So, one thing I've been messing around during my hiatus from the blog is adding animation effects to cool artwork I come across. This amazing original image by Antonio Jose Manzanedo is from the recent team-up between Toho and Wizards of the Coast to produce Godzilla-themed cards for Magic: The Gathering.
This quote by Oppenheimer accompanied the incredibly bleak trailer for 2014's Legendary production of Godzilla. As much as I liked the American film, I could never get over my disappointment that the movie itself didn't take the dark direction depicted in that teaser. I was genuinely hoping for an apocalyptic, genuinely terrifying Godzilla film.
While Shin Godzilla doesn't fully meet this aspiration, it certainly comes the closest out of so far 31 films created in the long-running franchise. It most definitely is the closest to approaching the somber tone of the original 1954 movie, focusing on the plight of humanity caught in the path of an unstoppable threat and hearkening back to Godzilla's roots as a nuclear nightmare created by mankind's hubris.
Spoilers follow...
It is interesting to note that in Japanese, the phrase "Shin" can actually has a variety of meanings that are appropriate to the film's plot: In Japanese shin can mean "God", or "True". In this film, Godzilla is regularly likened to a god. Not only is the monster a towering, terrifying visage to behold and capable of destruction on a massive scale, but this Godzilla is a constantly evolving beast that is not only a threat to Japan, but to the rest of the world.
Like the original 1954 film, I think that Shin Godzilla requires some knowledge of Japanese culture and events. While the original movie was a thinly-veiled allegory for the 1945 atomic bombing of Hiroshima and Nagasaki, this film recalls the powerful 2011 Fukushima earthquake and subsequent tsunami which led to another nuclear disaster when it caused a meltdown of a power plant, resulting in mass contamination. The ever-escalating nature of this cataclysmic event is reflected in the film as Godzilla becomes increasingly powerful and dangerous.
Furthermore, the film can be viewed as a sharp critique of Japanese government. Many Japanese citizens felt that the government's response to the Fukushima tragedy was horribly ineffective. Throughout Shin Godzilla, the government officials are depicted as a collection of bumbling old men who are more concerned with adhering to inefficient protocols and protecting their public image.
This political commentary exposes an apathetically sluggish, bureaucratic monster perhaps more terrifying the rampaging, radioactive variety. The government officials squabbling over just what to do frames the narrative of the film. For many, this probably comes across as tedious and boring, but I found these scenes to be dramatically engaging - and sometimes hilarious. At one point in the film, just when you think the government is prepared to take some action, they do... By moving to another conference room to continue their discussion and wring their hands some more. In another scene, the Prime minister dons disaster relief coveralls - as if he is actually involved in rescue efforts - to go on live TV and assure the Japanese populace that Godzilla could not come ashore. Just after he makes this announcement, an assistant informs him from off-screen that the monster has just made landfall.
The heroes of the film are a band of "misfits" led by Rando Yaguchi (played by Hiroki Hasegawa), a young politician willing to cast aside rank and protocol to save his country. It is Yaguchi's team which proves to be the most capable at dealing with the disaster at hand, despite additional complications in the form of the American government threatening to use an atomic bomb to destroy Godzilla. Yaguchi and his group are given a window of opportunity to formulating a plan to stop the monster in its tracks themselves, or face annihilation at the hands of either Godzilla or yet another atomic bombing from United States.
This is Toho's first Godzilla film since 2004's Final Wars and it definitely represents a redirection for the franchise. It's as grounded as a movie featuring an hulking atomic creature can be, approaching the subject from a more realistic perspective delving into the political and even economic ramifications of a giant monster attack on Japan. Shin Godzilla was co-directed by Hideaki Anno and Shinji Higuchi who had previously worked together on the anime Neon Genesis Evangelion - which certainly explains a lot of the decidedly different creative decisions.
One big divergence from Toho's standard practices to understand from the onset is that this is the first Toho Godzilla movie to not relate back to the original film. Both the Heisei and Millenium series acknowledged the 1954 film as part of their continuity - even if they ignored all other entries in the series - making Shin Godzilla the first true "reboot" of the entire Toho Godzilla filmography!
However, receiving the most criticism from many long-time Godzilla fans is the design of the monster itself, which "evolves" throughout the film. For this movie, Godzilla's origin is once again tweaked, as the monster is spawned from microorganisms steadily mutating from feasting on nuclear waste found on the ocean floor. The creature starts off as an odd-looking eel-like beast confined to the water, the thing eventually makes its way onto land and stands upright. These early forms could come off as goofy, but I found them to be kind of disturbing and unsettling. The eel-like form gushes streams of blood from its gills as it haphazardly crawls down the street with sickly undulating movements. The "evolution" aspect doesn't bother me as it alludes to the Fukushima disaster and builds suspense as the characters question how the situation could possibly get any worse.
