Top 10 Godzilla Films

29 06 2016

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It should come as no surprise that my favourite film series is of course Godzilla. I don’t know how many times I must have mentioned it to people I know, people passing by, or the number of posts I have written on the subject on this very blog that you are reading now (speaking of which, did you know this is my 500th post?). Yes, I love Godzilla movies! Ever since I was a young boy to right now and probably beyond, I have had a craving fascination for a film series starring a Giant Nuclear Irradiated Japanese Monster. While there are a lot of really great movies out there not including/starring Godzilla, it should come as no surprise that my Top 10 absolute favourite films are all Godzilla films. But which ones though? You see back in 2014, after the release of the 2014 Godzilla film, I thought I would finally work it out. What do I mean by that, well, you see the thing is that for many years I had always said which ones were likely and which ones would be high up but I never actually had a defined list of which were my top 10 favourites, just an idea. So with the 2014 film out of the way and to sort of celebrate I thought I would work it out.

Godzilla 2016

To zone in and find for definite which ones are my favourite and then order them was always going to be trivial. How I actually did it was like this:

  1. I ordered the films in order of when they were released starting from the original 1954 film, to the 2014 film.
  2. I then picked out the ones I thought were terrible (and there are 3 I can think of) and deleted them off the sheet.
  3. Even after cycling through some bad ones, I still had near 25 to choose from, so I just worked through them from there, picking out ones I did not feel strongly for until I get to a more definitive list (between 15 and 20) to then think more carefully about.
  4. As the process continued, some of the remaining films became obvious as to being ones I absolutely loved, so I then began to order those ones around a little.
  5. From there it became a process of difficult elimination as I analysed the films in my head and said to myself; “Is that one better than that one?”
  6. In the end it came down to 12 films and a difficult choice to get to specifically 10, so I worked hard and finally whittled it down to just 10 films.
  7. I then repeated step 5 to put the surviving 10 in order from 10 to 1.

Making this list was actually rather fun and interesting experience, and one I look forward to doing again in the future, but to which series I do not know (probably Studio Ghibli once I get more head on into it). There is a little bit of an issue with the choosing process, and that is I have not actually seen Invasion of Astro-Monster or Son of Godzilla. Invasion of Astro-Monster is on my shelf, and just haven’t got round to watching it yet, whilst I do remember seeing something of Son of Godzilla from when I was about 4 years old, but as I cannot currently get a copy of it, I am pretty much stuck. If anything, the only other one I have not seen is Godzilla Resurgence…..which has not been released yet. As this list goes though, there are still plenty of surprises…possibly. Some surprises for me as some films I was sure of being on here are not, and some surprises for you my wonderful readers as to where some films have been placed, however, being the Godzilla fan that I am, I will not have put it in that position unless I thought that it deserves to not only be on this list, but also in that position. Anyway, introduction’s over, I hope you enjoy this post as much as I have enjoyed working it all out. So sit back, relax (not unless you are like me and have to lean in on a computer to read something), and find out what my Top 10 Favourite Godzilla films are.

Godzilla vs Mechagodzilla (Toho Co. Ltd. - 1974)

10. Godzilla vs Mechagodzilla – An Ancient prophecy begins to come to fruition when a dark cloud in the shape of Mount Fuji appears in the sky. The prophecy states that a Giant Monster will come along to destroy the land. Things take a confusing turn however when the Monster that appears turns out to be Godzilla. Things take an even bigger twist when another monster, who also looks a lot like Godzilla appears also. With everyone by this point really confused, the first one decides to shed its skin and reveals itself to be a cybernetic clone.

Mechagodzilla

The 1970’s were not a great time for the Godzilla series. From the start of the decade the series was already beginning to slump with the mediocre release of Godzilla vs Hedorah. Things then got even worse as the two films that followed were mostly made up of Stock Footage and very little were actually filmed. This landslide from Great films to terrible films appeared to be unending, until veteran director Jun Fukuda returned. Having previously done three Godzilla films in the past, and being one of the most important directors in the series, it came down to him to turn Godzilla’s fortune’s around; which he did spectacularly. Out with the stock footage; back in with actual film making. This film in the series was also made up with a lot of firsts: While Godzilla and Anguirus make an appearance in the film, both King Caesar and the now legendary MechaGodzilla both made their debut in this film. The film manages to cram a lot of human story and character elements into it also, with the characters having to help the Monsters as best they can; because otherwise, the green-skinned ape aliens would win. With a very jazzy soundtrack from Masaru Sato and also showing how fun a night time chase around a ferry cruise could be, Godzilla vs MechaGodzilla remains one of the series most stand out and thoroughly enjoyable entries into the series.

