With the advent of smashing box office success post American film King Kong (1952) and Warner Brother’s production The Beast from 20,000 Fathoms (1953) soon after (Tsutsui, “Godzilla and Postwar Japan”), the monster movies promised an instant connect with hungry audiences, catering to their inner fears and was instantly lapped up by Toho studios producer Tomoyuki Tanaka who was going through a creative dead-end after the falling through of a coordinated film project with Indonesia and was inspired by the cinematic success of the horror/monster movies. Equally disturbing was the past of Gojira director, Ishiro Honda, who had experienced war imprisonment in China and was deeply affected after visiting the remnants of Nagasaki, on his return to Japan. Bending rules, Honda dared to use direct real-life parallels giving us an insight into the socio-politico unrest prevalent in Japan during that time, and using metaphorical connection with the effects of radiation by emphasizing on the character of the radio operator on the boat, who meets a fatal death, much akin to the chief radioman on the Lucky Dragon 5, who died of radiation poisoning months later (Suvarna, “Gojira: The Japanese Original”).
“The Japan of the mid-1950s still bore the scars- both physical and emotional – of total war and defeat,” and the Japanese people were “repressed formally and informally,” says the article The Rhetorical Significance of Gojira. According to the author, the movie gives an opportunity to people to deal with the horrors of the past, as well as present to the world the Japanese perspectives of the nuclear war, as against the American perspective released by way of “Our Friend the Atom” (1957) (Stevens, “The Rhetorical Significance of Gojira”, p.7).