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King Kong Versus Godzilla - "The Most Colossal Conflict the Screen Has Ever Known"
Popular culture in 1962 experienced many notable firsts. That year, The Beatles released their debut single “Love Me Do” in England, The Beach Boys first LP, Surfin’ Safari, was stocked on record store shelves, The Rolling Stones played their first shows, Dr. No marked the opening James Bond adventure to hit theaters, Marvel Comics’ “The Incredible Hulk” was splashed on the pages of comic books—and two of the greatest movie monsters, King Kong and Godzilla, clashed on the big screen.
When King Kong and Godzilla were originally introduced to theater-going audiences, many critics foresaw their mass appeal. Screenplay called the film King Kong “Breath-taking, fascinating!” and said, “Words are inadequate to express the thrills and unusual entertainment values of this absorbing product of directorial and imaginative genius” in 1933. And in what could be best described as a moment of clairvoyance, Leslie Dard of San Mateo, California newspaper The Times wrote about Godzilla’s introduction to American audiences in 1956, “With Tokyo a wreck it’s fairly obvious that Godzilla is destined for bigger things—destroying the world for example.”
Although King Kong and Godzilla were introduced to audiences two decades apart, on two separate continents, by two different movie studios, perhaps it was inevitable that King Kong and Godzilla would be forever intertwined in their respective histories, eventually brought together, and grappled in most colossal conflict the screen has ever known—King Kong vs. Godzilla.
Also included is a foreword by writer/producer/comedian/podcaster Dana Gould and an interview by the author with Toho’s King Kong Escapes (1967) star Linda Miller, who gives insight into the creative vision of Ishirō Honda and Toho Studios.
When King Kong and Godzilla were originally introduced to theater-going audiences, many critics foresaw their mass appeal. Screenplay called the film King Kong “Breath-taking, fascinating!” and said, “Words are inadequate to express the thrills and unusual entertainment values of this absorbing product of directorial and imaginative genius” in 1933. And in what could be best described as a moment of clairvoyance, Leslie Dard of San Mateo, California newspaper The Times wrote about Godzilla’s introduction to American audiences in 1956, “With Tokyo a wreck it’s fairly obvious that Godzilla is destined for bigger things—destroying the world for example.”
Although King Kong and Godzilla were introduced to audiences two decades apart, on two separate continents, by two different movie studios, perhaps it was inevitable that King Kong and Godzilla would be forever intertwined in their respective histories, eventually brought together, and grappled in most colossal conflict the screen has ever known—King Kong vs. Godzilla.
Also included is a foreword by writer/producer/comedian/podcaster Dana Gould and an interview by the author with Toho’s King Kong Escapes (1967) star Linda Miller, who gives insight into the creative vision of Ishirō Honda and Toho Studios.
250 pages, Kindle Edition
Published December 11, 2025
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Displaying 1 - 3 of 3 reviews
April 2, 2026
KING KONG VERSUS GODZILLA by Thom Shubilla is not only the story behind this iconic early 1960's film that was quite profitable and ran in various venues for many years, but also a cultural and societal look at the time when it appeared. It also traces the film history of both title characters from their origination to 2025.
KING KONG VERSUS GODZILLA was the first motion picture that I saw in a theater. "Famous Monsters of Filmland" and various newspaper ads (I saw the latter in my search for the comics page) promoted the film until my young mind could barely contain itself. I know that I begged and pleaded with my parents to take me until Dad was ultimately elected to keep peace in the family. We saw it in an indoor theater on a mid-week night. I didn't know it at the time, but we were watching the "Americanized" version of a Japanese film.
Many years later, I saw the film on television, and I thought about my poor Dad enduring what had to have been a trial for him. I'd loved it as a child, but the more discerning young adult I'd become realized that "it wasn't very good." It would be decades later before I would finally have the chance to see the original Japanese version which I thought had much better pacing and wasn't subject to the "News Break" narration.
Shubilla explores why the sequel to such a popular film never emerged, and how it was perceived in both Japan and the United States through press reviews, merchandizing, and the general reception by the theater-going public. Many times, the "list approach" of detailing other things that those connected with the film had done lowered my enjoyment. On the plus side, although I've seen all of the King Kong and Godzilla movies, there was often a tidbit that I hadn't known before. (I especially enjoyed the background of the original King Kong novelization ... and, yes, I've read it.)
I have to admit that I was surprised by one curious omission. From what I've read elsewhere, there was a great deal of disappointment regarding the appearance of the King Kong suit in KING KONG VERSUS GODZILLA. I have to agree that whenever I see the film (it's been about six times now), I share that disappointment. It would have been good to not only have that mentioned, but also explore why Toho Studios approved the "look." (Speculation was that it made King Kong less frightening to children.)
