A colourful montage on this Japanese B2 poster for Godzilla vs SpaceGodzilla, which was the 21st film in the series featuring the King of the Kaiju (giant monsters). The film was the sixth release in the second generation of Godzilla films, which were part of the Heisei era of Japanese monster movies (daikaiju eiga). The monster movie eras are named after the Japanese emperor at the time, so the first generation of Godzilla films were part of the Shōwa era.

The story is typically ludicrous and sees fellow kaiju Mothra travel in to space to stop a meteor hitting earth and inadvertently exposing cells from Godzilla (and Biollante) to the radiation from a black hole, which then triggers the creation of an aggressive extraterrestrial closely resembling the famous monster. SpaceGodzilla immediately heads to earth, destroying a space station on the way, and after battling and knocking out Godzilla it imprisons his son on Birth Island and heads to Japan intent on destruction. The Japan Self Defense Forces have time to scramble their latest weapon in the fight against kaiju, the penguin-like robot called Mogeura. But is it enough to stop the rampaging alien?

The artwork on the poster is by the late Noriyoshi Ohrai who was something of an enigma, even in his native Japan. He’s responsible for a number of Star Wars posters, including this lovely 1982 B2 to celebrate the release of the Japanese dubbed version of the original film and the brilliant design for The Empire Strikes Back.

Ohrai painted a poster for each of the Heisei era of Godzilla films, which were always accompanied by a photographic-style poster.

The other Ohrai posters I’ve added to the site so far can be seen by clicking here.

Artist Noriyoshi Ohrai provides another great illustration on this Japanese poster for the release of Godzilla vs Destroyah, which was the 22nd film in the series featuring the King of the Kaiju (giant monsters). The film was also the final release in the second generation of Godzilla films, which were part of the Heisei era of Japanese monster movies (daikaiju eiga). The eras are named after the Japanese emperor at the time, so the first generation of Godzilla films were part of the Shōwa era.

Prior to release the production company Toho announced that this film would see the death of this incarnation of the legendary kaiju in order to make way for an American version of Godzilla (a film that was eventually released in 1998 to critical derision). The film begins with Miki Saegusa (Megumi Odaka), the psychic who has has previously used her powers to communicate with Godzilla, discovering that his home on Birth Island has been completely destroyed by an unknown force. Sometime later Godzilla appears near Tokyo covered in glowing, red hot rashes and the Japan Self Defense Force instructs a scientist to investigate what’s causing his condition.

It is soon discovered that Godzilla’s heart, which is effectively a nuclear reactor, is going into meltdown and once it reaches 1200 degrees Celsius it will explode with the force of 1000 nuclear bombs. The JSDF launch the flying attack fortress Super X-III to try to keep control of the situation. Meanwhile, scientists have developed a new formula for the ‘Oxygen Destroyer’ weapon that was originally created by Dr. Serizawa back in 1954 (the original Godzilla film) but fears over its side effects are realised when a number of mutated creatures are found to have been infected by the formula and are growing at an alarming rate. Quickly they evolve into crab-like creatures that start attacking Japan and have several skirmishes with the JSDF who dub the eventual combined creature ‘Destroyah’. Godzilla Junior reappears, greatly resembling his father, and the stage is set for several showdowns between Destroyah and the two Godzillas whilst scientists race to try and prevent a meltdown disaster.

This film features several calls back to the original 1954 Godzilla, including a cameo by Momoko Kôchi who played Emiko Yamane in the original film. This bit of trivia on IMDb hints at an early planned version of the final Heisei era Godzilla film:

An original idea for this movie had Godzilla fighting the original 1954 Godzilla in ghost form. The project, “Godzilla VS Ghost Godzilla”, was scrapped because the producers thought Godzilla didn’t need to fight a clone version of himself for three movies in a row, following Godzilla vs. Mechagodzilla(1993) and Godzilla vs. Space Godzilla (1994).

The artwork on the poster is by the late Noriyoshi Ohrai who was something of an enigma, even in his native Japan. Ohrai painted a poster for each of the Heisei era of Godzilla films, which were always accompanied by a photographic-style poster. He’s responsible for a number of Star Wars posters, including this lovely 1982 B2 to celebrate the release of the Japanese dubbed version of the original film and the brilliant design for The Empire Strikes Back.

