REVIEW: Shin Godzilla (2016)

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Directed by Hideaki Anno and Shinji Higuchi
Written by Hideaki Anno
Starring Hiroki Hasegawa, Yutaka Takenouchi, Satomi Ishihara, Ren Osugi (get accent mark), Akira Emoto, Kengo Kora (accent), Mikako Ichikawa, Jun Kunimura, Pierre Taki

With the success of Legendary Pictures’ Americanized reboot of Godzilla, Toho back in Japan wanted to get back into the action. While still retaining the rights deal with Warner Brothers, allowing the Monsterverse to continue, Toho set about producing a new film to be directed by Hideaki Anno, the famous creator of Neon Genesis Evangelion. If you’re a fan, than you are probably assuming right now that Godzilla goes all metaphysical, right? Eh, not quite.

An unknown accident occurs in Tokyo Bay’s Aqua Line, flooding the underwater passageway as citizens scramble to evacuate. An emergency cabinet meeting is assembled, just in time to witness a giant creature surface from Tokyo Bay and make its way across land in the heart of the city. Growing in size and mutating with each unsuccessful attack against it, the creature seems unstoppable. Government official Rando Yaguchi (Hiroki Hasegawa) is placed in charge of a special research team to investigate ways to kill or incapacitate the beast, now dubbed “Godzilla.”

More than several kaiju and tokusatsu films have tried to establish a realistic scenario for the appearance of a giant monster; the original Godzilla and the Heisei era films The Return of Godzilla and Godzilla vs. Biollante presented the effect of the titular kaiju upon various geopolitical aspects of the world, while “foreign” monster films like the British Gorgo and Korean The Host carried an air of authenticity and spectacle to their visions of creature carnage. Shin Godzilla can easily be added to this fraternity, but its approach to the material is substantially more plausible and researched. Why? Because Shin Godzilla can be referred to as “Politicians vs. Godzilla.”

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The film begins with a brief mystery in the form of a deserted pleasure craft in Tokyo Bay before the water erupts in a large steam eruption, causing damage and flooding to the Tokyo Aqua Line highway. We as an audience are then treated to 13 minutes of dry bureaucracy. Yes, you read that right. As we are introduced to protagonist Rando Yaguchi, Deputy Cabinet Chief, we are also introduced to his world of relentless politics and red tape as Cabinet meeting after government committee after press conference seeks to establish just what is going on, and what to do about it. If this sounds incredibly boring, than I wouldn’t blame you, but I would rest easy–with the quick pace and sheer amount of subtitles you’ll be reading, I’m sure you won’t be too listless during your viewing.

Close viewing during this opening sequence will reward inquisitive viewers, however, as Anno’s intent quickly becomes apparent among every ignorant assumption and naive rush to judgment several government officials make, always rewarded with a simple, fast cut to a harsh reality check in the form of the giant monster now wading out of the bay and into metropolitan Tokyo. Again and again, even with the best of intentions, Japan’s flat-level democratic government, following the exact letter of the law, fails against the nuclear menace, resulting in one of the most salient and darkly humorous satires of government around today.

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But this is a Godzilla movie, you shout, and I soothe and calm with my analysis of the character, as this Godzilla is probably the most unique iteration on screen. First appearing quite alien to previous versions in the form of a bizarre, fish-eyed, bleeding-gilled monstrosity that can barely support its own week, it soon begins to mutate, revealing the most innovative addition to the Godzilla mythos: this Godzilla is highly adaptive, capable of mutating its body and DNA at will. Resulting in a changing creature that forms the most hideous Godzilla design yet, this film hits a home run in devising a new spin on the Big G.

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Further building on the design is co-director and special effects artist Shinji Higuchi’s work in creating Godzilla, this time done almost completely with CG effects. A clear break from tokusatsu tradition, to be sure, but the end result is incredibly convincing, due to the effects team’s efforts to keep Godzilla as stiff and suit-like as possible, which ironically gave the design a lifelike quality that accurately conveyed size and power. Their finest work probably comes at the halfway point in the film when Godzilla is bombed by American B-2 bombers, enraging the beast and prompting his first use of his destructive atomic beam.

