time I got to ride the King Kong ride at Universal
Studios. Oh, is that the one? The newest one from the Peter. Peter Jackson
Kong. Oh, no, no, no. This is a kid.
I was a kid when we did this. Super jealous I missed.
Okay, go ahead. Sorry, I just didn't. I wanted to know which one because they
did a new one for the Peter Jackson King Kong, which is actually pretty awesome,
too. But yours is the one that I wish I could have gotten to go
on for Sure. I remember it legitimately
because I know it's Universal Studios. Who cares? This ride Was
done so well and so awesome that it legit
you. I as a kid I got scared. Believe I was pro
sixth or seventh grade at the time. And. Oh my
God. So you go through it, but it's like you're riding a subway right
through New York City. And you keep like. They even play like
the emergency broadcast system so you get that alert sound like
a tornado's cabin or something. And how the city's being evacuated.
At some point you're underground. And like he must have busted
through something because a ton of water comes falling down. It was.
They took part of what was once a. Also a.
An earthquake simulator. Like from the movie Earthquake.
That was a ride like when you do Universal Studios
tour. When you go on the tour, they would actually do that. Well, this one
was Kong. And so like the whole subway starts flooding and you
take off. All the water's coming down, roofs are coming down. And then
finally it's like you're on a. You're more like a tram. So you're above
and all of a sudden you see these massive King Kong eyes
staring at you. It was awesome. And watching
this home. Anytime I watch a Kaiju movie, it. Oh. Or a giant monster mov
movie always reminds me of that. Always. Because it freaked me out so
bad on that ride. But it was so much fun. And I only got to
do it once. I wanted to go back on it again, but we ran out
of fucking time. And then by the time I ever got back near
Universal Studios, the ride was gone. Fuck. That was
famous for like all of the 80s and that was featured in movies
and shit like that. Where the ride was like a big prominent part of it.
Because it was instant production value. And the minute you saw that ride in there,
you wanted to go on that ride. The ride was based off
in the 1980s King Kong movie that was in New York.
It was really based off of that. So yeah,
I'm like, it was just such a good time. You go through old
town New York, you know where it looks like shit. Your little tr. Yeah.
You just. You move in. You like a hand will bust through and try to
get you. The animatronics were awesome. It was just a well,
well put together ride. Yeah. And it lasted for a very, very long
time before they got rid of it. Like, very long time. Oh yeah. It lasted
forever. In the early ninet nineties. It still existed, actually.
It did, yeah, it really did that. And the Jaws ride,
I think, went away almost the same time. Yeah, well, the Jaws ride got featured
in Mallrats like, it lasted that long because they were actually
going to do the whole thing where he was going to propose where Jobs,
Jaws, pops out of the water and mall rats. Yeah, the Jaws ride was kind
of boring to me. Just going to say it. But the King
Kong ride was the shit, and that's where it was at. Yeah, you're on a
bridge at one point, right. And doesn't he like. Yeah, yeah. Like he busts a
bridge and shit at you. He. Yeah, he busted a bridge.
Yep. The Universal Studios really liked fucking around with
bridges. Well, it's easy to simulate, you know, and then
it just resets if you do it right with the pistons, because they did.
They had a. It was your. Your go to crust kind of a bridge type
thing. And Jaws, too. All right. Yeah. This is going to be
probably our absolute shortest episode when I throw the music in and everything.
But, hey, no clips. This is what's going to happen. And it's not that we
didn't discuss the film and give it justice. We just basically were very
efficient with doing it because, I mean, we're really. Good at doing this. Especially when
there's no clip, you know, there's no clips. What do you expect? Yeah.
Get you in and out a lot faster with these coverage. Yeah, yeah, yeah,
yeah. And there's going to be a lot of jackets. But I really did enjoy.
Let me say it one more time. It was really great. To my first time
seeing the original Godzilla. I've never seen where
it started. To know that this is the beginning of it was really fucking cool.
I can't, because I've always wanted to see that because I knew I'd never seen
the original one. Yeah, well, I can believe that you'd never seen the original one.
I just can't believe that, like, at least you weren't exposed to the Raymond Burr
one a little bit. You know what I mean? I was. The Raymond Burr one
I did see. Yeah, that's because that was on HBO. A lot that was edited
from this one. Unless you're talking about. Okay. Unless you're talking about the 1985 Godzilla
where they actually edited Raymond Burr into that one, too, in color. Oh,
I might be talking about 1985 Godzilla then. Well, we'll get to
that one. The Return of Godzilla got edited with Raymond Burr into that. But we'll
get to that one eventually. We got a ways to go. We're on 54.
We got a ways to go to 1985, right? No shit.
Plenty of movies before we get there. But we will be covering that one,
too. So we'll talk about that when we get there. So I'm
so glad that you got to see for the original Godzilla. The actual original Godzilla
for the first time. That's that. If nothing else, mission accomplished on this
fucking show in these 10 years. Exactly. Got to see the original Godzilla.
All right, so we're gonna go ahead and play the show. Housekeeping.
And get ready to wrap it up. And on the pirate radio edit,
we're going to have Frank Sinatra singing Young at Heart, which was a hit
in 1954 when Godzilla was released. And when we come back, we will close
out this motherfucking show. If you decided you can't get enough of the
show and would like to check out more of it, we're available at legionpodcasts.com
just do a quick search for Cinema Psyops or just enter this entire URL into
your browser. www.legionpodcasts.com Cinema
PsyOps podcast.
