King Of The Monsters – Godzilla 1954 (Gojira)

3 11 2014

Godzilla (Toho Co., Ltd. - 1954)

60 years ago, a Japanese film producer created his own Movie Monster. The idea came as the national occupation of the American Military after World War 2 ended and there were no longer any limitations on what filmmakers could produce. The country, still reeling from the devastation that had been brought upon their country in the form of the only two nuclear bombs to be dropped on a civilian population, were still paranoid to the side effects of radiation, nine years after the explosion, not to mention the incident involving the fishing vessel Daigo Fukuryū Maru (Lucky Dragon 5) and the national scare that followed. Gaining influence from this the producer created a creature which was not like anything seen before, as this creature was both powered and enraged by the destructive capabilities of the nuclear age. The creature and the film it appeared in were called Gojira, later Americanised to Godzilla. 60 years and more than 25 sequels later, the creature known the world over simply as Godzilla is still as iconic, inspiring and influential as his first appearance back in 1954 and to this day is loved by millions of fans all over the world, including me. 60 Years on and the original Godzilla film is still regarded as a true classic of Cinema.

Godzilla 1954

Released in 1954 by Japanese Movie Studio Toho and Produced by Tomoyuki Tanaka and Directed by Ishirō Honda with Special Effects by Eiji Tsuburaya and a soundtrack composed by Akira Ifukube, Godzilla (also known as Gojira) is the film that introduced the gigantic, fire breathing, nuclear mutant reptile type dinosaur to the world. Godzilla himself is all of those things said beforehand but also a statement of the destructive power of the atomic age and the repercussions brought on by nuclear weapons. With the initial idea coming from the mind of Producer Tomoyuki Tanaka and a story from Director Ishirō Honda and writers Shigeru Kayama and Takeo Murata, the story involved the Discovery of such a creature, and then it’s arrival on the Japanese Mainland.

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The film begins with a fishing vessel out at sea, where the onboard fishermen notice a white-hot flash before the ship explodes. The incident is reported another vessel is sent to investigate, but is met with the same fate. Three survivors are picked up by another vessel where a survivor mentions seeing a monster. That ship is then lost too. On Odo Island, an old fisherman (Kuninori Kôdô) and a young man called Shinkichi (Toyoaki Suzuki) spot a raft coming into the bay. On the raft, a man called Masaji (Ren Yamamoto) is rescued. The following morning on the island, the fishermen were unsuccessful in their haul and the old fisherman says it is because of Godzilla. Everyone dismisses it as a legend but he says it is still true. A reporter called Hagiwara (Sachio Sakai) comes to the island to investigate, but when he asks Masaji, he has trouble believing his story of a monster. That night the villagers hold an ancient ceremony to try and soothe Godzilla’s anger. Later that night, a storm comes to the island. As they sleep, Shinkichi hears a crashing sound, runs out of the house but as Masaji tries to follow on he sees something that terrifies him and the house is brought down on him and his mother.

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Survivors of the disaster say what they saw trying to say that it was not the storm that caused the destruction and that it was a monster which did it. Palaeontologist Dr. Kyohei Yamane (Takashi Shimura) suggests that an investigation on the island should be conducted. Along with him are his daughter Emiko (Momoko Kōchi) and her boyfriend, salvage ship captain Hideto Ogata (Akira Takarada) along with several other members of authority and scientists including colleague Dr. Tanabe (Fuyuki Murakami). When they reach the island they discover that some of the village wells water are radioactive, but not all of them. The village alarm bell is rang and loud beats are heard as the villagers shout Godzilla. As they race to the top of the hill to see what it is, a giant dinosaur like head appears over the fill with dragon like spines running down its back. The villagers try to run with Emiko in harm’s way, before Ogata rescues her. The creature then disappears as the villagers spot its tracks in the sand below.

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Dr. Yamane returns to Tokyo to report his findings. He says that the creature they saw was in fact a dinosaur which has survived in the ocean depths for about two million years before being awoken by recent H-Bomb testing in the pacific. He gives evidence to his theories showing a trilobite which was found in the creature’s foot print and that the sand found on the trilobite was radiated with Strontium 90. At the inquiry, people are undecided if they evidence should be made public, with some saying yes because it’s true, and others saying no, because it will harm international relations. In the end it is made public, and Dr. Yamane is asked to help find a way to kill the creature, but he wants the creature to be kept alive and studied. Ogata and Emiko talk about wanting to get married instead of Emiko marrying her current fiancé. Hagiwara asks Emiko is she can get an interview with her fiancé, and she says yes, just so she can talk to him herself. Hagiwara talks to the man, a young scientist with an eye patch over one eye called Dr. Daisuke Serizawa (Akihiko Hirata). He is however very secret about his work and when asked about Godzilla he tries to avoid the question. Hagiwara leaves and Serizawa shows Emiko his work, trusting that she won’t tell anyone about it. They go into his laboratory and look at a fish tank. Something happens inside it which horrifies Emiko.

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That night, Godzilla arrives and attacks Tokyo. The attack is very brief but he destroys a railway under is weight with ease. The next day the military set up a defensive line with a giant electric fence in the form of electrical pylons charged up to 50,000 volts. At home Emiko and Ogata still struggle to tell Emiko’s dad about their relationship.  Godzilla attacks once again and breaks through the electric barricade with ease by melting the pylons with his atomic breath. The defense line is no match for the invading monster as tanks and guns don’t seem to have any effect on him. Godzilla then goes on a rampage setting fire to buildings and toppling others with sheer strength. The military and emergency services are told to try and control the fire, but it seems that nothing can be done for the might of the monster. Godzilla continues his attack with absolutely nothing able to stop him destroying everything in his path. Godzilla eventually leaves the bay unscathed despite an attempt to kill him by the Japanese air force.

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The next day Tokyo is in ruins. While at a shelter with some of the survivors, Emiko breaks her promise and tells Ogata what happened at Serizawa’s lab. Serizawa has discovered a lethal energy within oxygen with it and created his own weapon which he calls the Oxygen Destroyer. His demonstration of the device is what scared Emiko as it killed the fish in the tank. Convinced that the device can be used to kill Godzilla, Ogata and Emiko go to see Serizawa, who tries to hide and get rid of the evidence. He says that he didn’t want to discover the energy and that if it was used once, it will be used again and again, just like nuclear weapons and that if it does get used he will kill himself to prevent it being used again. A song is then broadcast across the nation, a song of a group of school girls praying for hope. Serizawa sees this and agrees to use the weapon on Godzilla, but only once and burns his notes. A fleet of ships travel into Tokyo bay and locate Godzilla underwater. Serizawa says that he needs to go underwater to use the device despite not being a diver. Ogata lets him providing that he goes with him. When they get underwater they spot Godzilla. Ogata heads back to the surface while Serizawa activates the device. The device begins to choke Godzilla who dies within a couple of minutes of the device’s activation. Serizawa tells Emiko and Ogata to be happy before he disconnects his breathing apparatus, killing himself. Dr. Yamane reflects on the possibility of another Godzilla appearing one day if the world keeps on using nuclear weapons, while Emiko breaks down at the knowledge of Serizawa’s death. The navy salutes the courage and death of Serizawa.

