The international success of King Kong vs. Godzilla ensured it would be a major moment in the careers of its two top-billed stars and the director behind both of them, Ishirô Honda. Prior to directing the original Gojira ten years earlier, Honda specialized in slice-of-life dramas with the occasional break into that new, Hot Genre of the 1950s: the Workplace Comedy. No matter the story, these films were usually quiet pieces set on a slow boil, focused (like his much more famous monster movies) on small groups of ordinary people overcoming something or other through their unwavering hope for a better tomorrow.
These films were a refuge for Honda: small-scale, relatively everyday productions he could always escape to in between monster movies. Then he made the mistake of directing a workplace comedy/daikaiju eiga hybrid. After that, his professional goose was cooked. And thank God. Because, after three mediocre-to-shit sequels, Honda and the metric tons of talent he brought with him finally gave us a Godzilla film I can unconditionally rave about.