The monster wreaks some havoc before returning to the ocean to further metamorphosize. When it returns to shore, it now resembles the Godzilla we know and love... Only this time around Godzilla is a truly grotesque monster: This design features tiny lidless eyes blankly staring downward, a gaping mouth full of needle-like teeth, emaciated arms befitting a formerly aquatic creature, energy radiating from scar-like openings in its skin, and a massive tail hypnotically wafting through the air behind the creature. As I've said before, design looks like what I would expect a radioactive mutation to look like - while paying homage to the original design. Godzilla is an abomination of nature that shouldn't exist and the monster appropriately misshapen and horrific in appearance.
Godzilla's behavior is atypical as well. In previous films the monster's actions are oftentimes depicted as one or two extremes: Either Godzilla is deliberately malicious, with wicked intentions bent on destruction or Godzilla is a noble hero acting as humanity's defender against a greater foe. In Shin Godzilla however the monster eerily moves inland with a single-minded purpose known only to Godzilla itself. Again, I find this to be appropriate: Godzilla is completely unconcerned with the destruction it is causing and totally unfazed by military acts against it, the monster just plows through whatever happens to be in its way.
It's only when the monster is provoked in a manner it cannot ignore and seems to be injured by American bombers that Godzilla directly respond in any way to the actions of humanity. It's at this point that reveals its true destructive capabilities. In an unforgettable scene, Godzilla unleashes what is probably the most devastating variation of its atomic ray we have ever witnessed onscreen, as well as a few abilities audiences have never seen before. I won't go into further detail because it's something I think needs to been seen to fully appreciated.
As far as cinematography goes, this might be the best we've seen in a Godzilla film to date. There are some amazing images onscreen throughout the movie that really give you a sense of Godzilla's massive scale and the chaos the monster's unleashing on Japan's infrastructure. One scene in particular that stands out is during the night when Godzilla reaches Tokyo and apparently walks over a power plant. The lights across the city flicker until entire sections go out one at a time, finally leaving only ambient light, minor explosions and a wide-shot of Godzilla's own red glow to illuminate the action.
The music is also amazing. Surprisingly, the majority of the music is from fan-favorite and original Godzilla composer Akira Ifubuke. Many of Ifubuke's pieces from previous Godzilla films are integrated into movie, appealing to the nostalgia of long-time fans. Perhaps the most effective use of this is exemplified when Godzilla first stands up and a cue is taken straight from the 1954 film. However, the film's actual composer - Shiro Sagisu - does a fantastic job himself. In particular are the standout compositions "Persecution of the Masses" and "Who Will Know" which are somber, and haunting pieces used to great effect in the film.
The only faults I can find with the film are in its pacing, a few performances, and effects, although each of these are very minor complaints. As mentioned before, much of the film deals with government officials scrambling to find the best way to deal with Godzilla. While this works well at the beginning of the movie to establish the governments incompetency, once the focus shifts to Godzilla in its final form and Yaguchi's team making their plans, it seems like less time could be spent in the conference rooms. The film's final acts could benefit greatly from a trimming of these scenes.
For American audiences, the acting of a few characters will no doubt be very off-putting. Satomi Ishihara plays an American ambassador with political aspirations who works with Yaguchi's team in the film. At a few points she speaks English, which in the subtitled version of the film I saw, was very jarring. Her delivery isn't the best, and probably more obvious to Americans. Along the same line, the focus shifts briefly to American leaders - all seen from behind - ominously discussing the situation in Japan. I'm not sure who these actors are, but their delivery seemed overly dramatic to the point that it was kind of funny. Again, this may just be my bias as an American coming through. Other than these, it seemed like the cast did a fine job, although my favorite characters are Yaguchi's extremely focused biology expert and the Minister of Agriculture.
Overall, the effects are strong, with a few hiccups. To my understanding, Godzilla was brought to life using motion capture and CGI, which is a first for Toho. For the most part, the creature looks convincing enough - even to the point that one could be fulled into thinking the traditional method of man-in-rubber-suit was employed once again. However there are a few moments in which the CG is wonky, especially when it comes to some of the military vehicles mounting an attack on Godzilla. Again, just a minor complaint, because the rest of the film looks great in my opinion.