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Godzilla is a tale of many stories but for the most part on the human side it is a story of four people and their relation to what is happening in the moment. Ogata’s personality, while still being young is very mature and while what is going on is frightening, he is able to keep a level head in the moment. His love and care for Emiko is well noted and it is only in that respect really that he is an action man, saving her from Godzilla for instance. He also takes the moral high ground given what he finds out about Serizawa and doesn’t want the oxygen destroyer for himself, but to use it against the monster, and even when facing odds against Emiko’s father, he still takes the high ground for civilization. Ogata’s character is a bizarre mix as he appears to be a character without flaws, but despite this though his role is rather enjoyable.

Akira Takarada

Dr. Yamane however is the science character of the film. Many of these monster films usually require such a character to explain the monsters existence. For a character though, he makes science both look morally flawed and a little bit selfish. While understandable that a man of science wants to study such an amazing creature, his total lack of understanding and acknowledgement the damage such a creature can cause is noticeable and even when he comes into confrontation with Ogata he will not budge. While he does have a level of sympathy on part with the audience in his earlier moments, such as his explanation on the existence of Godzilla and his time on the island as an excited scientist, his spiral into a basic state of sadness and desperation at the desire for Godzilla to remain alive, puts him more on the side of an antagonist in the midway to later parts in the film. While a level of sorrow is displayed on his part, to the point of view of the audience he no longer has that energy like he did in the early stages and you almost fall out with him, and even when the end comes his almost selfish want for a Godzilla remains present and his own sorrow is probably only partial for that of the death of his friend, and more for the death of the monster.

Takashi Shimura and Momoko Kōchi

Emiko plays the part of the film’s narrator as almost all key film moments revolve and include her in some manner of form, and is introduced very early on for this point. Her part of the fiancé to a man she doesn’t really want to marry, her caring relationship with for her father and the relationship she wants with Ogata. It’s her friendship to Serizawa though that her character becomes strongest in the film. His trust for her, the horror she sees in the fish tank, the need to keep it quiet but the burden of its knowledge, the devastation to herself of revealing the secret and by this she knows that she has killed him, knowing he will commit suicide and it is only from his death that she can be with Ogata, and the blessing Serizawa gives for both of them at the end almost ruins her. She is the emotional anchor for the film and the character that connects the audience to the events on-screen, her look of questioning when she finds out about the sinking at the beginning and the questions that grow from that. It’s a natural reaction, one which the audience need in order for them to be brought in and get involved in the film’s earliest moments. Whilst her character is mostly played on the part of expression than speaking, she is enjoyable from start to finish and is one of the film’s main outstanding (human) points.

Akihiko Hirata and Momoko Kochi

The character of Serizawa though is different to the others as he himself, much like Godzilla has a major point and story to him, one of excitement and regret. His desire to study oxygen leads him to a terrible discovery, but as a scientist he can’t but help take a look and it’s only from this actual doing motion that he comes to regret his actions. It is from this point that he becomes secretive, so that no one can do the same thing again and make sure no one knows about his discovery. But it is in turn the human need for accompaniment and need for personal help that he tells the only person he can trust. Thus he reveals his actions to Emiko and through this shows his great regret. He is in many a sense a true scientist as he thinks more about discovery to help mankind and not destroy, but knowing himself the actions of what war and destruction brings due to the loss of his eye, he knows that if a piece of science has potential to be a weapon and is revealed it will be used again and again. It does become obvious in a sense that he does kill himself, mainly because he says he will, but also because he is a damaged man and can’t see any way to end his personal pain; but due to how likeable a character he is, you don’t want him to and there is a real emotional attachment to him taking his own life and you do feel that sorrow. On top of that, Serizawa also adds a little twist to the film’s plot. The film is one of very few films that works in tandem with its trailer. Serizawa shows Emiko his invention, but initially the audience does not see it, and the trailer teases this point also, but you wonder if his scientific study and discovery are him actually creating Godzilla. Its like; he’s Dr. Frankenstein creating his own Monster, but by accident or not, we don’t currently know. It’s only until Emiko reveals to Ogata what Serizawa showed her that everything clears up, but for a moment you wonder. You question if Godzilla is this mutated dinosaur at all, or if he was actually created in a lab. But it’s only really the case when you look deeply into this possible plot twist, that you think about it; something that the film and trailer do well together. It’s from the portrayal of Serizawa by Akihiko Hirata and how well the film is put together that achieves this effect, and it’s an effect well done.

Akihiko Hirata

While these four are the film’s main human characters, they are not alone in this area; however some of these don’t have much of a presence. The character of Hagiwara for example is a brilliant journalist as he is both sceptical and pushy, but as for a part, not much else is really shown about him for him to be a character of great interest, but when he is on-screen he is played rather well. The role of Shinkichi though doesn’t have much weight as he is more of a friend to Ogata and while he does show a lot of sorrow to the death of his brother and mother, a scene which is a definite highlight in the early stages of the film and does show a lot of depth, for the rest of the film, his part seems to have forgotten about this and does not carry the weight of it and for the rest of the film he is more like a whisper than a key player; the part of his brother Masaji however is terrific. He gets very little air time but it’s the moment on the island when he runs out after his brother and sees something terrifying. The shock and terror registered on his face makes a connection with the audience as to state that there is something else going on, and that this is no ordinary storm. It’s this use of the power of suggestion that grips the audience. Other characters of note include the woman on the train who also appears on the pleasure vessel, the woman and the man arguing at the science debate as to what to do about Godzilla, as well as the session chair. The fishing girl dismissing Godzilla as just a legend and the homeless mother and her kids coming to terms with the situation.

Shinkichi with Ogata, Emiko and Dr. Yamane

But to me, the best out of all these other characters is the village elder played by Kuninori Kôdô. What is in essence a similar role to the part he played in Seven Samurai a few months previously, his part though is not that of the village elder but more an old-fashioned villager who remains to believe in the myths and legends of the area, including Godzilla. He is passionate about such things and can feel when something is not right, and even when he is shot down by the fisher girls about such a legend, he remains passionate about it shooting down nay sayers and almost passing off a threat by stating that the village may have to sacrifice one of them. This strong rage really stands out and it shows in his acting and presence, even more so when his character is centred in shot a brilliant scene. While later on he does calm down to discuss the village ceremony, his passion for the legend still holds out and is able to give a real insight into the ceremony.

Kuninori Kodo

All of these characters though are minute, literally in comparison to the film’s title character. Godzilla at first glance appears to be just a giant dinosaur with the ability to breathe fire. He is a lot more than that though. He is the testament to the destruction and power of nuclear weaponry and technology. His initial start in this film is that of a sighting or a rumour as he is the cause of the destruction of the ships, but you don’t see him doing it. The only evidence to begin with of the existence of the creature in the film is the sound of his roar in the credits, but you don’t know what that is yet. As the story unfolds you get more of an identity of who he is from people mentioning the existence and legend of a monster. The first real sighting of the creature is not for about 10 minutes or so when he is just in shot destroying a house, but it’s still just a glimpse. By this moment you get a feeling of something big and nasty on its way, you just as yet don’t know what. His first proper full appearance on Odo Island finally attaches a physical being to the stories and evidence so far presented and now you know what Godzilla is you begin to wonder what he is capable of. Now that his identity is confirmed he becomes a more virtual part (rather than a rumour or a belief) of the film and begins to play out his part and what he stands for. For the rest of the film he is this approaching destruction, his power has already been proven, but now he is coming to do a whole lot more to a civilian population.