Godzilla Against Mechagodzilla (Toho Co. Ltd. - 2002)

9. Godzilla Against Mechagodzilla – In 1954, the monster simply called Godzilla attacked Japan and left Tokyo in ruins. Over the next 40+ years; several more Giant Monsters including Gaira, Mothra and a monster that looks a lot like Godzilla attack the nation. Having had enough, the country of Japan launches a new weapons program to build a machine specifically designed to defend themselves from these attacks. The machine code-named Kiryu is built on the fossilized skeleton of the original Godzilla. When Godzilla suddenly reappears, Kiryu is sent into action. After hardly any battle, Godzilla leaves, but Kiryu runs amok in Tokyo, but why?

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Since the release of Godzilla vs Mechagodzilla, MechaGodzilla has been redeployed in a film sense on several occasions. But the 2 times between this and the original did not fare so well and did not impact all that greatly. By the Millennium, and with the new series in full swing, Toho brought MechaGodzilla back, and created one of the Millennium Series most stand out films. In comparison to the above mentioned film, this one is not crammed full of characters, with instead only 3 really appearing as leads; but in this instance they are worked on in a great deal. The story and setting produce an initially terrifying but also heart-warming story telling of the connection between man and machine while also creating an initial yet terrifying plot twist, with not Godzilla necessarily running amok, but the weapon. Still providing the best in monster mash-ups, and up to date special effects as well as terrific pieces by Michiru Oshima for an unforgettable main movie theme, Against is an absolutely superb film and is easily Mechagodzilla’s best film appearance to date (not unless Legendary have plans).

Godzilla (Legendary

8. Godzilla 2014 – In 1954; something is discovered by the American navy; this thing is quickly covered up and supposedly destroyed. Nearly 50 years later, a nuclear power plant is destroyed supposedly in an earthquake. Sometime later, the husband of a scientist who died in the power plant goes mad trying to prove it wasn’t an accident, and he was right, as inside the power plant is a Giant Monster which escapes it’s confines and goes on the rampage.

Godzilla Beach

In 2010, Legendary Pictures announced it was going to make a brand new American Godzilla film, even though in the end we had to wait 4 years for it to be released. I went to see it on opening night, and absolutely loved it. It was near perfect, Godzilla himself was perfect, and the new MUTO’s were amazing creatures, all combined into a very human story (that seemed strangely similar to Gamera: Guardian of the Universe) supported by a terrific selection of cast, special effects and heart pounding music (composed by Alexandre Desplat), all brought together by Director Gareth Edwards. I enjoyed it so much that I went to see it another two times at the cinema. But for me, the real proof of the pudding came the Saturday after it was released. I had the night off, and really wanted to watch a Godzilla film for some reason, so I watched Ghidorah, the Three Headed Monster, one of my favourite Showa films and one I have always enjoyed. But right there and then, I was struggling to enjoy it as much as I used to…..I wonder why?

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

7. Ebirah: Horror of the Deep – A young man who is looking for his brother lost at sea, finds a couple of people at a dance contest who take him to see some boats. They go aboard one, and the following morning the young man steals it, which ironically has already been stolen. After several days at sea, they get caught in a storm and the boat is destroyed by a giant claw. They all wash up on shore and discover that the giant claw belongs to a giant Lobster called Ebirah. Yet more nightmares are to be realised however as the island is the base for a terrorist group called the Red Bamboo, and the island boasts yet another secret.