It's difficult to talk about Shin Godzilla without thinking about the potential for future sequels... Indeed, the movie ends with a very interesting cliffhanger: Godzilla's energy is depleted through the use of its atomic breath and goes into a sort of dormancy. This allows Yaguchi's team to begin the mass production a coagulant which a coordinated Japanese offensive manage to force-feed the monster. Thus Godzilla ends up subdued, in a state of suspended animation. Though the reign of destruction is over, this is merely a temporary reprieve as the monster's threat still looms, frozen right in the very heart of Tokyo!
Throughout the film, scientists express concerns about the rate at which Godzilla is evolving and worry about whether or not it has the capability of reproducing asexually. Prior to the film's release, many fans wondered and speculated about the odd design of Godzilla's tail. The movie ends with Godzilla being defeated for the moment, there is no music as camera turns our attention to this unusual feature of the monster's anatomy...
What are these strange, humanoid creatures spawning from Godzilla's tail? Is the monster indeed reproducing? It would seem that this is the case! It's definitely something to speculate on as Toho considers creating a sequel!
Personally, I enjoyed Shin Godzilla. It's definitely an exciting time to be a Godzilla fan with Legendary's franchise moving forward as well as Toho's... the first time that Godzilla movies are being produced by both America and Japan!
Shin Gojira or Godzilla: Resurgence is coming to American theaters this upcoming week and I'm counting down the days with great anticipation.
In addition to being a longtime Godzilla fan, I also enjoy a good soundtrack. Based on what little I've heard so far, it seems like the music for Shin Godzilla will be another classic theme for the series.
The track starts out with sound effects from the original film which is a great nod to Godzilla's roots. From what I've read this is just one of many homages to earlier Godzilla films that are to be found in the new movie. It's great to know this as a fan, that the filmmakers apparently have a deep respect for the character and its history.
The music itself is incredibly haunting and moody. Shiro Sagisu conveys a great sense of tragedy, but also a feeling of hope. This fits well considering that much of the promotional materials released up to this point have played up the "Godzilla versus Japan" angle. The monster is going to wreak a lot of destruction, killing numerous in its wake, but Japan is going to fight back. I'm so glad to see the series going back to its roots, featuring a Godzilla that is an unstoppable force of nature.
I realize that there's a lot of supposition based on just one piece of music, but I have very high hopes for this movie. I'll post my thoughts on the Shin Gojira sometime next week after I've seen it.
It's old news by now, but Toho has finally shed some light on its new Godzilla film with an eye-catching poster offering a view of the newest version of everyone's favorite atomic monster!
My thoughts so far: When this teaser poster first surfaced, I was pretty excited. This version of Godzilla looks pretty terrifying with those tiny, lidless eyes and all of the jagged, haphazard teeth filling his impossibly large mouth which looks eerily looks like a grin. The new design definitely looks like a crazed mutant dinosaur ready to wreak some havoc! I hope that this means we're in for a more horrific interpretation this time around!
It's been a while since I shared a Godzilla-oriented post. I found this piece to be particularly awe-inspiring. It's one you definitely need to click on and view in full-size to properly appreciate!
Yes, the title for this post is a reference to the old Hanna-Barbera cartoon...
Unfortunately I could not track down the name of the artist, otherwise I would gladly give them the credit... I know he or she signed it, but I can't read the signature. If anyone knows who the artist is, let me know so I can give them the due credit for this awesome image!
Marking the 60th Anniversary of the original 1954 film, Godzilla has once again returned to the big screen and, thankfully, returned to form.
Legendary Pictures' 2014 Godzilla is a very different American Godzilla film. Unlike the 1998 movie, the filmmakers have paid careful attention to the original Japanese films and made careful efforts to pay appropriate homage. Once again, radioactivity plays a major role in the plot and the theme of "Man versus Nature" takes center stage amidst the conflict for survival between leviathans and humanity.
Following a prologue involving a startling discovery, the film begins with an anomaly resulting in a meltdown at a Japanese power plant which results in the plan'ts destruction. Obviously, many die in the aftermath including the mother of the main character, Ford Brody. 15 years later, Brody, now EOD (Explosive Ordinance Disposal) expert for the military must return to Japan to get his father who has been detained by the police for trespassing near where the power plant once stood. Obsessed with the cataclysm that caused the death of his wife, Brody's father believes that the meltdown was not an accident and sets out to prove this to his son and the rest of the world. Sure enough, a huge cocoon is discovered at the ruins of the power plant. A mysterious military organization called Monarch attempts to destroy the cocoon, but is ultimately unsuccessful.