Dude. Oh, hey, buddy. Chicago,
dude. What's Chicago? It's Peter Satir. Why the do you
even know that shit? I don't. Ridiculous.
You. Listen. I can't even. Believe it or not. You drink
my piss. Don't say that. That's me.
It's a guilty pleasure song. I'm sorry, all right? It just.
It's just. It's okay, man. We're here for you.
I'm not. We will support you. I won't.
Your likeness of Chicago. It's not about Chicago. It's. It's just
a guilty pleasure song, all right? Everyone has one. Then why is
there a mirror ball going in the lab right now and you're dancing by yourself
singing along to it? Because I'd like to set ambiance.
All right, up, you fucking weirdo. It's okay,
Matt. No, it's not. No, we will not.
Master I and Corkbot are here for you.
No, neither of us. Yeah, him. We're all understanding.
You are very understanding. Just matpot. Stop. I don't need your help.
Listen, guys, it's. It's nothing. Dude, stop rubbing his shoulders. Matt Bot.
That's creepy. But it feels nice. But it's still
very creepy. But nice. Here's a soft touch. You should really be
commended for what you built. Jesus Christ. You know what? No. You know
what's going to happen here? You hold him down. I'm going to cut this Chicago
love. Out of your brain, all right? I wasn't using it for anything
anyway. And joined in the studio, fresh from his
brain surgery by Matt. I hate Chicago.
Wait, the city or the band? All of it. I think
I may have cut a little too much out. Why do I intensely want to
listen to death rockabilly right now? You mean Psycho Billy?
Whatever, man. I really didn't put that implant in there quite right.
I see the color orange, you see the
color orange, but it tastes like the color purple.
And now you're tasting purple as well. Yeah, we're gonna probably have to get this
checked out. Oh, I think you'll be absolutely fine because,
you know, your brain wasn't very useful to you anyway to start with.
Yes. Yeah, I'm just gonna have to go with the year the movie
was released. Just whatever music was popular that I'll make selections from
for our pirate radio edit because otherwise I'm not gonna have that
many songs that I'll be able to do. And like, that's the widest
option for this wide range of films that we're gonna be covering for multiple decades.
Right. No kidding. The music's gonna age with us as we go.
It's gonna be fun, everybody. I promise. In one way shape. We're gon havea a
good time. Yeah. That's basically what this show is now going to be. In the
defiance of living in the absolute stupidest timeline that could possibly ever fucking
exist. We're going to keep doing this show until I'm gone.
Until we're gonna keep trying to have fun until
it's not fun anymore. Yeah. Until I can no longer do
this show for some reason, I'm going to keep doing this show and we're gonna
keep trying to have fun with it in the stupidest timeline that has ever existed.
And while you're trying to wrap your head around that, kick the fuck out of
this week and make it your bitch while you enjoy. That's Amore by Dean
Martin, also released in nineteen nineteen fifty four on the pirate radio.
94821 is not really my personality. Dude,
it's Cor Bot, the name of the robot. We go through this every time.
I know. That's what he said. Bot. 895, 5434. I know.
Oh, this is like how OTC treats you, isn't it?
Right? Yeah, I know, right? No respect for Matt, no respect and
no respect for Cor Bot,
whoever the. Is on the other side of this. Cut this out.
I don't want your empties, I don't. Want your unwanted body parts.
And I sure as hell don't need to hear your damn voices.
24X7 for sake.
Recording in progress. There we go. We are going. Yeah.
Sorry, I fucking overslept. I didn't. Gosh, you're fine.
Text. I had my watch on and everything, but it didn't wake me up for
some reason. Yeah, man. When you're exhausted, that's what happens. This will keep
us quiet. Oh, hi there. I didn't see it.
Sorry. I just got an idea. I wasn't sure what to do for Pirate Radio
Edit music, but I think I'm just gonna do the year of the release for
all of these Kaiju films. And so I'm just gonna look and see. Ah,
there you go. If maybe. I think I have some of this stuff. But,
yeah, I think that's what I'm gonna do, is I'll just. I'll just do the
years and then I'll figure out certain bands to use.
Second. Wow. This is going to be matching. The Stranger in Paradise and
Shake, Rattle and Rock the Role are all both from 1954 for Godzilla.
So it's going to have a very similar soundtrack to 1,
2, 3. I just need one more. Yeah, why not? Demonstrate,
Martin. All right, so I'll punch these in later,
but at least that way I have the list of what I'll do for Godzilla,
and then I'll figure out Godzilla Raids again when we get going. There we go.
Cool. Yeah. All right. Three, two,
one.
Oh, God, I lost my split. Hold on.
Okay. All right. Yo.
I'm going to keep doing this show, and we're going to keep trying to have
fun with it in the stupidest timeline that has ever existed. And while you're trying
to wrap your head around that, kick the out of this week and make it
your bitch while you enjoy that's Amore by Dean Martin,
also released in 1954 on the pirate Radio Edit. Sorry, you want to interject
something I can throw? No, I'm fine. Don't worry about it.
It was nothing funny when I really think about it.
All right, nothing. Let's go ahead and stop this
shit, then. Recording stopped.