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Godzilla in essence and character is a representation of the destruction caused to Japan at the end of the second world war with the detonation of the nuclear bomb on both Hiroshima and Nagasaki, but instead of the giant mushroom cloud, he is nature’s answer. He is powered and mutated by nuclear power and presents the raw power of nature at its angriest. He is not just a creature; he is a sort of spirit as well as a metaphor for the nuclear age but in physical form. His walk through downtown Tokyo as well as the destruction he causes is the representation of the power of nuclear weapons along with his Atomic Deathray which is the unstoppable fire. His presence and look works both ways as his flesh has been burned and damaged from the testing of nuclear weapons, but also the sheer sight and power of such a creature, a creature that (as far as we know) does not exist, but can be seen here and now, right in front of you, and it terrifies you. He is the result of careless actions on the part of humanity and is a testament of mankind bringing such destruction upon themselves and as a result he has come to do to them what they have done to the world. He is at both heart and sight a Monster, but he is also a signature of a country whose recent history has gone through so much hardship and destruction and forcing them to go through that again.

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As for his actual look and appearance. The choice of black and white for the film’s format works perfectly. It presents the Monster as a shadow in the night and a terror that could be accidently not noticed if you are unlucky. His look as that of an upright dinosaur is brilliant and the spines down his back give the idea of a dragon and add more personality into the creature’s look. The Deathray is a great bonus to the character. The sheer presence and sight of the creature is enough to get the attention of the audience and give them something to remember just by its own merit, the addition of the Atomic Breath though gives the creature something more, something that gives his already majestic and terrifying appearance more power. His strength is also represented beautifully with modern weapons having absolutely no effect on him, at all. He can’t be stopped, something that becomes more abundantly clear in moments such as where he walks through the electric barrier fence, when the attacking planes and tanks have absolutely no effect on him and the moment where he bites into the Tokyo tower, all of them terrific scenes. The use of the name as a whole makes Godzilla automatically grander than other monsters as giving him a name, gives him personality and character. He is not a thing, he is not just a creature, there is something more and now you have a name to connect to him. His look, power and abilities are all his and next time you see him, you automatically know what he is capable of.

The film’s special effects are terrific and when combined with what kind of effects can be produced today is still thoroughly enjoyable. While the production team, particularly Eiji Tsuburaya wanted to achieve the effects with stop-motion animation, they were unable to do so and so had to of course use a suit (worn by Haruo Nakajima). But the upside to this is that in comparison to stop motion animation, the effects have a more fluid and believable basis of movement and when used in comparison with miniatures give a real sense to the size and power of Godzilla as well as the level of detail on show. Even the little flicks and strokes of the tail and hands are a beauty to behold. It actually looks like a monster moving instead of a lot of jittery movement. The miniatures are wonderfully produced and brought to life with simple methods. Even in the close up shots of planes and tanks bring a degree of life into them. Other little touches of superb special effects include the death and disappearance of the fish in the tank and Godzilla at the end as well as the demonstration of the Oxygen Destroyer. The underwater scenes at the end are terrifically shot and give a real presence to the viewer of actually being there. For the most part there is this genuine feeling that the staff at Toho were genuinely looking forward to destroying Tokyo. For a film produced 60 years ago this level of detail is still enjoyable to this day and shows real craftsmanship.

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The music and sound part of the film is a real highlight. The film makes a lot of use of music that is more on the dark and sorrow side and hardly if at all has pieces that are happier or upbeat. Scenes such as the science party on the island, after the destruction and at the very end not to mention the song delivered by the schoolgirls have a real impact to help deliver the films emotional points. In a similar vein, the underwater piece has a similar style but is more along the lines of discovery with the emotional coming in when Serizawa dies. The films darker pieces are used more for the part of sensing and seeing the destruction that is being caused. It’s mainly used in a later scene of Godzilla trashing down town Tokyo and an earlier scene where he crushes the railway. With the use of heavy beats that shock the audience to attention while still keeping the dark tone, the themes used in these scenes are not being used to show anything tasteful, more horrific and scary and dark and terrifying while also encasing an element of wonder and amazement, but not in a nice way at all, but in the heaviest, scariest way possible.

The attack on Odo Island as well as Godzilla’s early moments of attack to his full on rampage through Tokyo still hold a dark impression on the scene through the music, but it’s quicker in tone giving more a sense of tension and drama than horror and gives the audience a break from the emotional side and allows a little bit of action here and there, plus the music works well with the storm. The ceremony scene and the ritual music in the ceremony is a nice little scene too. The main theme though is the best. It does not carry any emotion, or dark themes allowing it to be more upbeat. The piece is very classical and can be seen that way. It is a far more traditional piece of music using traditional methods and instruments but in itself holds a level of action and gets the listener interested and the included use of the Monster Roars from Godzilla during the opening credits adds a level of mystery and questioning as you the viewer want to find out what is making that noise. Well, it doesn’t sound like an instrument does it? Sounds more like an animal. It works during the film too for when the jets come to attack Godzilla; it feels more like a relief, as if a rescue has come to save you from the disaster that has just unfolded and it is used again earlier on as well when the army gets ready to defend itself from the coming Monster. Overall it’s a piece that works well and has continued to work since (even if the level, sound and composure has changed variously over 60 years), now recognised in association with Godzilla himself as his main theme.

Sound effects are not just kept for Music though. Godzilla himself needed a roar, and a roar was produced thanks to the film’s composer Akira Ifukube. The effect of the roar was made with the use of a double bass (contrabass) and the strings being pulled by wax-coated latex gloves and then slowed down. The distinctive roar was produced at a time when the production team experimented with animal noises but couldn’t get the sound right. This bizarre approach to producing such a sound though worked and has remained Godzilla’s roar since. The roar itself is a very powerful sound and gives an extra level of detail to the personality of the creature. This sound does not waver during the film and every sound Godzilla makes with his mouth has a connection with it, from growls and screams, to just announcing his presence and shouting at pitiful humans this in turn gives Godzilla his own distinctive voice and one that is enjoyable to listen to (even if it comes from a destructive creature who could crush the building currently separating you from him).