Ebirah

With the Godzilla film series now in full swing, directing duties were handed over to hot up and coming director Jun Fukuda. Most of his previous work involved comedy and mystery, but in all fairness, Ebirah wasn’t any normal Godzilla film. It was originally intended to be made as a King Kong film, but Toho decided to make it a Godzilla film instead; such is why Godzilla does not smash-up a city, as well as show off several un-Godzilla like traits including attacking Mothra after supposedly now being friends. Any who; as a young boy, this one stood out for me a lot as for quite a while it was the only Godzilla film I had VHS access to, until the collection grew. As time has passed and other films have come that I prefer to it, this remains one of the films I have enjoyed the most. It’s not just a connection to my youth, but also a film that I have come to love with a great deal of memory and passion with many scenes, quotes and a heart thrilling caper like soundtrack being many a highlight. It’s place on this list always a guarantee; more than any other Godzilla film, it’s possibly the most enduring and one that I have conceivably the most memories of just watching it over and over again, even remembering specific times and days of watching it.

The Return of Godzilla (Toho Co. Ltd. - 1984)

6. The Return of Godzilla – In 1984, it’s been 30 years since Godzilla attacked Japan, but has not been since. His presence has still cast a shadow over the nation even as it progresses into a modern high-tech future. Out at sea, a fishing boat is discovered where only one member of its crew survived. He talks about seeing a Monster and as time passes, more incidents get reported, and it’s all revealed to be true, that Godzilla has indeed returned.

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After nearly a decade since Godzilla’s last movie appearance (Terror of Mechagodzilla), Toho finally decided to bring the monster back during the ever-growing tensions of the cold war. It was perfect, with the monster having lost his terrifying persona over 20 years of film making, they brought him back to his terrifying self in a movie that ignored all events of the films in between this and the original. This was also only the second time in the series that Godzilla attacked a city and did not fight another monster. Yes, while we all love a good fight, Toho showcased how terrifying, realistic and enjoyable a Godzilla film could be when he is not surrounded by other Monsters. This film would go on to kick-start the best era of Godzilla movies to date: the Heisei series; and while Godzilla the hero would come out to play a couple more times, the producers worked really hard to maintain Godzilla’s terrifying position and persona throughout. More than any film, this one ensured Godzilla’s long lasting cinema presence, one that is still being seen to this day.

Destroy All Monsters (Toho Co. Ltd. - 1968)

5. Destroy All Monsters – The year is 1999 (hypothetically), and all the monsters of the world have been collected and made to live together on an island decidedly called Monster Land. All of a sudden communications with the control station nearby is lost, and the supposedly ‘contained’ monsters all start attacking the Major Cities of the world, all except Tokyo?

Mothra, Gorosaurus, Rodan, Kumonga, Anguirus, King Ghidorah, Varan, Godzilla, Manda, Baragon, Minilla

What was originally intended to be the final Godzilla film, and as such was given a much bigger budget, remains one of the most popular in the series. Having just done some research, I have discovered that this is one of only a few Japanese Godzilla films to have a fresh rating on Rotten Tomatoes. In fact, for about 11 years, this was my favourite film. What sets this film apart from others is its large cast of Monsters. Loads of Monsters appear in this film, some remaining real favourites and some of the most endearing monsters in the series. Plenty of city destruction takes place, with others than Tokyo being hit for once, all the while setting the early instigations into an alien conspiracy. Expect some of the most memorable pieces of music, and some of the best military vs monster scenes to date as Godzilla leads the charge of the Monsters (which includes but is not limited to: Gorosaurus, Rodan, Varan, Manda and Baragon).

Godzilla vs. King Ghidorah (Toho Co. Ltd. - 1991)

4. Godzilla vs King Ghidorah – In 1992, over the sky of Tokyo, a UFO is spotted. It is eventually tracked, where it turns out not to be aliens, but people from the future. These people go on to talk about the future non-existence of Japan as a nation and that the country is to be finally destroyed by Godzilla. They send a team back in time to an island battlefield in World War Two, where the Dinosaur that would become Godzilla first appears; sending it to the bearing sea, preventing it from evolving into Godzilla. Returning to the present day, rumours of a new monster begin to circulate.

MOTHER

This film easily remains one of the most beloved films in the series by fans. After struggling to get Godzilla going with the release of Godzilla vs Biollante, it was decided that for their next film that Godzilla would fight his arch-nemesis for the first time in nearly 20 years: the three-headed golden dragon; King Ghidorah. This new film in essence is based on the popularity of the time travelling element in the recently released Back to the Future films while also combining it with a story that focusses on how Godzilla became Godzilla. Its story; while basic does achieve quite a bit, with the implication that with Godzilla removed from history, King Ghidorah takes his place and is under the control of people with vengeance on their mind, only for their plans to eventually backfire. Godzilla vs King Ghidorah in the process creates some terrific scenes of city destruction, as well as not one but two incredibly well fought battles as Godzilla goes one on one with his Greatest Nemesis, in a battle that leaves one monster horribly scarred for life.

