'Godzilla' was a metaphor for Hiroshima, and Hollywood whitewashed it.
However, American audiences saw a different film when it was brought stateside as “Godzilla, King of the Monsters!” roughly two years later, Tsutsui said. The movie was heavily edited, placing the white actor Raymond Burr at the center of the adaptation. The scholar noted that an estimated 20 minutes of the original Japanese film, predominantly the politically charged portions, were cut out of the American version.
Hollywood ultimately sought to sanitize the movie and deflect blame from the U.S. bombings, Tsutsui said. “These 'Godzilla' films were not received in the same way in general — in Japan the early films were big budget, major studio films featuring some recognizable stars, while in the U.S. they were more like lowbrow B-movie Japanese monster movie genre fare with funny dubbing that fed into an Orientalist understanding of Japanese culture in America at large,” he said.
The original film was essentially a product of the era’s popular monster movies and heavily influenced by the events in Japan at the time, Tsutsui said. A producer at Tomo Studios, Tanaka Tomoyuki, was inspired by the bombings in Hiroshima and Nagasaki, in addition to what was known as the “Lucky Dragon No. 5 Incident” of March 1954, in which a Japanese fishing boat strayed into the U.S. H-bomb testing range of the Bikini Atoll.
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