There is also a curious opinion in the Conclusion of the book. Shubilla decries the excessive use of CGI effects for modern monster films, stating that while CGI can make monsters appear real, the audience's belief in them diminishes because they know they are computer-generated. I would maintain that this only happens when an audience is not captured by the story. If a movie is as involving as say, TERMINATOR 2: JUDGMENT DAY, audiences don't tend to stop and think, "Oh, that's a cool effect, but I know it's not real." (In the writer's defense, he does bemoan the quality of the storytelling in many modern iterations.)
There's a delightful bonus contained within the Conclusion. Shubilla shares his interview with Linda Miller who describes her brief experiences in film, most notably with KING KONG ESCAPES and THE GREEN SLIME, two Japanese productions. I've read portions of those accounts before, yet it was a lot of fun feeling a little like an "insider" at the creation of these productions.
KING KONG VERSUS GODZILLA was the first motion picture that I saw in a theater. "Famous Monsters of Filmland" and various newspaper ads (I saw the latter in my search for the comics page) promoted the film until my young mind could barely contain itself. I know that I begged and pleaded with my parents to take me until Dad was ultimately elected to keep peace in the family. We saw it in an indoor theater on a mid-week night. I didn't know it at the time, but we were watching the "Americanized" version of a Japanese film.
Many years later, I saw the film on television, and I thought about my poor Dad enduring what had to have been a trial for him. I'd loved it as a child, but the more discerning young adult I'd become realized that "it wasn't very good." It would be decades later before I would finally have the chance to see the original Japanese version which I thought had much better pacing and wasn't subject to the "News Break" narration.
Shubilla explores why the sequel to such a popular film never emerged, and how it was perceived in both Japan and the United States through press reviews, merchandizing, and the general reception by the theater-going public. Many times, the "list approach" of detailing other things that those connected with the film had done lowered my enjoyment. On the plus side, although I've seen all of the King Kong and Godzilla movies, there was often a tidbit that I hadn't known before. (I especially enjoyed the background of the original King Kong novelization ... and, yes, I've read it.)
I have to admit that I was surprised by one curious omission. From what I've read elsewhere, there was a great deal of disappointment regarding the appearance of the King Kong suit in KING KONG VERSUS GODZILLA. I have to agree that whenever I see the film (it's been about six times now), I share that disappointment. It would have been good to not only have that mentioned, but also explore why Toho Studios approved the "look." (Speculation was that it made King Kong less frightening to children.)
There is also a curious opinion in the Conclusion of the book. Shubilla decries the excessive use of CGI effects for modern monster films, stating that while CGI can make monsters appear real, the audience's belief in them diminishes because they know they are computer-generated. I would maintain that this only happens when an audience is not captured by the story. If a movie is as involving as say, TERMINATOR 2: JUDGMENT DAY, audiences don't tend to stop and think, "Oh, that's a cool effect, but I know it's not real." (In the writer's defense, he does bemoan the quality of the storytelling in many modern iterations.)
There's a delightful bonus contained within the Conclusion. Shubilla shares his interview with Linda Miller who describes her brief experiences in film, most notably with KING KONG ESCAPES and THE GREEN SLIME, two Japanese productions. I've read portions of those accounts before, yet it was a lot of fun feeling a little like an "insider" at the creation of these productions.
April 17, 2026
“King Kong vs. Godzilla” (1962) may or may not be a great movie, but make no mistake about it, “King Versus Godzilla: The Most Colossal Conflict the Screen Has Ever Known” by Thom Shubilla is a great book.
I saw “KKvG” on the big screen the summer of my sixth grade year, and it thrilled me. Despite the title, Shubilla’s well-researched book is not just about this seminal film. It is also an excellent history of monster movies in general and Japanese kaiju movies specifically.
This book will serve me in the coming years as a guide to dipping into this area of monster-kid films with which I am only minimally familiar. Shubilla’s writing is clear and entertaining, and his meticulous citing of reference sources is among the best I’ve seen in books on film history.
“King Kong Versus Godzilla” leaves me eager to read more books by Thom Shubilla.
I saw “KKvG” on the big screen the summer of my sixth grade year, and it thrilled me. Despite the title, Shubilla’s well-researched book is not just about this seminal film. It is also an excellent history of monster movies in general and Japanese kaiju movies specifically.
This book will serve me in the coming years as a guide to dipping into this area of monster-kid films with which I am only minimally familiar. Shubilla’s writing is clear and entertaining, and his meticulous citing of reference sources is among the best I’ve seen in books on film history.
“King Kong Versus Godzilla” leaves me eager to read more books by Thom Shubilla.
May 24, 2026
Most excellent book about King Kong v Godzilla movies, mayhem, merchandise, and more. Great book for monster movie fans and pop culture enthusiasts. 5.0 bookworms
Displaying 1 - 3 of 3 reviews