Godzilla (Toho Co., Ltd. - 1954)

3. Godzilla 1954 – Out at sea, several fishing boats are mysteriously destroyed. On a nearby island, the village is destroyed a few days later. A team is dispatched to investigate, and make a chilling discovery, one that will bring repercussions for the country of Japan for decades to come.

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1954 was a big year for Japanese cinema, especially more so for Toho. A few months earlier they released the Akira Kurosawa masterpiece Seven Samurai, but on set; apparently everyone was talking about something called Gojira. After trying to produce a film in Jakarta which ultimately fell through, Toho producer Tomoyuki Tanaka took two pieces of inspiration: the Lucky Dragon 5 fishing boat incident and the Ray Harryhausen film; The Beast from 20,000 Fathoms and in the process created Japan’s first movie Monster. Taking into account the destruction dealt upon Japan at the end of World War 2 by not one, but two Nuclear Bombs, Tanaka created a creature born of the forces of Nuclear Power and Nature’s answer to humanities destructive attitude and set this new monster loose in Japan’s Capital. Backed up with a terrifying soundtrack by composer Akira Ifukube, and the latest in Special Effects by Eiji Tsuburaya, all under the direction of Ishirō Honda; I believe they say: “The rest is History!”

Godzilla vs Mothra (Toho Co. Ltd. - 1992)

2. Godzilla vs Mothra – Out in space, a meteor strikes earth, and a Typhoon ensues revealing a giant egg. A team is dispatched to investigate the island where they find the egg and are told a harrowing tale of how an ancient battle was fought between Earth’s guardian Mothra, and another monster similar in design called Battra, who might have reawakened.

Battra

For over 11 years or so, Destroy all Monsters was my favourite film, until by chance I was able to get a copy of this film, and within one showing I knew this was my new favourite film. What is basically a film telling something of a lesson of the importance of keeping earth clean, and what is renowned as being rather rushed, is also a fantastically enjoyable film. It is rife with elements of tension; lots of city based destruction, and so far the only film in the series to contain one of the series best creations, the creature known as Battra. Containing some great acting, a fully thriving in-depth story and some amazing Monster Powers to create a full on power play of a Monster Battle climax, Godzilla vs Mothra in sense recreates the story of Mothra vs Godzilla, but ultra-charges it into the early to mid-nineties, and in the process creates one of the series best films to date.

Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (Toho Co. Ltd. - 2001)

1. Godzilla, Mothra and King Ghidorah: Giant Monsters All Out Attack – Across Japan, several incidents take place, in each one a Monster being spotted. It has been nearly 50 years since Godzilla attacked and has not been seen since, and his print on Japan’s history is slowly being forgotten. Meanwhile a young Science Fiction TV Presenter goes on the trail of an ancient legend concerning the reawakening of several monsters, monsters determined to make sure Japan does not forget its history, but more importantly, make sure Japan is defended from the return of the King of the Monsters.

Baragon (2001)

During Christmas 2007 (I think it was 2007), I received a couple of Godzilla DVD’s from my parents. One of them was this, with the other being Godzilla: Tokyo S.O.S. I was certain that Tokyo S.O.S. was going to be the better of the two, boy was I wrong. I had no real clue as to what this film was going to be like, but boy did I enjoy it. Directed by the man behind the Gamera Heisei Trilogy: Shusuke Kaneko and including a mystical based soundtrack from Kow Otani, Godzilla, Mothra and King Ghidorah: Giant Monsters All Out Attack is a very different film to its predecessors. What we have here is less a modernistic take on Godzilla, but more one that relies on the myths and legends of Japan’s history and combining it with the terror that Godzilla should stand for; and that’s what we get. We get three Monsters teaming up to take on Godzilla which includes Baragon, while Godzilla himself shows off his real power. He has bare white eyes, and can create an atom bomb like explosion from the power of his atomic breath. The monsters are relatively smaller than before, but their power isn’t by far. Its story of a Mystical history is addictive, its cast is effective, its soundtrack is enchanting, its effects are magical and its ending is terrifying. I watched this film many a time before I finally realised that this was my favourite film, and my favourite film it remains. To me at least (how long this will last is yet to be seen, but for now), of this I am certain; this is the best of the best, My Favourite Godzilla Film.

