Godzilla Final Wars (2004) Toho Studios / CP International / Zazou
Productions / Napalm Films Director: Kitamura Ryūhei, Asada Eiichi
(special effects)
For Godzilla’s 50th birthday, Toho organised a co-production with what might
still be the largest budget of any Japanese kaiju eiga – an estimated 1.9
billion yen – including location filming in Australia and America, a dozen
returning monsters, extensive CGI effects and a soundtrack by prog-rock
pretentissimo Keith Emerson. They surely can’t have hoped to recoup that
money, but they must have expected there to be some hype among cinemagoers.
Yet, even with a limited release in cinemas outside Japan,
Godzilla Final Wars made no more in ticket sales than
Godzilla vs Megaguirus (2000) had. It’s the only Millennium series
Godzilla movie to make a gross financial loss, and a substantial one at that.
This isn’t to say that Final Wars killed the Millennium series. Toho
were already planning to rest Godzilla by this point – the 50th anniversary
celebration was just a bonus. A very expensive bonus.
This film features a lot of callbacks to earlier Toho tokusatsu films.
The synopsis that follows will include frequent pauses to note those
callbacks, which readers will hopefully find helpful rather than confusing.
Two strange phenomena have characterised the second half of the 20th
century. The first is the widespread appearance of daikaiju, in the face
of which humanity has put aside all international differences and come
together under the protection of the Earth Defense Force (EDF). (An
indulgent selection of clips from old Toho movies illustrates the emergent
threat of the kaiju.) The other is the discovery of mutants among the
human population. They’re differentiated from regular people by their
superhuman athleticism and reflexes. (In other words, don’t expect wings
or laser eyes or any of that.) The EDF has formed an elite battalion of
these mutants, called M Organisation.
(We do see some of M Organisation’s soldiers fighting daikaiju in person,
but still, you’ve got to wonder whether the EDF’s gunships might really be
doing the heavy lifting and the mutants might possibly be used to counter
more... human-scale threats. Just how peaceful is this world of global
co-operation? Judging by appearances, it looks very authoritarian.
But more on that later.)
The EDF employs a small fleet of gunships that look like hovering
submarines. One of these, the Gotengo (which can be distinguished
from the others by the large drill bit on its nose), buries Godzilla under
a landslide in Antarctica in 2004, leaving him alive but frozen. An
unspecified number of years later, the gunner on that mission has become
the captain of the Gotengo. Captain Douglas Gordon is fending off
an attack from Manda, a golden sea serpent, at the bottom of the Atlantic.
(Manda debuted in the film Atragon (1963), as did the
Gotengo.) Gordon shakes off Manda by ordering his crew to dive
deeper, close to a volcanic vent, and succeeds in killing the monster, but
the Gotengo is badly damaged. The head of the EDF, Commander
Namikawa, reprimands Gordon for his recklessness and orders him to report
to base for a court martial.
At M Organisation headquarters, Ensign Ōzaki Shinichi is ordered to report
to his commanding officer. Ōzaki, who is considered weak by his peers
because of his compassion, is assigned to act as bodyguard for Otonashi
Miyuki, a biologist, while she examines an unusual kaiju specimen that’s
being held in the hangar-like Defence Force Museum. Calcified and more
than 12,000 years old, it was dredged up near Hokkaido. The museum staff
have already discovered that it was a cyborg and that its organic
components included M-base in the DNA, a fifth genetic base that’s only
previously been found in the human mutants. In an impromptu psychic
vision, Mothra’s envoys the Shobijin reveal to Ōzaki and Otonashi that the
inert daikaiju is the evil Gigan, and gift Ōzaki a cross-shaped amulet.
(Viewers familiar with Gigan will probably have recognised him immediately
from his shape, even under that rock cladding. He was introduced in
Godzilla vs Gigan (1972) and last seen in
Godzilla vs Megalon (1973). The Shobijin are played by the same
actresses as in Godzilla: Tokyo SOS (2003) and are dressed much the
same, but now have bob haircuts.)