Most of these scenes are accompanied by an equally-unusual sound design, employing a mixture of classical Toho sound effects and Akira Ifukube music with new sounds and music cues. When I first saw the film in theaters during its short American run, I was unimpressed and even bothered by the use of the old sounds and music, feeling that their limited dynamics were out of place. Now I’m convinced it was the fault of the cinema’s speaker system, as the blu-ray’s uncommon 3.1 mix produces a deep fidelity and bass I do not recall encountering before. In short, Shin Godzilla should highly please fans of the classic films with regards to their ears.

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After the mounting destruction of the first half, Godzilla falls into a long hibernation, and Rando’s research team reforms to discover a way to defeat him before a UN coalition employs nuclear weapons to resolve the situation. After systematically deconstructing the helplessness of Japan’s democracy to handle the crisis, Anno’s film then abruptly turns about face, giving Rando and his nerds the reigns to save the day with democracy. They bend only the rules they cannot follow to the letter, and break none, showing that even below the layers upon layers of tape, the right men and women with the right combination of ambition, compassion, and courage can prevail and make this world a better one.

Now I know that sounds very different from what is expected from a serious Godzilla movie, but fret not–the final scene brings one final revelation, one I won’t reveal here. Let’s just say that Godzilla’s origins as Nature’s reaction to the ravages of the human race are preserved in full with this film, and while Shin Godzilla requires an open mind and a quick eye for subtitles, to the right viewer, it is a real gem of modern tokusatsu. With Shin Godzilla, Anno has shown what humans can be capable of when working together toward a noble goal…but nature is patient, and she never forgets our crimes.

REVIEW: Godzilla (1954)

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Directed by Ishirô Honda
Written by Takeo Murata and Ishirô Honda, Story by Shigeru Kayama
Starring Akira Takarada, Momoko Kôchi, Akihiko Hirata, Takashi Shimura, Fuyuki Murakami, Sachio Sakai

The Big One. Or rather, the Big G.

Godzilla, the first of many films starring the titular gargantuan reptile, ignited a tradition in the then-infant Japanese film industry, the tokusatsu, or special effects, film, and forced the island nation to come to grips with their unique and unfortunate history with humanity’s deadliest invention: the nuclear weapon. Godzilla still stands as a triumph above that final chapter of imperial shame, above much of tokusatsu that came after, and indeed, above most science fiction cinema in general.

Japan is thrown into a panic after several ships explode and are sunk, the results of neither natural phenomenon nor foreign action. An expedition to Odo Island, close to where several of the ships were lost, led by paleontologist Professor Kyôhei Yamane (Takashi Shimura), his daughter Emiko (Momoko Kôchi), and young navy frogman Hideto Ogata (Akira Takarada), soon discover something more devastating than imagined in the form of a 164-foot-tall monster whom the natives call Gojira. Now, the monster begins a rampage that threatens to destroy not only Japan but the rest of the world as well.

I’m sure most of you know the story by now: several Japanese fishing vessels are lost at sea, while a giant creature living off the coast of Odo Island is discovered to be at fault. An ancient reptile awakened by nuclear weapons testing, it is dubbed Godzilla by the inquisitive Dr. Yamane before it begins walking ashore towards Tokyo, bringing a trail of fiery destruction with it. What some of you may not know is just how topical and in tune with the events of the time this film was, or how unfortunately relevant it remains today. Conceived by producer Tomoyuki Tanaka after another project fell through, Godzilla is still the apex of tokusatsu, equaled by none.

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Tanaka’s idea was born out of two of Japan’s biggest events of 1954. That year saw the official end of the American occupation and the return of complete control to the new republican government and the newly-established Self Defense Forces. Before Godzilla, all Japanese entertainment had to be approved by the occupation, which severely limited portrayals of Japanese military might and government stability. Watching the film proves that this was no longer the reality by the time of its release, with the valiant efforts of the SDF against the monster and the scenes of the Diet locked in fierce debate.

The other major event of 1954 was the Lucky Dragon incident, from which the film’s first act takes heavy inspiration. During the American Castle Bravo H-bomb test of that year, the fishing trawler Lucky Dragon No. 5 strayed too close to the fallout, resulting in the crew suffering radiation sickness and even one death. This sparked a chill in American-Japanese relations right after the occupation, and stunned a population who still harbored fresh memories of Hiroshima and Nagasaki. Cue the opening scene of Godzilla, aboard the fishing vessel Eiko-maru:

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In the midst of this fealty to the outside world, director Ishiro Honda presents some fairly traditional scenes of two lovers, Ogata and Emiko, trying to navigate their young relationship in the face of not only the fishing disasters, but Emiko’s father Yamane, and her fiancé Dr. Daisuke Serizawa, a reclusive, scarred war vet with a terrible secret locked in his lab. Their affair quickly spirals into the background of a bitter debate when Godzilla is revealed to the world at large: Honda’s film excels at navigating the moral and ethical grey areas of the existence of such a monster, whether in the salient Diet debate over whether to publish the truth of Godzilla’s threat or conceal it to preserve order and the economy, or in Yamane’s quiet torment over being the only person to want to save the creature, seeing only its potential to unlock the secrets of radioactivity, and its resistance to it.