GENEPOOL

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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).





Steel Heroes or Monsters (Part 2) – Pacific Rim

5 08 2013

Pacific Rim (Legendary Pictures - 2013)

One of the more standout features of Pacific Rim was the Special Effects in the CGI department. For many years I have consistently stated that Jurassic Park had the best Special Effects to date, even after Avatar was released. But now, for me anyway that has changed to Pacific Rim. Pretty much all of the Robot and Monster Scenes were CGI except for patches where it was more on a level with the human cast. The effects are most apparent in the Hong Kong fight. The effects used for the Giant Stars were not clumpy in their look or movement, they looked real and had a more fluid motion in what they did, be it punching or throwing or something else. The movement was most fluid though for the Kaiju as they are a more organic life form and when they moved it looked more like an animal than a big robot.  The lighting also worked brilliantly with light not only bouncing off the Iron/Steel Jaegers, but also off the rain. The fire and water effects were lovely altogether even if the scene took place underwater, you could see what was going on clearly in a dark setting but it did not just look like some kind of blank void.

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When I went to see Pacific Rim, I went to see it in 3D. At first I was unsure of seeing it in 3D at first given my past experience with 3D films. I have previously seen a couple of films in 3D since this sort of new wave of 3D films. One was Up which featured two noticeable scenes where 3D was used and the other was the new Clash of the Titans where the only bit of 3D was in the trailers. When I went to see Pacific Rim however, the 3D effects actually worked. In this case though, there were almost no scenes that didn’t have a piece of 3D about it. From the start of the film where stars are moving around past your eyes, to points part way through when you could see a blue monster brain at the corner of your eye, and it felt like it was right next to you. While 3D does seem to be diminishing, Pacific Rim shows that it can be done properly and effectively providing that the production team work to do it effectively. Current 3D presentation at best is when it is a frequent occurrence in a film and not just every (Unnoticeable) now and again as well as pulling off the right effect.

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A great lot of work has gone into the detail of the films main point, the Giant Robots. Shortly before the film’s release, Legendary released a couple of videos showing off how the team went on about designing both the Kaiju and the Jaegers. The Jaegers do have a look about them which is reminiscent of the machines seen in Japanese Anime but are not copies of them. To me, the designs look a lot like the Megazords from Power Rangers and Super Sentei as they do have a human look to them. A surprising amount of detail has also been added to the smaller parts of the machines as well. It’s as if the producers of the films designed manuals for each machine as if they were actually built. The design of each Jaeger also have a sense of steam punk about them as they do look very industrialized while also showing off some connection with the country they come from. The American machine (Gipsy Danger) is very tall but does not look lumbering and is clearly designed for good old hand to hand combat, something it shares with the Australian Jaeger (Striker Eureka) while the Chinese Jaeger (Crimson Typhoon) on the other hand is more like a lumbering brute but has a martial arts sense about it with its combat style, spinning blades and its three arm advantage and one eye look makes it look menacing. The Russian machine (Cherno Alpha) meanwhile is an ancient machine and looks the part; this in turn is represented by its style which looks more like it was designed for defence first with its big head and then attack second with the idea that strength is everything.

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The Kaiju in comparison are more animal like. The Kaiju have many traits about them which relate to those of animals in the real world. One of the early Kaijus looks like a Crocodile as well as a Goblin Shark, while the big bruisers later in the film are more like Gorillas while keeping a reptilian appearance. This gives the big monsters their own independent look instead of just randomly produced or just the same creature over and over again. When designing the Kaiju monsters, the production team tried to make their appearance similar to those of Japanese Kaiju films with the idea being that you have to imagine a man being inside the creature, like a Monster suit. This is achieved brilliantly and makes the fight scenes, while completely CGI, more fluid in their fighting and more believable as result. The slightly humanistic look of their fighting styles also raises tension due to the uniqueness of it and less animal like which is more random. The more animalistic part of the Kaiju comes into it when they are moving about and stomping/crushing on buildings. Like the Jaegers, the Kaiju have had a lot of detail done to them on the smaller scale to including scales, the hands, wings, legs and arms and even more so to the face which includes emotions. It is also not the design of the creatures that have subtle hints towards Japanese Kaiju films, but also in the Kaiju theories. The Kaiju in the film are rated in categories depending on their overall size and power. This category system is named the Serizawa Scale which is a nice little tribute to the original Godzilla film as one of the characters in the film was named Serizawa. I think that’s quite nice.

