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Italian Dubbed Godzilla Full Movie



Dig the provenance of this unique art object: it begins as a 1953 black-and-white Japanese monster movie, it's then imported to America and "Americanized" with the social commentary about Hiroshima, and the soapier histrionics removed (i.e. all the male crying), and copious footage of Raymond Burr reacting to things added (his near-constant narration helping to undo the need for either subtitles or dubbing). Let it simmer for a couple of decades and then that version is colorized, dubbed into Italian, has actual Hiroshima footage added (amongst other changes) given an Italian theatrical release with a kind of 1977 Italian version of "Sensurround," then later recorded onto VHS, which is then apparently thrown off a train into a river, then left out in the sun for 20 years before finally being subtitled and uploaded onto YouTube, where it lives--and thrives!--to this very day.




italian dubbed Godzilla full movie



Just to preface: I'm a huge Luigi Cozzi fan (see my gushing appreciation of his other films here). His imagination and love of the genre is so all-consuming it brings his work way past the boring and familiar things that hold up other directors, i.e. pacing, classical-style narrative, character arcs, romantic arcs, and heartfelt dialogue. Instead, Cozzi gives us everything great about Italian versions of America sci-fi movies, with an endearing primitivism that captures the essence of why we want to see a movie in the first place, especially one we want to watch over and over and never get bored, the way children never get bored of their favorite bedtime story - because myths never age, and are never fully known, never fully consumed.


The insertion of Burr into Godzilla prior to its American release can seem racist, but once he's dubbed into Italian and we're reading what he's saying via subtitles (i.e. translated back again), all that bad taste goes away and the whole thing becomes post-modern sublime. With the warping wobble of the VHS source giving the voices a strange echo quality that takes him (and the Japanese around him) out of the 'present,' his narration (welcomely truncated for Cozzi's version) echoes through the action like a dream. Welcome everywhere, always up front, he merges into the post-modern warp in a way that's definitely cool. The associations of the Italian dubbing actor makes us automatically re-interpret what we hear as, not just monster movie junk, but an art film ala Antonioni.


Here's an example - the attack in the Burr film starts at 50 mins in, ends around 101; in Cozzi's, it starts at 50 mins but then ends - ends 101:12 - so like double the length. Then the end underwater climax in the Burr verison last 6 minutes but the Cozzi version expands to 12, but then goes back to slow motion the explosion and the anguished roar go godzilla - his pathetic rise from the deep only to be mercilessly shelled by the boats, howling and then sinking back down. Cozzi spatters into a full on military assault at the head as if target practice, before it sinks down to the slow motion depths, the sound warped and flangered with the music carrying through a sea of bubbles, almost Wagnerian and triumphant. The beast takes forever to fall back down to the depths. He finally sinks and the sea dissolves again into a sea of bubbles.... We only see a few cutaways to people on the boat but Cozzi doesn't care about them and knows we don't either - we don't even care about Serizawa's brave suicide (cutting his air hose). We're glad to be rid of him and all his crying and tantrum-throwing.


Dear Mr. Boy: Ah, but those Amazons were Greek, These Amazons live someplace in Asia Minor. That is all the more puzzling because none of them is Asian and only three are minors. The drinking age was well below 19 at that time in history, however, you will be glad to learn. The Amazons and their captives are also interesting because, if I read lips right, they spoke Italian dubbed into English. Many historians are of the opinion that neither language existed then, but American-International, the distributor, may be onto something. One thing is for sure: No movie in the last 20 years has been dubbed more ineptly. No, not even "Godzilla vs. the Smog Monster." In one scene, a man has his head split open with a ferocious blow from a sword. On the screen we see his lips opening in an anguished scream. On the soundtrack we hear him say, in English: "Oh, no!" It is possible to respect his opinion while questioning his sincerity. Another problem in the movie is that the actors who were hired to dub it into English have a hard time not laughing. There was one speech that went something like: "Zeno, surely you agree that no matter what Ilio, Antiope, Medio, Eraglia and Sinade say, Valeria is right!" Apart from the problems already enumerated above, an additional difficulty is that most of the pretty girls in the movie are Amazons. I had my own notions about why the men of her village would not fight to resist capture by the Amazons, but I kept them from Valeria. It's hard to be sure exactly when the movie takes place; there are spears and bows and arrows and swords, which suggests early times, but then again all of the women on both sides are fresh from the hair dryer. They also exhibit impressive technical advances in the art of brassiere-design.