In the skies over New York, an aircraft carrying Daigo Naotarō, the
Secretary-General of the United Nations (which apparently still exists,
although Daigo seems to be something more like a celebrity figurehead than
a political or diplomatic leader) is destroyed by Rodan. Simultaneously,
other kaiju attacks are reported including Anguirus in Shanghai, King
Caesar in Okinawa and Kamacuras in Paris. The EDF scrambles its gunships
to contain the beasts. Other kaiju that we see attacking cities around the
world are: a CGI iguana-monster in Sydney that looks almost exactly like
the 1998 Tri-Star Godzilla, but not quite exactly enough to infringe
copyright; Kumonga in Arizona; and Ebirah at the “Tōkai Petrochemical
Complex”. Meanwhile, an old man and his grandson who are out hunting in
the woods near Mt Fuji stumble across a timid Minilla.
(Rodan, the pterosaur, debuted in his own film in 1956 and was last seen
in Godzilla vs Mechagodzilla II (1993). Anguirus was a fixture of
the Shōwa era Godzilla series and was last seen in
Godzilla vs Mechagodzilla (1974). King Caesar, a bipedal
lion-dog-faced guardian creature, made his only previous appearance in
Godzilla vs Mechagodzilla. Kamacuras and Kumonga, a giant mutated
mantis and spider respectively, date back to
Son of Godzilla (1967). So does Minilla, the titular son of
Godzilla. He’s as round-faced here as he’s ever been, and he gurgles
instead of making “wag-wa” noises – he actually sounds a lot like Mr
Blobby. As in All Monsters Attack (1969), he has the ability to
change his size depending on whether he’s interacting with human
characters or Godzilla. Ebirah is a lobster kaiju last seen in
Ebirah, Horror of the Deep (1966). Toho named – and trademarked! –
the creature that appears in Sydney as “Zilla”, a direct response to an
American kaiju that, according to the producer of Final Wars, “took
the God out of Godzilla”. Ouch.)
A squad of mutants is sent in to fight Ebirah with bazooka-like phaser
weapons. Just as they succeed in bringing Ebirah down, all the daikaiju
around the world dematerialise, gathered up by UFOs that converge on a
spherical mothership above the EDF HQ in Tokyo. Secretary-General Daigo is
transported down to explain that the occupants of the mothership, who
rescued him from his plane, come in peace. He is beamed back up along with
Commander Namikawa and a senior M Organisation officer, and they’re met by
the leader of the aliens, apparently a bald-headed middle-aged man, and
his younger deputy. The leader suggests that the humans, who would find
the true name hard to pronounce, refer to his homeworld as Planet X and
his people as Xiliens. The Xiliens have hoovered up all the daikaiju as a
show of goodwill, and have come to Earth to warn humanity that in less
than a year and a half, a small, fiery world called Gorath will collide
with Earth. They suggest the humans devote their attention and their
military resources to that problem.
(Invasion of Astro-Monster (1965) also featured a group of aliens
from Planet X with dubious motives. The Xiliens seen here, like those
Xiliens, favour black clothing and narrow black visors, although they
don’t cover their heads and they’re quick to take the visors off. The
uniform they wear here includes black leather trenchcoats, still quite
trendy one year after the end of the original Matrix trilogy
(1999-2003). Their story about the rogue planet Gorath, meanwhile, is
lifted from the sci-fi adventure film Gorath (1962).)
In a press conference, Daigo proclaims the dawning of a new age of
interplanetary co-operation and the replacement of the United Nations with
the “Space Nations”. The world is seized by “X” mania. But Ōzaki remains
sceptical – the timing of it all, just when the EDF has got its hands on
Gigan, is suspicious. And Otonashi’s journalist sister, Anna, who
interviewed Daigo before his plane accident, has noticed that in more
recent footage he doesn’t blink; she later catches him out in a lie about
his beloved pet dog. The final proof comes when Daigo is attacked with a
knife by a would-be assassin – Otonashi is able to collect and analyse
some of the Secretary-General’s blood and discovers that he isn’t human.
