Post by slayrrr666 on Aug 31, 2006 8:58:39 GMT -5
“Godzilla, King of the Monsters” is one of the classics, no matter the genre.
**SPOILERS**
A series of shipping disasters plagues the Japanese shipping industry, and reporter Steve Martin, (Raymond Burr) incidentally in Japan on business, is asked to come in and help solve the problem when more ships are destroyed. A decision is made to investigate a small island close by, and an expedition, lead by paleontologist Dr. Yamane, (Takashi Shimura) and daughter Emiko, (Momoko Koichi) is mounted to solve the problem. During the expedition, a series of discoveries is made, the most important one being a giant creature on the island called Godzilla, a living dinosaur off the island. Godzilla appears in Tokyo Bay, and the next night, and Godzilla eventually destroys all of Tokyo, leaving it in smoldering ruins. Dr. Serizawa, (Akihito Hirata) is revealed to have a weapon that stops Godzilla, and must decide wether or not to use it.
The Good News: The start of a legacy, and one of the best films ever made. The film succeeds for several reasons where it’s spectacular. As an allegory for the ban on nuclear testing, it’s on a grand scale unrivaled in any other film. Godzilla himself is the movie’s greatest weapon, being created in a specific back-story that gives credence to that philosophy. By his very existence and the destruction that he causes is relatable back to nuclear testing. As a simple monster-on-the-loose film, this is the ultimate example of the genre. The characteristics are all there: the older, dignified scientist who wants to study the creature; the younger scientist who can save the world; the simple explanation given to the monster; the rampage in the major metropolitan city, and there’s non-stop action. It features a great mix of action, science fiction, and fantasy in one movie, and with the combination of the other two elements together creates a perfect film. The nuclear elements are perfectly realized in both subtle and not-so-subtle ways. The opening destruction of the ship and what happens is almost a direct parallel to a nuclear bomb exploding, the fire destroying the survivors, and the rubble that remains. The first attack on the seaside dock feature some great allegories that fall into the not-so-subtle areas. The attack comes from the sea, just like the American raids; the roar is the equivalent of an air raid siren warning of the impending danger, the footsteps moving ever closer are just like the bombs crashing down, and the “sea of fire” line is symbolical of what happened to Tokyo during the war. The symbolic elements run deeper than that, but are much to critical to be given away. It is literally full of them. The monster-on-the-loose angle is played out nicely was well, with the biggest part of that being the rampage at the end of the film. Never has a similar type of sequence ever been filmed. Literally running over ten minutes, this features a never-ending series of highlights that maker the sequence a powerful, moving and entertaining part of the film. Being brought in full force to the scale of the creature, the different tactics tried and the sheer spectacle of what is shown make this a highlight not only of monster cinema, but also for films in general. From the opening start, where he lays waste to a series of high tension electrical towers and then begins a full-on rampage, through to a spectacular series of buildings being blown up, set on fire, crushed or pulled down, it’s simply awe-inspiring how much is actually done. Godzilla actively destroys buildings during this rampage, rather than simply walking down the street and causing the population to flee in panic. The duration of it is also a great advantage, meaning that it can continue for a long time and can let the monster do his thing. That makes it better due to it’s length. The fantasy and science fiction elements don’t need explaining beyond two key features: Godzilla and the oxygen destroyer. Godzilla is a walking emblem for fantasy, and just try making sense of how the oxygen destroyer is supposed to work is right up there with the best science fiction elements. Had this only featured those three elements, it would be a fantastic film, but what pushes it above and beyond is all the other elements present. The biggest aspect is the special effects, which, while full of so many experimental and untested elements, look frighteningly real and incredibly believable. The model buildings being crushed are devastatingly accurate, and look convincing in their destruction. The monster himself looks incredible, maintaining a look of his dinosaurian roots with the appearance of a never-before-seen creature, it’s huge lower body, shortened arms and distinctive head adding to a great design. It effectively captures a truly incredible monster. A small favorite scene is the view of the approaching train passing under a bridge as Godzilla wades into view. The story is one of the most engrossing ones ever created, as there are two different styles that stand in stark contrast to each other. The first half is a mystery, where events are not that spelled out despite being shown. The destruction of the house in the village, where a villager runs out in a storm, sees a frightening image, and returns back inside just before the house is destroyed, is chilling and unnerving, and all this without the visual payoff of knowing what the monster looks like. This is an inspired scene that would’ve been done so drastically different from the American films of the time that would rob the scene of it’s impact and power. The score here is just as powerful, catchy, and for once, compliments the visuals nicely, and is as much entertainment value as the movie itself. Add to this with some incredible drama and a high re-watchability factor, this becomes all the better for it.
The Bad News: In spite of some hokey effects that haven’t aged that well, there is nothing wrong with this movie.
The Final Verdict: One of the best films ever made, no matter what genre. It’s intelligent, thoughtful, emotional and most important, entertaining. This film really must be seen immediately.