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Godzilla produces something for everyone. It has moments of drama, action, tension, love, tragedy and not to mention a whole lot of destruction. While the film at its basis is a film about a Giant monster, there is a lot in the human side of the film to produce a human side story to what is going on as well as little sub plots which have no involvement of the title monster. The Film is a story and a metaphor as to the results and consequences of nuclear destruction with moments where characters talk about their recent lives before the discovery of the monster as well as connotations with events from nine years previously. But while the film mentions those points, you need to remember what the film is really about, it’s about survival, survival from unknown threats only just discovered and the lengths people are willing to go to, to survive such things but don’t take the time to think about what will happen afterwards when greed and power takes over. This comes in the form of a Giant Monster, which is then killed by a weapon which was discovered accidently and then the scientist who kills himself knowing he couldn’t live with himself after using it. Alongside this it is also a very sad and emotional film. While the film begins with a question and leads to discovery, it ends with tragic consequences. While the end result of the menace being killed, it is achieved through a sad and tragic loss of a man sacrificing himself in order to get rid of the creature, but also himself. It’s not a happy note, it’s a very sorrowful note; and this is one of the film’s greatest power’s. Not just the power’s of Godzilla and nature, but also the power of Human Emotion. All together, Godzilla is an Absolutely, and Terrifyingly, Fantastic film which while may not be your cup of tea, is definitely worth watching. It is enjoyable from start to finish, minute for minute with great music, sound, special effects, characters, story and one big lizard, what’s not to like about that? 60 years on it is still one terrific film and more importantly it heralded in a new cinematic icon called GODZILLA.

GENEPOOL (Unfortunately, while I was originally able to find an original trailer of Godzilla 1954, that has since been taken off YouTube; however, I feel that the above trailer that uses shots of the original film in a 2014 trailer style is a worthy replacement until an original 1954 trailer becomes available).

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Red Bamboo, Yellow Liquid And A Giant Lobster – Ebirah, Horror Of The Deep

3 09 2014

Ebirah, Horror of the Deep (Toho Co., Ltd. - 1966)

Back when I was about 4 I remember the days when I would wake up in the morning, go downstairs and in the morning on Channel 4, they would be showing Godzilla films from the 60’s and 70’s, usually shown after a showing of The Beast From 20,000 Fathoms. The films that were shown which I can remember were Destroy all Monsters (which was also my favourite film for about 11 years), Godzilla vs Megalon and Ebirah, Horror of the Deep. Once they stopped doing this though I didn’t get to see a Godzilla film again until I was about 6/7 years old, and that film was Ebirah, Horror of the Deep.

WOW, Godzilla's shrunk.

While it may have only been the 7th in a series that now numbers 30 films (if you include 1998 and 2014), it is one of the films that I mostly fondly remember and one of my all-time favourites. Released in 1966 in Japan as Godzilla, Ebirah, Mothra: Big Duel in the South Seas and released directly to TV in America as Godzilla versus The Sea Monster but better known today as either Godzilla vs. the Sea Monster or Ebirah, Horror of the Deep (or in most cases both, it really is a film released under different names), the film is Jun Fukuda’s first foray as Director in to the Godzilla series. It is also important to note however that this film was not originally intended to be a Godzilla film, rather a film starring King Kong, but Toho decided to switch him with Godzilla. King Kong would get a film later on in the form of King Kong Escapes. Because of this switch though, Godzilla is a bit different, not in look or ability, but characteristics which I will discuss later.

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The film begins with an old psychic woman trying to help a mother who has lost her son at sea. She believes that her son whose boat was destroyed and the wreckage found is still alive. Her son’s brother named Ryota Kane (Toru Watanabe) goes to the government but the police refuse to help. He goes to a newspaper but before he is asked further questions he leaves and goes to a rally dance competition in the hope of winning the luxury yacht, he is however three days late to enter. There he meets unlucky contestants Nita (Hideo Sunazuka) and Ichino (Choutarou Tougin). They take him to a nearby harbour to show him some boats and they trespass on board one and have a look around, before being spotted by the rifle totting owner Yoshimura (Akira Takarada). They try to explain their position to him stating that Ryota is a maniac and just wants to see boats, but he thinks they’re just generally weird but decides to let them sleep the night as long as they promise to disappear in the morning. Come the morning Yoshimura discovers that the three of them are still sleeping and that Ryota has broken his rifle and when all four of them go on deck, they notice that the boat is in the middle of the ocean. Ryota thinking that the boat is a gift from the gods decided to commandeer it knowing that Yoshimura knows nothing about boats and decided to search for his brother with it. Ryota refuses to turn the boat around and the other three of them have no choice but to continue to sail with him as they don’t know how to sail a boat. Nita and Ichino however have misgivings about the supposed owner after hearing about a bank robbery and the theft of a prominent Hollywood director’s prized yacht. One evening, all three of them decide to co-operate with Ryota in the hope of learning how to sail the boat, Ichino and Nita also notice that Yoshimura is making a Skeleton Key. Ryota then rushes down below to say that some very strange clouds are approaching. Now caught in a full on storm they are thrashed around like mad when they notice a Giant Claw rising out of the sea. They abandon the boat as the claw picks it up and breaks it.

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The group find themselves washed ashore on an unknown island. They soon discover a sword which makes them think that the island has cannibals on it. After a quick search they spot an incoming ship spraying yellow liquid but it does not notice their cries for help. They journey closer to the shore and spot what appears to be a heavily guarded military base. The ship pulls into the base’s harbour where the base’s guard commander Captain Ryuui (Akihiko Hirata, character is also known as Yamoto in the English Version) meets the ship’s captain (Hideyo Amamoto) who delivers Ryuui a new batch of slaves. Some of the slaves make a break for it and unnoticed by Captain Ryuui, a female slave also escapes. The other escapees manage to get in a boat and row off the island. But it is to no prevail as the Giant Claw from the previous night comes out of the water followed by another one. The escaped slaves are powerless to do anything as Ryota, Nita, Ichino and Yoshimura discover that the giant claw belongs to a Giant Lobster named Ebirah which then proceeds to eat the escaped slaves.

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The base’s commander (Jun Tazaki) tells Ryuui to send a patrol balloon to look for the escaped female Slave. The female Slave runs into the four primary antagonists but before they can exchange formal greetings, they are spotted by the balloon and are chased by the armed men, they narrowly escape however when they find a cliff in a rock face. The four men spot the woman praying and ask who she is. She calls herself Daiyo (Kumi Mizuno) and tells them that she came from Infant Island where the monster Mothra is currently sleeping. She says that the armed men are called The Red Bamboo and that they kidnapped her and her other tribe’s men. Thinking the best move to defend themselves; Yoshimura, Daiyo and Ryota plan to check out the Red Bamboo base, Nita and Ichino don’t want to go, but then discover that they are not alone in the cave when Nita spots what appears to be the body of Godzilla.

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They all manage to sneak in the base thanks to Yoshimura’s safe cracking skills and discover that the base is home to a Heavy Water factory (a place where Nuclear Bombs are made). After a continued search they are then discovered by Captain Ryuui, the five of them manage to make a quick escape but then when trying to leave the base, Ryota flies away on another Patrol Balloon and Nita is captured. Nita is placed in a cage with the other slaves who are made to produce the Yellow Liquid, the liquid being a repellent against Ebirah. Ryota meanwhile lands on Infant Island where he is re-acquainted with his lost brother Yata (Toru Ibuki). Yoshimura, Ichino and Daiyo however are back at the cave helpless to wait it out until The Red Bamboo finds them. Ichino though comes up with a plan to wake up Godzilla who is still alive but sleeping using electric shocks.