You may be thinking that with this level of detail for the monsters and robots that the human may have been shunned to one side in production. Well they haven’t, a lot of detail has been put into the human part with elements of Monster religion as well as other things. The main bridge for this is through the use of the Kaiju Black-market which also introduces these other elements as well as show off smaller elements about the Kaiju.

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Pacific Rim’s soundtrack (Produced by Ramin Djawadi) is one of the standout points for me personally. The soundtrack has a nice range of themes for such an epic scaled film with pieces that are best used when they are in a large open space to show the size and scale. The soundtrack though gets better on the human point of view when the Jaegers are in shot. The film’s main theme is used a lot when Gipsy Danger is in shot. it comprises of lots of brass sections with some electric guitars and gives a hero element to the machines, it shows that they are not just weapons, they are heroes. It’s just like if Superman or Batman were to arrive on scene, you know that things are a bout to change in the face of conflict, you feel safe and secure; something that the main theme for Pacific Rim does well.

The best part of the soundtrack though is when the Kaiju are in the foreground. When you see the monsters, particularly during the Hong Kong scene the soundtrack gives out a loud low note or element. It is the kind of sound produced by heavy brass sections of an orchestra and traditional Asian drums. The soundtrack in this instance sounds a lot like a Japanese Kaiju film. In professional wrestling there is a wrestler known as The Undertaker who has a very familiar entrance where the bongs of a bell can be heard before he makes his appearance. It is the same here but with a more traditional Asian feel. It’s the entrance of the Kaiju if you will, it gives them their own unique soundtrack from the rest of the film, and it feels amazing. It brought back moments for me of Monster films like The Host when the monster surfaces for the first time. But more than that, it felt a lot like a Godzilla film. Instead of just making a run of the mill Monster Movie, it showed the commitment and passion needed into making a Good Monster Movie.

Pacific Rim also did something extra special which is not done as regularly as it should be done in Cinema. Many films these days have an extra scene in the credits, a spoiler for a sequel usually or maybe just a funny extra scene. Pacific Rim however did not do this, it did something extra special. It had a dedication, a dedication to two of cinemas greatest film makers. The Late Great’s Ray Harryhausen and Ishirō Honda. That is something which does not happen a lot these days which is a real shame, they appear not to take time to say thank you to those who have helped to shape and build cinema by doing things that captured the eyes of those that they entertained. Ray Harryhausen is of course the Special Effects master who produced many Monster Movies including The Beast from 20,000 Fathoms and the original Clash of the Titans. Ishirō Honda (my Favourite Director) is the man who produced many Japanese Kaiju films with films like Atragon and Mothra but was best known for his work in the Godzilla film series as the director of 8 films in the series including the original 1954 film. Pacific Rim is a fitting tribute to the careers of these two Amazing people.

Ray Harryhausen and Ishiro Honda

Pacific Rim is an Amazing film. I am so pleased that Travis Beacham proposed the film in the first place and that Guillermo del Toro joined the project, because if they didn’t, we wouldn’t have had this Amazing film. Films of this scale and size are rarely produced these days, which is a real shame, because they are absolutely incredible. But Pacific Rim does show films like these and Monster Movies in particular still have the power to WOW audiences of all ages and can adapt without losing their integrity. It is now less than a year to go until Legendary Pictures release their new Godzilla film, so while we wait for that, we have another Amazing Monster Movie to enjoy here and now. Pacific Rim is the best film so far this decade.

GENEPOOL (Pacific Rim is practically perfect, there is only one thing that the film is missing).