Guys, guys...you are falling for his thing. In fact, I was reluctant to respond to Petey originally but it appeared he was being serious for once, which I still believe (save the last part).Incidentally, I own a few dubbed prints on 16mm (Godzilla movies notwithstanding). I couldn't watch Investigation of a Citizen after a while...too off. I knew it was a bad idea to buy it. I have somewhat higher hopes for Seduced and Abandoned and 8 1/2, which I have, respectively, watched only a little of and not yet received.Having seen The Sicilian Clan subtitled first, and then dubbed on my print, it did not lose a lot, given the nature of the picture, though I would choose subtitles if I could. I bought 8 1/2 bc it looks to be a gorgeous print, and you could run that silent and it would be worth it! I have read a few good things about that dub, but we'll see. If I ever have the chance to replace it with a subtitled print, off it will go, unless it turns out to be interesting in its own right. But it doesn't exactly fit the "unserious fun" model of films that I can usually quasi-accept the unreality of dubbing in. Five Dolls is a good example (no, I don't have a print; I wish).


In September 1955, the Japanese studio Toho Co., Ltd. sold U.S. theatrical and television rights for their film GODZILLA (Gojira, 1954) to Edmund Goldman, owner of a small distribution company called Manson International. Goldman soon sold the movie to Harold Ross and Richard Kay of Jewell Enterprises, who in turn partnered with Joseph Levine of Embassy Pictures to form Trans World Releasing Corp. and distribute GODZILLA in America. The Trans World crew had the film dubbed in English and recut to include newly shot scenes featuring actor Raymond Burr (PERRY MASON). This new version was released to theaters in the United States in April 1956 as GODZILLA, KING OF THE MONSTERS. It was a box office hit, and the Americanized GODZILLA was quickly picked up for distribution in Mexico, Britain, France, Argentina, Cuba, Belgium, Sweden... and Italy, where it was released in February, 1957 as GODZILLA IL RE DEI MOSTRI. Among the Italian audiences who saw GODZILLA IL RE DEI MOSTRI was a young boy named Luigi Cozzi. Cozzi (born in 1947 in Busto Arsizio, Italy) is a lifelong fan of horror and science fiction movies who became a filmmaker as well as a close friend and partner of Italian horror icon Dario Argento (SUSPIRIA, TENEBRAE). He began his long working relationship with Argento as a writer on the 1970 film FOUR FLIES IN GREY VELVET (4 Mosche di Velluto Grigio), and the two have collaborated on titles such as CREEPERS (Phenomena, 1985), TWO EVIL EYES (Due Occhi Diabolici, 1990), and THE STENDHAL SYNDROME (La Sindrome di Stendhal, 1996).


Initially, Eiji Tsuburaya imitated the method of shooting Godzilla in the US and Europe, and examined the technique of doll animation , but it was calculated backward from the opening date of November 3 and judged that it was impossible in the process, and the actor entered inside. The stuffed animal method was adopted. Haruo Nakajima, who was the main performer, said to Tsuburaya, "It will take 7 years if you do a doll animation, but if you perform, you can do it in March." Until then, the only monsters in the movie were doll animations, and even when the photographers Sadamasa Arikawa and Nakajima said to Tsuburaya that "I'll do it with a stuffed animal," he didn't have any image. "Godzilla" was also Japan's first initiative as a full-fledged "plush monster."


Colorizing it is like dubbing: Whereas English audio-dubs take away from the original performance of actors, a colorization takes away from the original work of directors of photography. I for one have no interest in altering that. The original movie is a beautifully shot film Masao Tamai who also worked closely with the prolific director Mikio Naruse. And Sadamasa Airikawa's effects photography blended so beautifully with his work and gave Tsuburaya's effects an almost do***entary look. B&W can be gorgeous, as the '54 film is, and colorizing would destroy that visual artistry.


Godzillais a Hindi dubbed Movie.You can also watch the You Tube trailer here or by clicking the "watch trailer" link below.The Available print quality of this movie is Hd. It is the best video print quality till Jan. 22, 2020, 1:42 p.m. over the internet.


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