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Nita suggests that the slaves produce phony yellow liquid and Ryota and Yata are given instructions by Mothra’s twin fairies (Pair Bambi) and head back to the island. A storm comes however and they lose their own batch of yellow liquid. Ichino’s plan works and Godzilla awakens. Godzilla then discovers Ebirah and the two engage in Combat with Ebirah eventually fleeing. The following day, Ryota and Yata regroup with the others but are then pursued by the Red Bamboo. They all split up with Daiyo unknowingly running into within reach of Godzilla. The Red Bamboo turn back but Daiyo is helpless to the attention of Godzilla. Godzilla however falls asleep so Daiyo can escape but still warns Godzilla to the presence of a Giant Condor. Godzilla defeats the creature before taking on and destroying a squadron of Red Bamboo fighters. Godzilla then proceeds to attack the Base. The Red Bamboo is helpless to the attack and so set a Nuclear Bomb to go off. They then try to evacuate the island but Ebirah destroys their boat as the yellow liquid they are using is phony. Godzilla then arrives and has another round with Ebirah. Yata and Yoshimura rescue Nita and the other slaves who proceed to build a giant net as per Mothra’s fairies orders. Yoshimura, Yata and Ryota are unable to stop the bomb detonation and Mothra wakes up just in time to rescue them. Godzilla defeats Ebirah by ripping his claws off before noticing the arrival of Mothra. After a quick duel Mothra defeats Godzilla to a point so that Mothra can rescue the others. Godzilla now left alone on the island is shouted at by the others to run away, and sensing the island is about to go up leaves just in time as the island explodes. Godzilla returns to the ocean and Mothra takes everyone else back to Infant Island.

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Ebirah, Horror of the Deep, while being one of the oldest film’s in the series is also one of the true classics as well but with a setting and story that is still significant to this day and age. The film’s main cast is an interesting bunch who play a definite assortment of people who mingle well but there are many who are better than others. Hideo Sunazuka’s character of Nita is obviously the fool of the group who of course proves his worth to the slaves by coming up with a plan to get revenge on the Red Bamboo, but his character is strangely likeable, which is more than can be said of Choutarou Tougin as Ichino. While he himself comes up with how to wake up Godzilla, apart from that he doesn’t seem to do much. There is another point of view to his character but that is mostly due to the English dubbed version where Nita is an overplayed fool and Ichino is the better one of the two, reverse that though to the original Japanese spoken version and Ichino doesn’t seem to have much to do with the film. Toru Watanabe is the main carrier of the main plot which is a simple idea; somebody loses something goes missing and goes looking for it. He is more of an underdog character trying to go to big lengths to achieve the almost impossible and has an attitude to boot, however his character does lose some of this charm when he finally finds his brother and it feels like the production team tried hard to include his brother as much as possible by side-lining Ryota from that moment on. Yata meanwhile is very much headstrong in his character and a bit of a fool in more clever way and is able to balance out Ryota by being his almost exact double in character and form, but I think he is a bit too single-minded and as such is unable to be enjoyed thoroughly. It is however when all these cast members including Akira Takarada and Kumi Mizuno are together, not by themselves that they are at their best as together they all carry an extremely good chemistry with one another despite the fact that for the most part they are complete strangers, and their differences are not what make them but what it is they are willing to go through together in order to survive on the desert island. So while they may not all work to the best of their abilities as a standalone character, together, they are incredible.

Nita, Ichino, Daiyo, Yoshimura and Ryota

It’s not just the main characters though, as those who only appear briefly have some charm or je ne sais quoi about them. The first scientist (Hisaya Ito), the one who starts the bomb (who I recognize from other classic Japanese Monster Movies) has a certain presence about him. While he may be a scientist he gives a real sense about him that he is willing and maybe also wanting to create nuclear weapons, he even shows this by threatening to set the bomb off much quicker when the slaves escape. Jun Tazaki’s commander character has real presence about how important he is and feels and this high in the ranks look about him helps him to achieve this. He is also very good at looking like both a respectable military man, but also a lazy general who is used to throwing his power and weight around. The ship’s captain who may only appear very briefly also has a similar look and feel about him. The slave that Nita meets played by Ikio Sawamura has a nice welcoming feel about him, but I find it odd that the peace-loving slaves find it so easy to be tempted into committing violence and possibly murder. Ikio Sawamura however has a nice father figure look about him by being the sort of voice of the slaves. Which brings us to Pair Bambi who Play Mothra’s Twin Fairies. The casting of Pair Bambi is of course different as it was The Peanuts who were cast in the role I think for every film which Mothra had been in previously. Pair Bambi though are a very good choice and thanks to the more updated technology that has been incorporated in the film, their appearance works well and is a lot more believable. They also have a more easily outgoing look about themselves whereas The Peanuts mostly had a grim expression on their face and hardly smiled. Pair Bambi have more of a look of understanding in the situation but don’t let that overtake them. The policeman and Newspaper journalists at the beginning of the film are also really good even if they are only seen then and there.

Pair Bambi

But the best of the cast (at least on the human side) are Kumi Mizuno, Akira Takarada and Akihiko Hirata. Kumi Mizuno’s character could be sought of more as eye candy and whose look could be more attributed to that of actors like Ursula Andress in Dr. No and Raquel Welch in One Million Years B.C. but her character is none of that as her character is more on the intelligence side as well as a person who shows an essence of hope while also telling the story of the slaves revealing what they are going to be put through and the desire to escape from that and what it can then achieve.

Kumi Mizuno

Akihiko Hirata is really the human villain of the film. While he is really under the command of another person, he is the seemingly better soldier. He is in many ways a hunter, he is out to get someone, this time round being the main cast, and he is relentless in this fact, he is like the oncoming storm, or the hunter who is sizing up his prey and will continue the pursuit until he has achieved this. His appearance is of course very military but is able to achieve a more sinister approach with his eye patch (and not the first time Hirata has worn an eye patch in a Godzilla film). But despite all this and how brutal he can be, he doesn’t let that more human side get the better of him and his military training and professionalism always stands out in front of the more human aggression that he wants to release. Throughout this film, at least on the human side, he is consistent in his role and thoroughly enjoyable.

Akihiko Hirata

Akira Takarada though carries the most character baggage as he has an entire sub plot resting on his shoulders. It is though through this that we get an interesting character which is first presented to us in both an unusual way but one that is also quite funny by instantly propping a gun up in front of the other three. While it may be odd to have a sub plot only referenced here and there, it is important though to have someone like this in the story as it is both his skills and his emotional baggage that both make people realize what he is but also allows him to come to terms with himself and what he has done and as such improve his outlook on life. He is in many respects the leader of the group while also being potentially dodgy but without his knowledge and skills, it’s doubtless that they would be able to survive. He is a very likeable character throughout and the inclusion of his story is a great narrative for the audience to both explore and think about but also work on comparison with the rest of the film.