A gargantuan insect-like creature emerges from the cocoon. The creature emits a powerful EMP (ElectroMagnetic Pulse) that disrupts all electronic devices. This devastating ability allows it to escape. Dr. Serizawa, the scientist in charge of Monarch explains that the creature (called a MUTO - Massive Unidentified Terrestrial Organism) feeds on radiation and will seek out the nearest source.
As the military scrambles to capture and subdue to the monster, Dr. Serizawa reveals to Brody that the MUTO is actually an ancient life-form that belonged to a primordial ecosystem that thrived when the Earth was 10 times as radioactive. Other organisms like the MUTO thrived on the excess radiation until levels subsided, at which point they went into a state of hibernation. Dr. Serizawa goes on to explain that another such creature was awakened in 1954 when the first radioactive submarine descended into the depths of the ocean and that this other monster may be humanity's only hope against impending extinction. This creature is called... Godzilla!
As Brody attempts to get back to his family in San Francisco, Godzilla is reawakened by the emergence of the MUTO and begins hunting the monster. The military pursues both monsters only to find that a third monster - a larger, female MUTO - has appeared near Las Vegas. All three monsters are expected to converge in San Francisco, where the two MUTOs will begin creating a brood of giant offspring that will overrun the planet... unless Godzilla is able to defeat them and restore balance!
I love the redesign of Godzilla. The creators of the film expressed a great desire for realism and this is definitely reflected in the creature design. I also adore the design of the MUTOs which resemble giant praying mantis with some almost reptilian features. These monsters will fit in nicely with Godzilla's bestiary of gargantuan foes.
Following the disappointment of the design of the monster in the 1998 film, I am beyond delighted to say that Godzilla actually looks like Godzilla. The new design reflects all of the fearsomeness and majesty that fans worldwide expect from the King of the Monsters. Godzilla's anatomy actually resembles that of real-life reptiles with layers of scales and leather-like texture. Admittedly, the filmmakers also borrowed anatomical elements from other creatures (including traits of dogs, bears, and even eagles) to allow for resemblance to the original design. They do an excellent job overall while managing to create something new and fresh in the process. This is probably one of my favorite incarnations of the creature.
The special effects of this movie are top-notch, making this the most believable Godzilla to date. Many, less capable directors would perhaps take this fact as an opportunity to overwhelm the audience, but throughout the film, director Gareth Edwards exercises a great deal of restraint. So many blockbuster movies of today put a great deal of focus on spectacle and get carried away, showing scenes of destruction from ridiculous, dizzying camera angles. Edwards, however, wisely keeps the spectacle primarily from the human perspective. Nearly every shot is from a conceivable point of view, as if the cameraman was shooting on location, which does a great job of putting the viewer in the moment, creating a tangible sense of wonder, suspense, and terror.
Alexandre Desplat did an excellent job with the music of the film. The score is appropriately loud and bombastic, hearkening back to classic creature features of the yesteryear. Many fans lamented the absence of Godzilla's theme from the Japanese movies (indeed, I'll admit missing it as well), and yet I think Desplat did a fine job and has created another memorable piece of music that will be long associated with the giant monster.
Overall, this is a great Godzilla film. The original 1954 film remains the best in my opinion, but this is a fine update. As a Godzilla fan, I found myself a bit disappointed by the surprisingly short amount of time that Godzilla was onscreen, but this is my complaint with any Godzilla movie. I always want to see more of my favorite monster!
Thankfully, I may not have to wait very long. It was recently announced that a sequel (possibly even a complete trilogy!) is currently in the works thanks to the film's financial success. You just can't keep a good monster down! Long live the King of the Monsters!
Almost as if it was in response to the American remake, Toho released another series of films shortly after the release of the maligned 1998 movie.
The Millennium series of Godzilla films offer several different takes on Godzilla. Each of these films are meant to be sequels to the original 1954 film and so Godzilla's size is once again downgraded to be around 50 meters (164 feet). Nearly all of these films find Godzilla battling against a variety of foes both new and old.
The "Millienium" series includes Godzilla 2000: Millennium (1999), Godzilla vs. Megaguirus (2000), Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack (2001), Godzilla Against MechaGodzilla (2002), Godzilla: Tokyo S.O.S. (2003), and Godzilla: Final Wars (2004).
Admittedly, this is the series that I have the least expertise on, so I will only focus on the films I am familiar with.
Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack
For each of these films Godzilla was radically redesigned, but my personal favorite characterization from this series is depicted in Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack (which boasts the longest title for any movie in the Godzilla series).
For this film, Godzilla is meant to be a distant memory, almost a myth since his appearance and apparent destruction in 1954. It is revealed through the course of the movie that Godzilla has been resurrected and possessed by the tortured souls of World War II soldiers who are angered at being forgotten. This further strengthens Godzilla to the point of near total invulnerability and gives him an almost devious intelligence as he wreaks havoc on Tokyo. The design of Godzilla in this movie is probably the most sinister since his debut. Godzilla is given an almost demonic appearance. His head has pronounced fangs, a predatory expression and pupil-less eyes that are a glassy white, devoid of any soul.
This Godzilla is merciless, brutally lashing out at mankind's futile attempts to thwart his advance and tearing into his monstrous foes with ferocious fury. This is Godzilla at his most villanous since the original film. In a particularly chilling scene a classroom of school children is being prepared to evacuate when suddenly the whole building shakes. The teacher and her class look out the window facing the bay Godzilla just emerged from to see a blazing mushroom cloud, the result of Godzilla having just unleashed his atomic breath on a crowd of fleeing people.
This is one of the first times since the original film that innocent bystanders are shown being killed onscreen. In fact, Godzilla is so evil in this film that it takes the combined effort of three "Guardian Monsters": Baragon, Mothra, and a side-switching King Ghidorah to put an end to his reign of terror.
Godzilla: Final Wars
However, it wasn't long before Godzilla returned again to his role as defender of Earth against an extraterrestrial threat. Once more, a legion of giant monsters is unleashed on the world by a group of malevolent aliens. Humanity decides the only way to put an end to the destruction is by fighting fire with fire and setting Godzilla loose. Of course, Godzilla does what he does best and decimates foe after foe in a series of bombastic fight scenes.
Marking Godzilla's 50th anniversary, the director of the movie intended Final Wars to be a sort of "greatest hits" tribute to Godzilla's legacy and depict the King of the Monsters facing an overwhelming array of foes, the most ever on screen. Thus, Final Wars could almost be considered a modern version of Destroy All Monsters. The film features about 14 different monsters, most of which had not been seen of film since the original series, including fan favorites such as: Anguirus, Hedorah, Ebirah, and Gigan. The returning monsters depicted in the film were radically redesigned and brought to life using a combination of suitimation, practical effects, and CGI. But Godzilla also faced off against a series of new foes including the American "Godzilla" (from the 1998 movie), Monster X, and a new version of a King Ghidorah, called Kaiser Ghidorah.
Unfortunately, despite being an awesome special effects spectacle, Godzilla: Final Wars did not fare well at the box office. The most expensive Godzilla film ever produced ended up losing Toho money.
Additionally, the movie was met with poor reviews that directed attention to the short battle sequences and weak, derivative story. This was to be the last Godzilla film not only of the Millennium Series, but for the remainder of the decade.
But, as has always been the case, this was not to be the end. Godzilla will return again...
Despite being a Japanese monster by heritage, Godzilla's appeal reaches across international borders.
It was only a matter of time before American filmmakers decided to make their own version of the iconic monster. Thus, the much maligned 1998 film was conceived.
I'll never forget the barrage of fanfare accompanying the announcement of this movie. I was in middle school at the time and I was super excited to see Godzilla on the big screen! Independence Day was one of my favorite movies back then, so I was doubly thrilled to find that the creators of that film were slated to make a new version of the classic monster! The advertisements leading up to this movie were everywhere, complete with commercial tie-ins galore... Everyone knew that this movie was coming out, the hype surrounding it was infectiously inescapable!
Thus, the disappointment began.
Fans of the classic movies were devastated to find that the titular monster, another giant lizard born from an atomic disaster, was only "Godzilla" by name. Aside from the name (and the borrowing of the classic roar) the creature found in this film is decidedly not Godzilla!
In my opinion, the 1998 American Godzilla movie is not necessarily the abomination of a movie that everyone makes it out to be. Yes, it's not a great movie, but it is an enjoyable, fun movie for what it is. Having said that, the that fact that this movie bears the name "Godzilla" is problematic.
I think many of us fans would not have such an issue with this movie if it were branded as a remake of "Beast from 20,000 Fathoms" instead of"Godzilla"... It has much more in common with the former rather than the latter. I actually like the design of the monster in this movie. Looking like a weird cross between a giant iguana and a tyrannosaurs, I can see what the filmmakers were going for... a more "believable" creature... But again, the movie is called "Godzilla" and they seem to have forgotten that.