When Ōzaki goes to Commander Namikawa with the intention of revealing
this, he quickly realises she too has been replaced by the Xiliens. What’s
more, the EDF’s chief scientist has noticed that all the images of Gorath
taken from Earth look identical, suggesting that it’s just a shabby
projection and not a real threat at all.
The impostors are killed and the alien deception is exposed on live
television. The Xiliens are, it turns out, thin silvery humanoids wearing
organic outer skins to disguise themselves as humans. The Xilien leader
was hoping to take over the planet peacefully by stealth; his deputy now
shoots him and takes control. He’s able to exert some kind of power over M
Organisation’s mutants which prevents them attacking him; only Ōzaki is
unaffected, and he’s unable to beat the Xilien on his own. The new alien
leader leaves to begin a more direct takeover of Earth using his menagerie
of captured daikaiju. Ōzaki, the Otonashi sisters and a crew of loyal EDF
officers go on the run, pursued by mind-controlled mutants, with the man
they hope can save the Earth – Captain Gordon, whom Ōzaki has released
from the brig where he was waiting to be sentenced after his court
martial.
Gordon retakes control of the Gotengo, which has been repaired, and
goes to Antarctica to release Godzilla, the one force that can threaten
the Xiliens. He dubs this mission “Operation Final War”. Godzilla clearly
bears a grudge against the Gotengo and is easily led across the
globe towards the Xiliens’ mothership, fighting and defeating rogue
daikaiju along the way. His first opponent is Gigan, who’s been revived
and sent in pursuit of the Gotengo (and this time, he
does fire laser beams from his red visor). Godzilla soon blasts his
head off, much to the Xilien leader’s dismay. In Sydney, he dispatches
Zilla even more quickly. In New Guinea, he is only briefly stalled by
Kumonga. Making landfall in Japan, he tackles first Kamacuras, then
Anguirus, Rodan and King Caesar simultaneously. The Gotengo reaches
the Xilien mothership and drills its way in while Godzilla thrashes
Hedorah (last seen in 1971) and Ebirah in Tokyo Bay. Gordon, his first
officer, Ōzaki and Otonashi are taken prisoner by the Xilien leader, who
reveals that the Xiliens intend to farm humanity for their delicious
mitochondria.
In the ruins of central Tokyo, Godzilla faces his ultimate foe, Monster X,
who’s just arrived inside a meteor. Monster X is a bulky, heavily armoured
biped, although as we’ll shortly discover, that armour’s hiding something.
Sent by the Shobijin, Mothra arrives to help but is pitted against an
upgraded Gigan. (That was fast work, recovering Gigan from the South Pole,
repairing him and giving him a makeover.) The new Gigan looks just like
the old Gigan except that he has bifurcated chainsaws instead of metal
hooks for forearms. He can also now fire razor-edged discs from his chest.
Mothra dodges these and they circle back and decapitate Gigan again.
On the mothership, the Xilien leader tells Ōzaki that his people evolved
from something like the mutants, and that he and Ōzaki are both rare
super-mutants called “Keizers”. This is why Ōzaki was able to resist being
controlled earlier. This time, he nearly kills the other humans while
under the leader’s control, but Otonashi uses the Shobijin’s amulet to
bring him back to his senses. A fight breaks out in the control room,
during which the real Daigo, Namikawa and the senior M Organisation
officer enter the bridge and come to our heroes’ aid, having been kept
alive and apparently broken free in the confusion. Ōzaki and the Xilien
leader fight hand to hand to the death while the others escape back to the
Gotengo. Ōzaki ultimately wins, but as the Xilien leader dies, the
mothership begins to self-destruct and Ōzaki barely joins the others
aboard the Gotengo.