Akira Takarada

Now with the humans out the way, let’s talk Monsters. While originally intended to be a King Kong film, the remaining effects of that to the monsters work well as it is genuinely nice to have something other than a city being crushed. While this does contain sudden surprises, this works out for the best. I am of course talking about The Giant Condor. Finding it somewhat odd that this creature is in here at all, but given the design of the island it gives a nice and surprise addition for Godzilla to fight as this one is more close up and brutal than to what Ebirah is able to achieve. Mothra meanwhile looks better thanks to the updates in technology than the last time Mothra appeared. There is however a lot of confusion as during the infant island scenes, close up she looks smaller than when the camera is further back and I kind of prefer it when the camera is further back as Mothra does genuinely look bigger and better. The fight it has with Godzilla is brutal much like that with the Condor but the fight had to be short and sweet for the film’s final tension to continue but Mothra’s inclusion into the film is a nice little touch in both Story and element.

Mothra - Ebirah

Ebirah is beautifully designed. While great care and attention has been made to make him look like a Lobster with his eyes and claws, attention has also been made to make him look like an abomination also, particularly in the rounded head and nose. His scream of terror is more like a giant screech through the air and while he may not have much in the way of firepower, on both looks alone he looks terrific and terrifying but also in the fight sequences he proves his worthy of a match against Godzilla. His early appearances though without Godzilla are equally terrific. When the Claw first appears you don’t know what it is or what it belongs to if anything and adds a nice sense of mystery for the audience and shows an initial sense of size and power. Even when we get a proper look at him the suspense and tension remains with his claws appearing before his full body. He is a great addition to the series, but he has so far been at his best (out of two appearances) in this film.

Ebirah

Godzilla meanwhile as stated earlier is a bit different in characteristics. He is a lot more like his original self as in while he still stands up for the earth, to protect it, he is almost back to his original self in the form of attacking people and things which he deems as a threat, including people and while he may now be an ally of Mothra, he still goes on to attack Mothra at the end. In many respects the film does not seemed to have changed from a King Kong film as there are sections which seem to be more in line with that including the plane attack, interaction with Daiyo and I think; The Condor. It does however give Godzilla a more monstrous and natural look about him and his character and shows how brutal he can get in a fight and little bits here and there such as his fight with Ebirah when he goes underwater or picks up a boulder and show detail such as the tail going up reminds us that he is at heart a creature, all be it still the force of nature that we all love.

"Morning".

His appearance in general is brilliant and there hasn’t been much of decay in his look, it’s actually one of his best looks in the series, and even when he is just in the cave asleep, he looks fantastic (as well as well camouflaged against the rocks). He has some absolutely amazing moments in the film and great shots of him which make great use of depicting his genuine size as well as raw strength and power. His fight scenes are terrific and even the shots of him asleep in the cave, are incredible and it makes his first true appearance, awake which while may be 50 minutes into the film is a terrific spectacle.

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One thing that does standout when you look back at films before this is the sudden update of technology. Toho are the masters at miniature effects, it is something they have both relied on and become masters of over the last 60 years. While this may be back as far as 1966, the level of detail has come on quite well when compared to previous films. Due to the non-city location of the film, more detail has been required to produce miniature effects. Now while there have been buildings and boats (with the Red Bamboo ship looking more like a pleasure cruiser than a battle ship), the miniature humans are nicely done and have some motion to them which makes me think they were done in a clockwork style. This level of effect does help to show size comparison to the monsters and it works. The only occasions that did not use monsters for similar effects are the use of close ups as well as shrinking of film into a scene particularly for the twin fairies but also include other scenes too. Set design has been given great care to look as realistic as possible with both outdoor and indoor sets working to their full potential, and I too get the idea that this film was produced mostly on location rather than in a studio, and it works brilliantly. The camera effects and shots are cleaner and crisper than previous films which did have a real sharp blur about them, but this one is nice and clean and if I may say so, better than HD today.

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The soundtrack is very odd I feel in comparison to other Godzilla films. It is not dark or mysterious in tone but more upbeat in almost every track. Theoretically it is a cross between beach music and mystery but there are pieces which give a sense that Masaru Sato, the film’s composer took inspiration from the works of Bond Composer John Barry as the music is very much secret agent like music with some moments that are more like the 1960’s Batman series. Reading that you may think that makes the music rather silly, it doesn’t; the films track is very enjoyable. Ebirah’s theme is quite groovy and works well by giving a sense of oncoming mystery followed by terror at the sight of what can be currently seen, this is achieved with the use of traditional orchestral forms but with a clever use of a bass guitar, or possibly a normal electric guitar, I’m not sure, but it’s one of the two.

While the Composer himself has also created other forms of music for the film so not completely relying on one set theme, it is through these more creative styles where the soundtrack is at its best. When it’s either the Dance Rally music, or even the main chase music has an upbeat take on it, but really drives the suspense and tension so it can be both enjoyed and have the right effect, but also, be very memorable at the same time and it is for that reason along with the other pieces for the soundtrack that makes it work for this film, and I think it’s generally, genuinely nice.

While mainly at heart the film is more about the human interaction and chemistry between the main characters as well as a sort of theme of dealing with your actions particularly on the part of Akira Takarada’s character and a tiny sense of the construction of Nuclear Weapons, Ebirah, Horror of the Deep is an incredible film and one of the best entries in the series, no doubt. While the cast needs to rely on being together; teamwork, it is a nice theme that works well on their part. And while it may take time for the Monsters to really start meeting each other, the time they have separately as well as their position in the film works well for them and it’s through this time period that we introduced to them and allow for build up to their fights and main inclusion to the film. While the essence of King Kong is present, I do think Toho made the right decision in the changes they did, otherwise, the film may have been completely different and I really think that appointing Jun Fukuda to direct was a great start as otherwise the soundtrack and special effects may not have been the same either. Overall Ebirah, Horror of the Deep is both a great Monster Movie and a great Adventure film too with real moments of surprise, mystery, tension and terror along with great scenes involving the Monsters themselves and while this film may be almost 50 years old now, I still love it to this day as I did when I first saw it all those years ago.

GENEPOOL





They Were Trying To Kill It (Part 1) – Godzilla 2014

25 06 2014

Godzilla 2014 Poster

Back in 2010 when I was researching the Godzilla franchise on Wikipedia, I found a piece of very interesting information. Back in 2004 I remembered that it was announced that there would be no more Godzilla films after the release of Godzilla: Final Wars for a period of 10 years, just to give it a break and renew interest. It is hard though to keep an icon down. In 2008 I remembered reading about an upcoming film to be released in 2009 which was to be a 3D movie for IMAX cinemas starring the title monster and called Godzilla 3D to the Max. This idea though did not get off the ground. Also in 2008, for the film Always Zoku Sanchōme no Yūhi (Always Sunset on Third Street 2) Godzilla himself makes a brief, but terrific appearance very early on. Then comes 2010. It was announced that Legendary Pictures, the studio behind Inception and The Dark Knight were interested in attaining the American movie rights to Godzilla in the hope of doing a complete reboot of a series that was initially planned around about 1995/1996 that sadly did not really work out by all counts. Well, Legendary were successful and during the time between then and May 2014 had been hard at work with director Gareth Edwards (and several writers including David S. Goyer, Frank Darabont, David Callaham and Max Borenstein) wanting to produce an Americanised Godzilla film which was by all counts faithful to the iconic Giant Force of Nature that has entertained and inspired millions including myself all over the world for nearly 60 years. Well, I can say that they have achieved this in such a way that it is not only a proper Godzilla film, but also one of the best.