The monster in the 1998 movie bore little resemblance to Godzilla not only in appearance, but, more importantly, in spirit and in essence...
Everything that made the classic movies so unique and original was discarded in favor of over-the-top visual gags and moments of CGI spectacle.
The original Toho creation, despite its many different incarnations had always maintained a sort of menacing majesty, an unstoppable "force of nature" that rightfully earned the monster its title: "King of the Monsters". However, the American monster comes off as a more of nuisance, skittering about like an overgrown pest.
The anti-nuclear message that made the original film so poignant and elevated it to being something more than just another "monster on the rampage" movie was all but absent, only alluded to with an image of a mushroom cloud in the opening title sequence.
One Japanese critic of the film summed up the problem nicely, saying that, "The Americans, they took the 'god' out of Godzilla!"
The creators of the American version seemed to not care to pay any kind of respect or homage to the Godzilla legacy in any form or fashion. Its as if they were seeking merely to cash in on the name recognition, like countless remakes that Hollywood continues to churn out to this today. This is why the movie receives so much hate from fans of the original Japanese films.
Interestingly enough, Toho owns the rights to the monster found in this film (called "Zilla" by the Japanese) and have actually used the character in at least one Japanese Godzilla film, Godzilla: Final Wars. When Zilla encounters the "real" Godzilla in Final Wars, the battle is over before it even begins as Zilla finds himself hopelessly outmatched. One can't help but think that this scene serves as a fitting commentary on the American "Godzilla".
As another American remake looms on the horizon, fans like myself are holding their breath and crossing their fingers hoping to see a more fitting incarnation, worthy of the name...
Posters from the Heisei series from top left to right: Godzilla vs. Biollante (1989), Godzilla vs. King Ghidorah (1991), Godzilla vs. Mothra (1992), Godzilla vs. MechaGodzilla (1993), Godzilla vs. SpaceGodzilla (1994), and Godzilla vs. Destroyah (1995)
After Godzilla successfully made a return to form in Return of Godzilla, Toho began making plans for sequels. This movie was only just the beginning of what was to be called the "Heisei" series.
Godzilla vs. Biollante (1989)
Following the successful resurrection of the Godzilla franchise, Toho made preparations for a sequel, preferably with another giant monster for Godzilla to do battle with. Perhaps unsure of exactly what direction to take the new series, the studio turned to its fans, hosting a story contest. From around 5,000 international entries the winner was finally declared to be a plot created by a Japanese dentist!
Taking place immediately after the events of the previous film, the story begins with mercenaries battling to collect genetic material belonging to Godzilla that has been left behind following the monster's battle with the Super X. The organic matter (called Godzilla Cells or G Cells) is given to a renegade scientist tasked with creating a mutated grain that is able to grow in the desert. Unfortunately, a terrorist attack destroys his laboratory and kills the scientist's daughter in the process.
The story jumps ahead five years to reveal that the scientist has combined some of his daughters DNA with a rosebush and, later in the film, some Godzilla Cells. The result is a gigantic rose that develops in a Japanese lake. It is discovered by a psychic that the soul of the scientist's daughter is a part of the mutated plant. Meanwhile, Godzilla is set free from his volcanic prison by terrorists, after doing battle with the newly improved super weapon, Super X2, Godzilla apparently destroys the giant rose.
The plant reappears later in a new, horrifyingly titanic form, looking like a hybrid of a Venus Fly-Trap and Godzilla himself. This new monster dwarfs Godzilla and easily entangles him in its vine-like tentacles. Through a combination of the psychic's power, the Super X2, and the plant monster, Biollante, Godzilla is defeated, but lives to wreak havoc another day. Following the battle, Biollante dissolves into the atmosphere, forming the shape of a rosebud in space before disappearing altogether.
Godzilla vs. Biollante is a unique film, haunting and almost beautiful at times. Aside from the original 1954 film and the final movie of the Heisei series, this is one of the only Godzilla movie that elicits some tears.
Godzilla vs. King Ghidorah (1991)
It was only a matter of time before Godzilla's classic foes from the original series were revamped themselves. For the next film in the series, Godzilla's arch-nemesis King Ghidorah reappeared to do battle.
This film introduced many fantastic elements to the series. The story features time-travelling extraterrestrials called Futurians warn the Japanese government of an impending disaster in which Godzilla totally destroys Japan. The aliens convince the Japanese leadership to send a strike force with them back in time to and island in the South Pacific during World War II to kill the somehow still surviving dinosaur that would eventually mutate into Godzilla thanks to nuclear testing. The time-travelers are successful and return to the present where Godzilla has never existed.