As Godzilla fights him to a standstill, Monster X sheds his armour to
reveal that he’s really the winged, three-headed daikaiju Ghidorah. (Least
surprising reveal ever. The monster puppet of many Shōwa era alien
invaders, Ghidorah was last seen playing a very different role in
GMK three movies ago. He looks more of a dull metallic colour than
his usual golden-yellow; his necks are a bit stumpier, his horns are more
pronounced and his eyes glow red.) Ghidorah is able to use the energy
beams from his mouths to levitate Godzilla and smack him around, then
bites into him and starts to drain his vitality. Ōzaki somehow channels
his super-mutant energy through the Gotengo’s weapons systems and
gives Godzilla the boost he needs to fight back. In short order, Godzilla
blasts off two of Ghidorah’s heads, throws him into orbit and incinerates
him. He then turns on the Gotengo, apparently still bent on
settling his grudge against the gunship. At that moment, Minilla appears
on the scene, having directed the hunter and his grandson to drive him
into central Tokyo. He persuades Godzilla to back down and the two of them
lope off into the sunset. Ōzaki remarks that it’s not the end, but the
start of a new war, although what he means by that is never explained.
With celebratory anniversary episodes of media franchises – and the bigger the
number, the more so, although I’m struggling to think of more than a handful
that have made it as far as 50 years – the point isn’t to produce an exemplar
of the series. It’s nice if that happens, but the real point is for the fans
and the creators to look back and wallow in nostalgia. It’s more about
iconography than substance. Hey, look, it’s this thing again. Remember that
thing? Ha ha, we repeated the other thing. What made the franchise successful
or interesting in the first place is hollowed out and presented as the gift
shop souvenir version of itself.
Final Wars takes that to an extreme. There’s no suggestion here that
the daikaiju might symbolise anything or offer any sort of comment on current
affairs, unless it’s to whale on the Tri-Star Godzilla
(1998) once again. They only exist to fight each other for our amusement, and
they do precious little of that. Godzilla and his sparring partners get scant
screentime, with most of the fight scenes – and admittedly there are a lot of
them to get through – wrapped up in moments. All that money spent on new
costumes and CGI models for a dozen old monsters, and they’re barely even
there. I think Hedorah’s on screen for a total of 18 seconds. The film is far
more interested in showing us scenes of humans (and humanoid aliens) fighting
each other, posturing and looking butch while they drive motorbikes and flying
submarines. (Ha, I nearly said the film was “more invested in its characters”!
What an idea. The nearest anyone gets to character development is the
revelation that they own a dog, and even that’s only in there for a plot
reason.)
When the Godzilla movies of the 1970s were emptied of deeper meaning and
reduced to a more superficial formula, they at least had camp appeal to fall
back on. There’s some camp business here – Matsuoka Masahiro as Ōzaki and
Kitamura Kazuki as the young Xilien leader are so arch they’re parabolic – but
on the whole, Final Wars
isn’t trying hard enough to justify being labelled as camp. What it seems to
be aiming for is a kind of generic Hollywood brand of macho nihilism, and it’s
quite lazy about it. It’s a rolling parade of explosions, tumbling vehicles,
eye-rolling, grimacing and casual sexism with moments of outright misogyny,
punctuated by classic Toho references that go nowhere, while a hyperactive
dance/rock soundtrack rattles away underneath it all.
I wouldn’t say it takes itself entirely seriously. Exhibit A for the defence
is the scene of a television talk show during the “X” craze, in which a
panellist declares that it’s the dream of scientists everywhere to fight full
contact with an alien. Exhibit B is the moment during the climactic bust-up
when Ōzaki repeatedly punches the Xilien leader while, on a screen behind
them, we can see an identically framed shot of Godzilla punching Monster X;
this is the closest this film comes to offering anything that could be
described as art. Exhibit C is the brief scene of a child in Canada playing
with an army of kaiju action figures, which almost feels like a comment on
Final Wars itself – in the course of its two long hours, the movie
conveys all the narrative logic and sophistication of that child. Still, the
overall tone of Final Wars is a humourless one.
