Godzilla

The original, Japanese version of "Gojira" is the best giant monster film I've ever seen. Some fans get carried away and call it one of the best movies ever made; I wouldn't go quite that far, but it's damn good.

This film is quite different from the 20+ sequels that followed. Here, Godzilla is not so much a creature as he is a walking incarnation of the atomic bomb. His death ray, which became a rather amusing cartoon laser blast in later films, is here depicted as a sort of radioactive mist that sets its victims on fire. These "radioactive horror" images still resonate today - and imagine the impact they must've had on Japanese audiences fifty years ago.

From a production standpoint, the film holds up well. Godzilla's costume is much more convincing than the silly monkey suits that featured in the 60s and 70s Toho films, and due to the grayscale photography, the model cityscapes look convincing in most shots - or at least respectable. Ifkube's music score is stirring (you know it has to be good, as they kept recycling it in later movies), and director Honda makes great use of camera angles and imaginative special effects to give Godzilla a genuine aura of menace.

For once, the human characters don't let the side down. There's a compelling love triangle, and a dramatic sacrifice made at the end of the film that adds enormously to its emotional impact. The American version ("Godzilla: King of the Monsters") cut out much of the character development, and is thus clearly inferior; but never fear, Rialto is apparently releasing "Gojira," in all its original glory, sometime this year (2004).

In the later Godzilla films, the destruction he causes is almost incidental. Here, it's the whole point - he's a force of nature. Impressive.

For those who are mildly interested in this movie, you must understand the seriousness of this movie. More than a movie about a guy in a rubber suit breaking toy buildings, Gojira is a very serious consideration about the horrors of nuclear war.

A few items to watch for include:

The first scenes of Tokyo after having been leveled by Gojira (Godzilla) almost mirror the photographs of Hiroshima and Nagasaki after the bombings.

The images of the injured people in the hospitals again, mirror the photographs of "survivors" of the Hiroshima and Nagasaki bombings.

Look for references to the American nuclear tests on the Bikini atolls (they are abundant).

Finally, keep in mind that Gojira is a symbol of nuclear war. The reason that tanks, planes and heavy artillery don't stop it is because once a nuclear bomb is dropped, nothing can stop the devastation. The only way to avoid it is to not be there in the first place.

Gojira (Godzilla, King of the Monsters) is a definite must-see for anyone interested in film-making at its best.

The original Japanese version of Godzilla is a breathtaking classic. A giant monster is awaken by the over abundance of nuclear radiation and goes on a rampage across Japan. What follows is an unforgettable experience that stands as the greatest giant monster film of all time, if one does not count King Kong that is.

Japan was best fit to make a film about the effects of nuclear radiation since they had experience the atomic bomb first hand nearly a decade earlier. It was a powerful statement for the time. I really wish more people would give this movie a chance and realize how smart it is.

Besides the powerful message, the film is best known for its pioneering special effects. Yes, by today's standards, the suits and miniatures are pretty archaic. But they still look great over sixty years later. The destruction that Godzilla causes is both exciting and horrifying. Few monster movies have the emotion and smarts that this one has. Of course, their is the monster himself. What a sight. The design has changed greatly over the years but this one is the most iconic of course. The menacing eyes, roar and towering size make him a sight to behold. I highly recommend checking out the behind the scenes features that talk about the making of the famous suit, it's really interesting.

Then there's the most underrated part of the movie, the cast. Most Godzilla fans will recognize Akira Takarada as the lead. He's very good here and would continue to Star in the series for many years. The biggest name here is Takashi Shimura. He's of course best known for appearing in several Akira Kurosawa classics such as Seven Samurai and Ikiru.

Godzilla gets a bad rep because of some mediocre to atrocious sequels with some gems here and there. But the original stands above them like a atomic breath breathing monster. Godzilla is essential cinema that can be enjoyed for many different reasons.

This is it; the original Japanese version of "Gojira" (aka "Godzilla"), the film that introduced the now-legendary movie monster. But does the movie have anything to offer besides a man in a rubber suit stomping all over a miniature version of Tokyo? I think so.

It isn't too surprising that the film is actually a thinly-veiled allegory for the threat of the escalating weapons race circa 1954. After all, other sci-fi films of the era covered similar ground. However, what I find interesting about this film is how it gives equal consideration to both sides of the argument.

The script does a good job of building suspense around the creature until we get to his inevitable rampage. From that point on I find that the action flags a little but that may be due in part to the sometimes unconvincing special effects. Then again, what do you expect from a 54 year old monster movie from Japan? The miniatures often look like miniatures and Godzilla is, after all, a guy in a rubber suit. Nevertheless, while the effects aren't even as convincing as 1933's "King Kong" I think that they still hold a certain charm.

The cast isn't bad and it does include Takashi Shimura of "Seven Samurai" fame. The acting didn't grab my attention much but, then again, I couldn't exactly catch every nuance while paying attention to the subtitles at the same time. Ishirô Honda's direction is solid and the Akira Ifukube score provides pretty good support to the action. I thought that the sound was a bit sub-par at times, though.

Ultimately, "Gojira" is worth watching despite its rudimentary special effects. In my mind, it's the underlying symbolism that makes the film special. By the way, forget about the American-ized version, "Godzilla, King of the Monsters"; it's a sometimes clumsy reworking that ignores most of the original film's complexity.

A film that works because of its campy monster and its budget-limited special effects (they couldn't afford stop motion so it's all a dude wearing a rubber suit tromping on miniatures), but is made special because of its deep meaning and the warnings and questions it has for the nuclear age.

It's telling that it was the most advanced scientific breakthrough made by the most brilliant minds on the planet, the harnessing of the atom, that led to the bombing of Hiroshima and Nagasaki, and in turn, in this movie, to the unleashing of a two million year old monster. It warns humanity that in stepping forward in its understanding of the universe, it was also taking a step backwards, and unleashing irrational, destructive violence upon the world. That's all pretty obvious I guess, but the scenes of fleeing people being incinerated by Godzilla, women and children huddling together in fear, and the destruction of Tokyo looking like an atomic bomb had gone off must have reverberated especially with the original audiences of the time. It certainly did for me. There is something deeply painful about this film.

In a fascinating development, it's a Japanese scientist who has to wrestle with the morality of having developed a weapon of mass destruction called the 'Oxygen Destroyer', knowing that its use to stop Godzilla in the short term may lead to its use to further horrific destruction in the long term. It seems to put the Japanese in the same position as the Americans in 1945, one where there are no easy answers. How does one put the lid back on the box of an arms race, where one technology or act of violence leads to another in a crazy, unending spiral? The solution offered may or may not be all that realistic, but I thought just raising the question in the way the film did - and so soon after the war - was incredibly thought-provoking and brave. The film thus works on emotional and philosophical levels that one normally wouldn't get in a monster film, or at least, with this level of meaning and intensity. Definitely recommended.