However, the aliens had nefarious intentions. Before traveling back to the present, they left behind creatures called Dorats that end up mutating (in Godzilla's place) into King Ghidorah. This monster is controlled by the Futurians who threaten to unleash its wrath upon the nation it unless Japan surrenders. The situation looks hopeless, until Godzilla reappears, bigger and badder than ever. It turns out that the dinosaur in World War II was revived and mutated by the radiation of a nuclear submarine that crashed near the island it was found on. This new Godzilla is more than a match for King Ghidorah, blowing off its middle head and apparently killing the alien monster. Godzilla then destroys the Futurians and their ship and then promptly begins laying waste to Tokyo.
Fortunately, one of the Futurians who had previously defected to the side of humanity survives and retrieves the body of King Ghidorah, takes it back to the future, and creates a cyborg called Mecha-King Ghidorah to subdue Godzilla.
As you can see, this movie featured a very convoluted plot... Even for a movie featuring a giant, radioactive lizard. However, I remember the special effects being top-notch with some awesome battle sequences.
It is notable that during this film Godzilla's size changed once more during Godzilla vs. King Ghidorah. As Godzilla was "reborn" toward the end of the film, the monster grew to be about 100 meters (328 feet), the largest version up to this point.
This wasn't the only modification made to Godzilla. Behind the scenes, the suits used for this and subsequent movies in the series were being made to be more and more sophisticated. New suits featured dorsal fins that lit up and fully animatronic heads that allowed the monsters to have more dynamic expressions.
Godzilla vs. Mothra (1992)
The next movie in the series saw the return of another Godzilla foe from the previous series, Mothra. However, the giant moth also brings along company in the form of a sort of "evil twin", the malevolent Battra. Despite trying to destroy each other early in the film, the two metamorphosing creatures team up to defeat Godzilla.
Godzilla vs. MechaGodzilla II (1993)
This film sees an international organization formed with the goal of neutralizing the threat of Godzilla and any other giant monster that would threaten mankind. Utilizing technology from the remains of Mecha-King Ghidorah, two new super-weapons are formed: A gigantic jet called Garuda and MechaGodzilla, a robotic Godzilla controlled by human pilots.
This movie also saw the return of another familiar monster, Rodan. Inexplicably, Rodan appears to guard a giant egg which hatches and turning out to be an infant Godzilla! Eventually, MechaGodzilla proves to be no match for Godzilla and the monster and his newborn "son" swim off into the ocean.
Godzilla vs. SpaceGodzilla (1994)
Godzilla vs. SpaceGodzilla featured a brand new foe for Godzilla to face, an extraterrestrial doppelganger! SpaceGodzilla is apparently created when cells from Biollante were sucked into a black hole and mutated with a crystalline life form. SpaceGodzilla is much more powerful than previous foes and it ends up taking the combined force of the Godzilla and a new robot ally, MOGUERA to vanquish the alien threat.
Godzilla vs. Destroyah (1995)
The end of the Heisei series was marked by Godzilla vs. Destroyah. This film was released shortly after the 40th anniversary of the original film and Toho decided to present something special for the next film: Godzilla's demise!
In this film Godzilla is on the verge of a atomic meltdown that will ultimately result in his death, the reasoning being that Godzilla's heart, which is something akin to a nuclear reactor, is beginning to malfunction and breakdown. This is reflected by a new suit which glows red as steam seeps from Godzilla's skin.
The burning Godzilla lashes out against Hong Kong at the beginning of this movie, laying waste to the city. Meanwhile, it is discovered that areas of a landfill near Tokyo Bay contain soil with no oxygen. It is discovered that his is where the Godzilla from 1954 was destroyed by the Oxygen Destroyer. A series of mutations develop in the oxygen-depleted soil, huge crustacean-like creatures that eventually merge into a single monster called Destroyah.
Destroyah kills Godzilla's "son" and nearly destroys Godzilla himself. With the aid of Super-X III, Godzilla is ultimately able to defeat his adversary. But it is too late for Godzilla. The monster finally succumbs to its rapidly deteriorating condition and disintegrates soon after the battle.
Scientists monitoring the rising radiation level are shocked to find that it suddenly plummets. As the smoke clears, a familiar roar is heard. Godzilla's "son" is rejuvenated radiation. Godzilla lives again!