The other Ohrai posters I’ve added to the site so far can be seen by clicking here.

This is the photo style B1 poster for the release of Godzilla Against Mechagodzilla, which was the 26th film in the series featuring the King of the Kaiju (giant monsters). The film was also the fourth release in the third generation of Godzilla films, which is known as the Millenium Series, and it marked his fourth showdown with Mechagodzilla. Unlike the rest of the Millennium series, this film shares continuity with the earlier Toho productions, including the original Godzilla (1954).

This poster features the Japanese Actress Yumiko Shaku who stars as Japanese Defence Force Lieutenant Akane Yashiro, a Maser Cannon operator who is made a scapegoat after her actions fail to stop a rampaging member of Godzilla’s species. During the same battle, scientists realise that Godzilla is now immune to Maser fire and, after the skirmish is over, they begin work on a new weapon to stop him in the future. Using the skeleton of the original Godzilla that was defeated back in 1954, scientists create a new cyborg Mechagodzilla that is inducted into the Defense Force and given human controllers as part of the new Kiryu squadron.

Akane is given a role as a pilot despite suspicion from some of her squad mates. The pilots are located in a giant VTOL plane that hovers above Mechagodzilla, relaying instructions to it. During the reveal of the new machine to the public, Godzilla appears and as the two start to battle, Godzillas roar apparently awakens something within the original skeleton of Mechagodzilla and the machine goes on a rampage, destroying much of the city around it, once Godzilla has retreated. After bringing the machine under control the Kiryu squadron continue to work on Mechagodzilla in preparation for the next monster attack. When Godzilla appears once more, another battle commences which sees the remote control technology damaged. Akane decides to risk a descent to earth, where she enters Mechagodzilla and pilots the machine from within.

The film was well received by Japanese audiences and, as can be seen from the description above, was clearly one of the films that had an influence on director Guillermo Del Toro’s recent monsters versus machines film Pacific Rim.

The original trailer can be watched on YouTube.

A colourful montage on this Japanese B2 poster for Godzilla vs Mechagodzilla, which was the 2oth film in the series featuring the King of the Kaiju (giant monsters) and was marketed as the 40th anniversary of the series. The film was also the fifth release in the second generation of Godzilla films, which were part of the Heisei era of Japanese monster movies (daikaiju eiga). The monster movie eras are named after the Japanese emperor at the time, so the first generation of Godzilla films were part of the Shōwa era. Despite sharing the same title with a 1974 film, this is neither a remake or a re-imagining of the earlier version.

The story sees the United Nations Godzilla Countermeasures Center (UNGCC) created in order to stop the legendary monster. Two machines are manufactured from the salvaged parts of Mecha-King Ghidorah, a mechanised abomination last seen in 1991s Godzilla vs King Ghidorah; one is a flying gunship called Garuda and the other is the titular Godzilla-like robotic beast. When a mysterious egg is discovered on an island in the Bering sea, both Godzilla and Rodan – the irradiated pteranodon seen in several previous films in the series – appear and battle over it, allowing a team to escape to a research centre in Kyoto. When the egg hatches it is revealed to be Baby Godzilla (AKA Godzilla Junior) and once again the legendary Kaiju is summoned to Japan by its psychic powers. The UNGCC decide to mobilise their new defence weapons and both Rodan and Godzilla are pitched against the metallic foes.

The artwork on the poster is by Noriyoshi Ohrai who is something of an enigma, even in his native Japan. I’ve been unable to find much about him beyond a few pages like this one on the Star Wars Wookiepedia. He’s responsible for a number of Star Wars posters, including this lovely 1982 B2 to celebrate the release of the Japanese dubbed version of the original film and the brilliant design for The Empire Strikes Back.

Ohrai painted a poster for each of the Heisei era of Godzilla films, which were always accompanied by a photographic-style poster. I will be adding more of the Ohrai Godzilla posters over the coming weeks.

The other Ohrai posters I’ve added to the site so far can be seen by clicking here.