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In this subplot is where Honda and screenwriter Takeo Murata begin to truly play with the real-world consequences of the nuclear age. While the original storywriter Shigeru Kayama made Yamane a Phantom-of-the-Opera-esque cloaked figure, engaged in sabotage against the SDF to protect Godzilla, Takashi Shimura’s Yamane is much more contemplative and down-to-earth, desperately trying to salvage something noteworthy and meaningful to mankind out of its most foolish and terrible mistakes, manifest in the monster itself. Shimura becomes the easily the best performer in a strong collection of actors on screen, preserving a countenance of regret over the futility of his efforts.

Image result for godzilla 1954 serizawaSo too Akihiko Hirata as Serizawa, whose secret lab is revealed to house a new and terrible superweapon: the Oxygen Destroyer, a substance capable of liquefying any organic material in water, a sure way to kill Godzilla. But therein lies his dilemma: the Oxygen Destroyer is an easy contender for a new weapon of mass destruction in the ever-escalating Cold War, and he fears that his discovery will become another tool of the superpowers against innocent people unless he can find a better, more humane use for his compound. Like Yamane, Serizawa seems to be trying to salvage a workable future from mankind’s violent past and present, although his character arc is much more reminiscent of the real life J. Robert Oppenheimer, the remorseful creator of the atomic age.

Undoubtedly, however, the main event of Godzilla to most viewers would be Godzilla himself. Portrayed by a combination of puppets and a large, 200-lb rubber suit, Godzilla, in this original film at least, remains a wholly-convincing special effect. While the puppet shots have most certainly aged poorly and don’t fit with the rest of the footage, the cumbersome suit, worn valiantly through fainting spells and buckets of sweat by Haruo Nakajima, portrays a confused and tortured beast, staggering around a highly-detailed miniature Tokyo as if it is constantly in searing pain (the presence of keloid scars across its hide does much to bolster this observation). Honda’s stark black-and-white photography captures all of the nuances of Nakajima’s performance and Eiji Tsuburaya’s special effects work, resulting in an image eerily reminiscent of wartime footage that would have been very hard to watch for those who had survived it. Combined with Akira Ifukube’s still-haunting score, the effect is palpable.

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Godzilla would become a smashing success in Japan and several other markets in its original release in 1954, convincing a skeptical public that Japan was a new contender in big special effects pictures, while still telling a dark and emotional story at its core. For its wide American release, Transworld Pictures commissioned a re-edited version, starring Raymond Burr in reshoots as Steve Martin, a newspaperman on whom the altered story would center. While toning down its more anti-war and nuclear age arguments (most certainly due to American Cold War attitudes of the time), Godzilla, King of theImage result for godzilla raymond burr Monsters! is still a solid Americanization of the original film, indeed, probably the best of them. Burr’s Martin, acting as a narrator to smooth the gaps in the story caused by the editing, is a fascinating character in his own right, and unlike later dubs, much of the original characters’ dialogue remain intact, creating a respectful image of the actors and their heritage. Indeed, without this version of the film, Godzilla may not be as popular as he is today, owing to the fact that King of the Monsters! was much more widely distributed across the world.

Godzilla seems to be an acquired taste, even with viewers who claim to be fans. Still thought of by the general populace as “that green dinosaur who fights aliens,” Godzilla may surprise those folks with its chilling realism and somber tone–if they manage to survive a viewing. It isn’t for everyone, but it’s a film that I wish was, for in today’s world, it seems the threat of nuclear annihilation isn’t taken seriously anymore. I can’t count on my hands how many times in a week I hear co-workers or passersby dismiss the Middle East or North Korea with a simple ‘nuke-em’ statement, and I can’t help but wonder if the Earth decided to regurgitate a monster born from this ignorant view to wreak havoc upon their lives, would they regret what they so often think?

This is the message of Godzilla. Heed it well.