The Undersea Warship – Atragon

3 07 2012

If you had the world’s most powerful, most dangerous warship, what would you do with it? Well you could do whatever you wanted with it. Also what features would you put on it? Well in this case let’s say it’s a submarine, you would of course add a torpedo launcher, some kind of really good propulsion system, a way to make it fly and of course a whacking massive drill on the front of it, or would you? Well you would if you were the captain of the submarine in this film.

Directed by The Great Ishiro Honda, Atragon is a Japanese Monster Movie that is not a Godzilla film (King Kong vs Godzilla was released one year earlier and was the film that really kicked off the Godzilla series). Although it is an interesting thing to point out that both Manda and the Gotengo would later star in the Godzilla series. It is also an interesting point that what I like to call the Big Four (Tanaka, Honda, Tsuburaya and Ifukube) who made the original Godzilla film are all present in the production of this film.

The film starts off with a strange man seen coming out of the water by a couple of Photographers who spook him when they photograph him, suddenly a car drives into the water and a lot of steam comes from the Water. The next day the car is fished out of the water but the police find the story hard to believe. A peculiar writer goes to see a retired Japanese admiral and asks question about the I-400 submarines including I-403 which was captained by Captain Jinguji. The reporter also claims that Jinguji has been building another. Jinguji’s daughter, Makoto is present also. Later on Jinguji’s daughter and the former admiral are in a car which is not taking them to their destination, they arrive at the beach where the driver turns out to be an agent for the Mu Empire and plans to take the 2 as slaves, however the photographers from earlier turn up and disarm the agent who retreats in to the sea. A package is sent to the admiral with a roll of film in it which tells the story of the Mu Empire, also becomes apparent that the Mu Empire have the I-403.

Several cities around the world are destroyed by earthquakes created by the Mu Empire. The forces of the world ask the former admiral if he can get in touch with Jinguji after the worlds most advanced submarine is destroyed by the Mu Empire. The Admiral has no idea how to get in touch with him, but then someone who has been stalking Makoto is captured who turns out to be someone who works for Jinguji. He initially refuses to help them but later decides to show them the way to his base. The former Admiral, Makoto, the photographers, a policeman and the strange writer go along. After 3 days of travelling they reach the island and meet the mysterious Captain Jinguji. The next day they all see his magnificent submarine Gotengo.

They spend the rest of the day watching the submarine as it undergoes its first test run. The former admiral tries to convince Jinguji to use it to help save the world against the Mu Empire but Jinguji wants to use it to get Japans pride and power back after its defeat during World War 2, it appears that this is all he wants to do. Then the strange writer turns out to be a Mu agent and kidnaps Makoto and one of the photographers. As a result of this action it is enough to persuade Jinguji to attack the Mu Empire.

Makoto and the photographer are taken to the Mu Empire and discover the giant serpent God Manda. The Gotengo goes on the attack while the Mu Empire cause an earthquake which causes a crack underneath Tokyo causing most of the city to fall into it. Makoto and the Photographer along with some other prisoners take the Mu Empress hostage and escape with the use of some diving equipment; however Manda prevents them from escaping until the Gotengo shows up and distracts the giant serpent. Using the Gotengo’s freeze cannon the Serpent is dispatched quickly. The Gotengo then attacks the Mu Empire itself by drilling into the nation’s heart and uses its freeze cannon again to destroy the nation from within. The Gotengo escapes and the Mu Empress swims off to die with her country.

The films ending is a bit abrupt and could have been executed better. However this film does have the story telling style of Ishiro Honda, he doesn’t expect you to know things before hand and so he tells the story like he would to someone who has come to see a film for the first time. While he has made some better films than this, his essence is in this film from start to finish. The film’s story as a whole has some nice bits in it including the Japanese defeat in WW2 as well as the mention of Japan’s secret weapon during WW2.

The scenes with the Gotengo are brilliant in particular with it being the best piece of special effect in the film. It is a shame though that more of it is not seen which would have been nice, but the scenes you do see are a continuous treat. The Gotengo would make another appearance later in the film Godzilla Final Wars where it would also have a fight with Manda. The fight with Manda could have gone on for longer I think but then again how is a submarine supposed to fight a giant serpent.