Despite the knowledge that Godzilla is a fictional character, it's difficult as a fan to watch him die. I'll admit to once again needing a tissue box while watch this film.
However, as before, this was not to be the end of Godzilla...
After about a 10 year hiatus Godzilla made a comeback in Return of Godzilla (1984). It seems fitting that Godzilla, a monster born from a nuclear disaster, would make his return during this tense era of history, at the beginning of the Cold War. Thus, Return of Godzilla is a return to the monster's dark roots. From its inception, The Return of Godzilla was meant to be a more serious film in keeping with the tone of the original film, Gojira. To drive this point home, The Return of Godzilla is meant to be a direct sequel to the 1954 film, ignoring any of the continuity established by the films of the original series.
The plot of the movie reflects the paranoid strains between the superpower nations at the time. When it is discovered that Godzilla has returned, Japan imposes a media blackout, hoping to avoid worldwide panic. But when Godzilla destroys a Russian submarine, the secret is soon exposed and Cold War tensions further escalate. Godzilla then attacks a nuclear reactor, absorbing its energy and becoming more powerful. The monster once again heads toward Tokyo to wreak havoc.
In the midst of Godzilla's attack, the Russians launch a nuclear missile at Tokyo, hoping to eliminate the monster's threat. This prompts the United States to fire a counter-missile strike to destroy the Russian bomb. Meanwhile, the Japanese unveil an experimental anti-Godzilla weapon, the Super-X to thwart Godzilla. The Super-X's assault nearly destroys Godzilla, but just as it seems the monster is taking his last breath, the Russian missile detonates and Godzilla is revived by the radiation.
Godzilla then makes short work of the Super-X and continues his rampage. In the meantime, scientists discover that they are able to lure Godzilla using bird calls (this is explained by Godzilla's dinosaur heritage). Using this information Godzilla is tricked into falling into the mouth of an active volcano. While Godzilla cannot be destroyed, the creature is subdued for the time, falling into a sort of suspended animation until he returns once again...
For the American release of the film (called Godzilla 1985), Raymond Burr returned to reprise the role of reporter Steve Martin from Godzilla, King of the Monsters. Mr. Martin serves as a consultant to the pentagon through the course of the film and offers some poignant commentary on the destructive nature of the titular monster. Once more, Godzilla is referred to as a force of an unstoppable force of nature. Martin says the following in a haunting voice-over as Godzilla is seen falling into the maw of the volcano:
"Nature has a way sometimes of reminding Man of just how small he is. She occasionally throws up terrible offspring's of our pride and carelessness to remind us of how puny we really are in the face of a tornado, an earthquake... or a Godzilla. The reckless ambitions of Man are often dwarfed by their dangerous consequences. For now, Godzilla - that strangely innocent and tragic monster - has gone to earth. Whether he returns or not, or is never again seen by human eyes, the things he has taught us remain..."
Toho had tried for several years prior to begin production on a new film to rejuvenate the franchise, but failed each time. With some re-releases of films from the original series in Japanese theaters receiving interest, the studio decided the time was right to once more unleash the atomic beast. Unfortunately, in the years since the last Godzilla production, the filmmakers had to almost completely re-learn how to make giant monster films! From suitimation to miniature making, the filmmakers had a daunting task ahead of them.
They began by redesigning Godzilla. Godzilla once again became a malevolent atomic monster bent on humanity's destruction and so his design was changed to fit this role. The new suit incorporated vampire-like fangs and a menacing brow. The scale of Godzilla had to be changed for the first time. Godzilla's original size was about 50 meters in the original film. This would prove to be much to small relative to Japan's new skyscrapers, which would have made the monster seem puny by comparison, so Godzilla's size was upped to about 80 meters.
A new suit was made for this film, weighing nearly 250 lbs in weight. The updated suit featured an electronically controlled face which moving eyes and jaws, creating the most expressive onscreen Godzilla seen up to this point. However, as was often the case, the suit posed many problems, especially for the actor inside. Kenpachiro Satsuma, who portrayed Godzilla for this film, stated that on several occasions, he actually feared for his life. The top-heavy suit was difficult to balance and Satsuma was in particular danger in the water scenes in which drowning was a real possibility.
The suit was not the only special effect wizardry that served to bring Godzilla to life. A 20 foot tall robotic Godzilla was also constructed, along with an amazing 60 foot long model of Godzilla's foot.
The Return of Godzilla reestablished the Godzilla brand as an international success. This movie marked the beginning of what was to be called the "Heisei" series...