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The film begins with an opening montage showing reports made by sailors over the centuries of encountering colossal sea monsters. The video then moves to 1954 showing footage of what appears to be giant spines on the surface of the water, like the dorsal fin of a shark. The footage continues to show this but no details as to what it is before concluding with a nuclear bomb detonation. The scene then moves to 1999 where Dr. Serizawa (Ken Watanabe) and his assistant Dr. Graham (Sally Hawkins) investigate a pit at a mine in the Philippines, discovering a giant skeleton and a couple of pods. In Janjira, Japan meanwhile, Joe Brody (Bryan Cranston), a nuclear physicist is examining a set of tremors at a nuclear power plant. Suddenly there is a reactor breach and his wife Sandra (Juliette Binoche) who was in the bowels of the plant is unable to escape and the whole plant collapses. 15 years later, Joe’s son Ford Brody (Aaron Taylor-Johnson), an EOD technician returns home after 14 months away to his son Sam (Carson Bolde) and wife Elle (Elizabeth Olsen). He then gets a call from Japan saying that his father has been arrested again for breaching the quarantine zone.

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Ford heads for Japan where his father has become almost a complete crackpot after what happened and Ford tells him to come home. Joe though persuades Ford to help him go back to their old house to retrieve his discs. After this they spot the site of the old plant which appears to be being rebuilt. They are then arrested and taken there. Joe tries to tell the authorities there about who he is and what he thinks is happening, which gains the attention of Serizawa and Graham. Something at the plant then begins to stir and Serizawa orders they kill it, but instead it wakes up. A giant bat like creature which causes a lot of havoc before taking off killing Joe in the process. The military, overseen on the USS Saratoga commanded by Rear Admiral William Stenz (David Strathairn) takes over the operation to track the creature and Ford is briefed by Serizawa that the creature that attacked the plant is called a MUTO (Massive Unidentified Terrestrial Organism) which is an ancient creature that feeds on nuclear energy. The creature in turn is hunted by a much larger and ancient alpha-predator discovered by a deep-sea exploration in 1954 after the first Nuclear Submarine woke it up. The discovery of this creature led to multiple cover-ups as several nuclear weapon tests in the 1950’s were in fact an attempt at killing it. Serizawa heads up the division known as Monarch whose job it is to track the MUTO’s and possibly this other creature who is named by Serizawa as GODZILLA. Ford tells the team that his father mentioned something about the creature at the plant talking to something. Ford goes to Hawaii to catch a plane back home to San Francisco.

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News of a Nuclear Submarine disappearing is reported and a team of marines investigates in an Hawaiian Jungle where they find the Submarine being fed on by the creature. The military sends in fighters but are disabled by an EMP blast from the creature. Reports then come in of a second creature approaching the Island. Serizawa stands on the deck of the carrier and sees three dorsal spines running through the water. On the island, Ford looks after a boy split up from his parents when the lights go out. On the island, the sea regresses as a giant figure makes land. The power returns to the train, but the line is attacked by the MUTO. All of a sudden, the Giant figure appears on the scene in full view; a Giant lizard like creature that lets out a resplendent roar and attacks the MUTO. In San Francisco, Elle sees the footage of this battle live.  The following day Ford returns the boy to his parents at the city is in ruins. He manages to hook up with an army battalion while near Las Vegas, the other MUTO pod from the Philippines, has fed on Nuclear Waste and has escaped. It is determined that his one is a Female which cannot fly and the other a Male. Out at sea, a navy convoy holds a perimeter around the dorsal spines of the creature now confirmed as Godzilla.

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A plan is put into place to lure the three creatures together and destroy them despite Serizawa’s objections. Two nuclear missiles are put on board a train which Ford joins, but when inspecting a bridge, the train is attacked and destroyed. The following morning Ford is rescued along with one remaining missile. In San Francisco the city is evacuated with Elle staying behind to help. On the bridge, a convoy of busses witness the arrival of Godzilla from the ocean as the Male MUTO steals the remaining warhead before taking it to the now arrived Female who uses it to make a nest. Elle manages to get into a secure bunker as Godzilla arrives to fight the creatures. Ford joins in a battalion to retrieve the warhead and flies into San Francisco via halo jump witnessing the creature’s titanic battle as he lands. The Battalion run to the nest where they manage to get the nuclear weapon. Ford stays behind briefly to destroy the nest. Godzilla is struggling to take on both MUTO’s but the distraction of the nests destruction gives him enough time to power up, and let out a furious blast of his Atomic Death Ray. Ford and his team return the warhead to a boat but are attacked by the female. The male is killed by Godzilla but a building collapses on him. Ford manages to get the boat into open water but is corned by the female, who, in turn is attacked and killed by Godzilla. Godzilla then seemingly dies upon collapsing in victory. Ford is rescued as the bomb detonates out at sea. Elle is rescued and she, Ford and their son reunite. People scramble on the corpse of Godzilla, which then snorts as it wakes up. Branded as King of the Monsters, Godzilla simply departs and swims out of sight under the calm, still water.

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Godzilla is a heart stopping intense film but also a tense thriller with moments of human hardship and questions about the use of nuclear weapons and man’s desire to control the earth any means necessary, particularly nature itself, but more on that later. For now let’s look at the cast. The cast is a mix of a great bunch of characters and actors. Bryan Cranston who from the trailers looks like the lead bloke plays a professional scientist who while knowing his job and believes he is doing the right thing and probably is does face the fierce competition of nay-sayers, but in between that he does show a more human caring side to him, and this is what makes him stay in Japan to work out what is going on at his former job, even if it makes him forget what made him stay there in the first place which strains his relationship with his son. While he may be later on be made to look like a crackpot mad scientist, he does still show his caring side and is now way a joke to those around him or to the screen. It is obvious though that he does have a strained relationship with his son Ford due to the accident and surprising that his attitude to the situation doesn’t help to inspire Ford along all that much and is a shame that their relationship couldn’t be explored further, however it is a good showing of how much family means to someone and how that guilt can quickly ruin someone, particularly if they see it as their fault. Juliette Binoche’s character meanwhile is more of a real parental figure to Ford and has more of an easy-going understanding of everything around her and tries to get the best out of Cranston’s character and tries to make him think more rationally and in many respects is the pivot as to why Cranston is still there.

Bryan Cranston and Juliette Binoche

Ken Watanabe as a scientist is a lot like Dr Yamane (played by Takashi Shimura) in the original film as he has an understanding of such creatures as there are in this film but wants to be able to preserve for the benefit of science yet he is able to distinguish when they are a threat or not. He is a man with a dark past as represented by his pocket watch and finds himself mystified by Godzilla and almost finds himself able to rely on such a creature when he feels that he follows after the Mutos. This mystery about himself allows him to play such a role and while his name in the film is that of the scientist in the 1954 film (played by Akihiko Hirata); Ken Watanabe is playing his part brilliantly and is rather enjoyable, but maybe it should have been more the case that his character should have been called Yamane rather than Serizawa. Sally Hawkins who plays his assistant, shown more so with her calling him Sensei, shares a lot of on-screen time with Watanabe but not enough (more in the sequel perhaps?) I think as the relationship between the two works well and I do feel like she should have more scenes, but for those that she does have, are really enjoyable and brings that needed human side of the scientist when discussing the discovery of the creatures but also in dealing with them and does have a very remorseful side about her.