The cast themselves are a nice bunch but the actress playing Makoto (Yoko Fujiyama) is the best particularly when you combine her with her mysterious patriotic submarine captain. The Mu agents also have a nice intimidating, commanding look to them. Now while all of these things are great the real treat with this film is the soundtrack provided by Akira Ifukube, the main title in particular is a nice blend of mystery with an intimidating military feel. The soundtrack is not only for the film it is also for the submarine and it is amazing when you combine the two together. Look at the Gotengo and listen to the music at the same time, it is incredible and one of Ifukube’s best pieces during the 1960’s.

All together the film is a nice blend of Sci-Fi action, World War 2 patriotism and Monster Movie with some delightful scenes and characters with the main theme tying it all together in a nice but powerful way. Ok, it is more than likely you have not heard of this film, well, you have now so why don’t you go and watch it, Seriously. Ok it is not as good as Godzilla films from the same time but is another case that TOHO know what they are doing when it comes to making Monster movies and also shows that it is not just about Godzilla. You may enjoy it, you may not but it is one of those world cinema films you have more than likely not heard of but are missing out as a result, a real treat.

GENEPOOL





Honda vs Kurosawa

2 07 2012

No it is not a Japanese Monster Movie or a boxing match between 2 Japanese Directors.

As part of this Post a Month in June thing I thought I would do a list of the Top 10 Asian Directors, but there was a problem with this, I kept on discovering critically acclaimed directors I have not heard of and so doing something like that would take a lot of time and research. However I always told myself that these 2 would be in first/second place. But the question is, who as in Who is the Best.

First off, for those of you who do not know who either is I would like to ask, Why have you not heard of them? These 2 are Icons of Japanese Films. They were both really Good Friends, they both worked at Toho and they both produced some of the best well-known films in Cinema History.

Ishirō Honda was one of the Big Four (Tanaka, Honda, Ifukube and Tsuburaya) and was one of the main pioneers of both Japanese Science Fiction and Japanese Monster Movies. He is probably best known (of course) as being the Director of the Original Japanese Godzilla film and six other Godzilla films along with other monster films including Mothra, Rodan, Atragon and Space Amoeba. Other films he was known for included The Mysterians and The H-Man. Honda was also well-known by the people that knew him to have an Amazing work ethic.

“He would stop drinking his beloved saké while shooting and wouldn’t touch a drop until the film was finished”

– Kimi Honda

“Mr Honda was always cheerful and a perfect gentleman. He never became angry. He was a wonderful director to work with”

– Haruo Nakajima

“Monsters are born too tall, too strong, too heavy, that is their tragedy”

– Ishirō Honda

Akira Kurosawa

Akira Kurosawa Is well known in Cinema full stop. He has worked with people like Ishirō Honda as well as Steven Spielberg, George Lucas, Francis Ford Coppola and Martin Scorsese. He is well known for his collaborations with actor Toshiro Mifune. His films include Rashomon, Drunken Angel, Yojimbo, Ran and of course Seven Samurai.

Kurosawa is well known as being a hands on Director. All aspects of shooting had his involvement. He believed that the script was the absolute foundation of the film. During the production of Seven Samurai he had six notebooks which he used to detail the biographies of the Samurai. When it came to the villagers in the film he made the actors live and work like them to make the story as realistic as possible. There were also many recurring themes in his work in the relationship between the Master and the Disciple as well as the Heroic Champion.

In 1990 he was given The Lifetime Achievement Award at the Academy Awards and was posthumously named Asian of the Century in the “Arts, Literature and Culture” by Asianweek.

“I am proud of nothing I have done other than with him.”

– Toshiro Mifune

“He has had a tremendous influence on my life and on my work and on my sensitivity toward visual story telling”

– George Lucas

“Being an artist means not having to avert one’s eyes”

– Akira Kurosawa

Choosing between these two is quite hard. In one corner I am sort of patriotic to Honda because of The Godzilla films, but that is not really a way to choose. So while it does pain me to say this it is understandable. While Honda was a pioneer under his own right Kurosawa is the best because of the amount of detail and hard work he has put into his films cannot be ignored. If we were to look at his Masterpiece Seven Samurai as an example. It is an incredibly long film, possibly the longest film in Cinema history but it is packed with so much content that it does not get boring once and is filled with some character you can’t help but care for. So while I prefer Godzilla and Honda to Seven Samurai And Kurosawa, Kurosawa is not only the better director in this instance but also the Best Japanese and Asian Director in Cinema History.

GENEPOOL








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