Ken Watanabe and Sally Hawkins

Carson Bolde plays a very good part and almost has his own backstory in comparison to those around him and while for the most part he is himself quiet he does show a level of emotion during those scenes. I mean for the part of a child they could have just used any old stand in, but Carson shows a level of acting that if nurtured correctly, could lead to more big roles. Richard T Jones is also quite good as Stenz’s second in command and is as rational as his superior by also not underestimating the situation.

Carson Bolde and Richard T Jones

I do find myself really liking the David Strathairn character; Admiral William Stenz (a name which does make me think of Nimitz). What I like about him is that he is not a cowboy, he is in charge of this entire operation after the Janjira incident, and he follows the creatures, even surrounding Godzilla but acts rationally by not attacking. This shows that he is a rational man that also does not underestimate the situation and is in no way gun hoe about the situation and decides to make a plan before actually attacking anything at all. It shows an easier going thinking to a serious idea and like a detective would prefer to know all the facts before doing anything else. He is also understanding of other people’s ideas and history particularly when Serizawa shows him the watch his dad in Hiroshima when the bomb dropped, but instead of laying into Serizawa for not wanting to use the bomb, he takes a more firm and understanding approach showing the world has moved on and there are better understandings of how and when such a weapon is used if at all.

The on-screen relationship between Aaron Taylor-Johnson and Elizabeth Olsen is well done and actually looks like a realistic relationship between the two instead of just a generic one for the sake of it. The need to return to Elle does play on ford’s mind throughout and is his main journey in this film, not to attack the monsters but to return to the one he loves feeding on a primal instinct of love which helps make his character realistic to everything he does throughout making him both believable and creates a connection for the audience, but I can’t help but notice that in the city scenes, when he Collapses, so does Godzilla. This could be a sense of trying to imply what he is going through, Godzilla is too and so that struggle is both shared by Humanity and Nature. So while the film on this part is stating that nature cannot be controlled, there is a human connection to it instead and they are both in and are the same thing, however, why didn’t try to swim away? I do think though that there could have been more drama on his part particularly when his father dies and the scientists say they are sorry. As an audience member it is easier to see but mostly thanks to hindsight that if the authorities did tell Joe what was going on, his death could have been averted and if anyone deserved to know what really happened at the plant 15 years previously, it was the families of those who lost people. So I am surprised that Ford did not lay into them for that, because that’s what your primal urge would want to do, instead he just listens to them quietly instead of trying to get some form of restitution from what’s happened so far. Elizabeth Olsen is one of the best characters in this film by far. Like how Ford wants to get back to her, she is trying to stay in the city for the benefit of waiting for him but also trying to get in contact with him. I really do think there could have been generally more of Olsen throughout this film (which allows room for her in the sequel) those moments that you do see her are some of the best on the human side of the film. While everyone else is looking at the situation from afar for the most part, she is the one who is really experiencing them and allows for all bases in such a film to coexist as well as given an insight to the situation and pay a s ort of homage to those scenes in the Japanese series of people running from the danger. But because those scenes are focused on somebody, it means the audience can connect with someone who is there and feel what the situation is like.

Aaron Taylor-Johnson and Elizabeth Olsen

Godzilla is beautifully produced and shot. Scenes involving running with humans and general drama scenes for one, but scenes including the halo jump as well as the human interactions with the monsters in the final act are beautifully done and represent very well what it is like being in that kind of situation. Even Janjira looks amazing. The overgrown deserted city which just happens to be there giving the impression of a city like Chernobyl is now and this is accomplished more brilliantly seeing as it doesn’t actually exist. The naval and military scenes show great uses of research as to how certain things would be done in a real life situation and in moments where the real thing could be used rather than a CGI model, like the ships, tanks and planes, they are used brilliantly. The film does actually work well as a thriller on its own when there is no monster in the scene. Take the bridge scene for example when the birds crash into the bus windows. This is almost like a true horror scene as you get the shock of your life only to discover its birds. During the monster scenes themselves great work has gone into close-up shots with the humans including the train bridge scenes and even in the final act. Along with that you have other scenes which plant ideas into your head of signs of the monsters, but don’t see them, and give an idea of how big they are and also what they are very much capable of. But it really comes down to how the monster scenes are done in tandem with the humans.  From the scenes on board with the aircraft carrier with Godzilla’s spines are protruding from the water, to the Hawaii airport when the water comes in around the man’s feet signifying the arrival of something big. It is down to the reactions of people seeing these things that are the true essence of how well such shots are done. Also I like the sense of scale that is shown. When Godzilla is first seen, you don’t see him in full, and even when you see him walking on land for the first time, the shots are restrained to eye level to show the true height and size of the creature and so you may only see arms and feet, and leave the reveal shots for later on when they are needed. Shots such as these and others help to show the human and audiences place in such a situation and allows the remain of a sense of awe altogether.

G6

The film’s soundtrack (produced by Alexandre Desplat) is amazing, and that is the quick way of describing it. The film’s score has elements of mystery, particularly in the Japanese scenes which while having a sense of suspense when the plant is crumbling, but also when Ford and Joe go to investigate. When you get past the opening introduction you have moments of awe from the scene in the Philippines to that of Ford and Joe entering the quarantine zone.  That piece in part is one of the best pieces in the film with moments of big drums signifying something big and catastrophic but not yet sure what and also give a more traditional Asian feel to the music. Other pieces earlier on have moments of a big reveal such as the film going to Janjira followed by a soundtrack that shows the early tension of escaping the power plant. Other pieces later on such as the reveal of the atomic breath, Godzilla’s victory and departure (and his own main theme) have connotations to old American monster movies and give that sense of awe as you gaze and what is happening. Godzilla’s victory piece does have a corny feel about it and feels more attributed to a character like King Kong, but works in the short-term and his departure also which I think helps to correct this, his victory piece though goes into a more sombre bit which relates to the cost and sacrifice endured to achieve victory. The monsters themselves do share quite a bit of the soundtrack too including the MUTO reveals and the moment Godzilla arrives at the Golden Gate Bridge. But sneaked in there is a small little horror piece which is used to great effect in scenes where the soldiers are approaching something, and it can be seen, but not clearly and is more like the calm before the storm, but gets you ready for it.

For me, the best thing about the soundtrack is Godzilla’s theme. While the soundtrack does not carry any themes produced by Akira Ifukube, they have taken great care in producing a soundtrack which works for the title character. You have that mystery there to begin with, just to begin with. Then hallway through, there is this grand scale of notes which reveal some form of terror which builds up inside you. It’s like your eyes have seen something that betrays you and now you’re by the foot of a great terror.

It’s like something relentless is coming to get you, you manage to spot it and your eyes can’t get away from it because it’s just unbelievable and you can’t run, you just can’t. Like a great abomination, like a werewolf or Frankenstein’s Monster, it’s running, rampaging towards you and then you trip trying to run. And it’s got you. Your Heart Stops. What next is up to him?

GENEPOOL (Click Here for Part 2).








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