In support of that is the washed-out cinematography. There’s a blue theme for
scenes aboard the Gotengo and a yellow interior for the Xilien
mothership, but everything else just looks grey. For a world that’s embraced
international peace and harmony, it doesn’t look all that appealing. It’s more
like a vision of Soviet-era futurism. Throughout the movie, Captain Gordon
looks like he’s cosplaying a beefed-up version of Joseph Stalin. In fact, it
looks a lot like a dry run of Iron Sky (2012), the crowd-sourced sci-fi
comedy film about Nazis on the Moon, but with less self-awareness. And, well,
maybe this speculative vision is fair enough. If the world is in a constant
state of emergency because of all those daikaiju, and the diplomatic authority
of the UN has yielded to the military authority of the EDF, maybe this is just
what it would look like. Perhaps this is a more honest take than the more
wholesome, photogenic heroism of G-Force (1989-95) or the JXSDF (2002-03).
Here's what I think might have happened behind the scenes, and bear in mind
this is purely speculation on my part. IMDb credits Mimura Wataru and Tomiyama
Shōgo with developing the storyline for Final Wars. Tomiyama was the
executive producer of every Toho kaiju movie from Yamato Takeru (1994)
onward, including this one; Mimura had worked on the scripts for
Yamato Takeru, Godzilla vs Mechagodzilla II (1993) and three
previous Millennium series Godzilla films. I imagine they came up with the
idea of marking Godzilla’s 50th anniversary with something like
Destroy All Monsters (1968) but bigger, drawing heavily on the
tokusatsu movies of their youth for inspiration. (There is a definite lean in
Final Wars towards commemorating the Shōwa era, and I think that’s
significant. Barring Zilla, and we all know why that’s there, the daikaiju are
exclusively Shōwa era veterans. Those creations that were original to the
Heisei and Millennium series do get a nod, but only glancingly, in the opening
montage of clips and in the toys scattered on that Canadian child’s floor.)
As the actual scriptwriters, IMDb credits the director, Kitamura Ryūhei, and
Kiriyama Isao, who has collaborated with Kitamura on several of his films.
Nothing in their resumés indicates any history with kaiju eiga, or with any
cinematic genre other than hyperkinetic action thrillers. They’d become
international big shots with hi-octane flicks like Versus (2000) and
Azumi (2003). I suspect they were brought in to make Godzilla’s
birthday movie as saleable as possible to the international audience that had
responded so well to sci-fi films like The Matrix (1999) – the
Wachowskis’ breakthrough movie is specifically referenced in the Xiliens’
trenchcoats and a couple of “bullet time” shots in the fight scenes. I think
Isao and Kitamura took the shell of what Tomiyama and Mimura had plotted out
and used it as a frame on which to hang the gung-ho Hollywood-style martial
arts explosionbuster they really wanted to make.
At some point, someone must have noticed that the plotline about superhuman
mutants offered a link to the hugely successful Marvel comics spinoff
X-Men (2000) and its 2003 sequel, and that that in turn resonated with
the presence in Toho’s back catalogue of a species of aliens from Planet X, in
Invasion of Astro-Monster. Maybe it was baked into the original
storyline, maybe it was added into a later draft. The Xiliens we see here are
a kind of amalgam of several Shōwa era alien invaders. They have more in
common with the aliens from the nebula next door in Godzilla vs Gigan –
using specific humans as disguises, actually sort of insectoid in appearance,
plus of course they control Gigan. The parallels with
Destroy All Monsters, meanwhile, might make us expect the Kilaaks to
turn up. It’s plausible that this movie’s villains weren’t originally intended
to be the Xiliens. Apart from their deceptive offer of help to humanity and
their penchant for Matrix-friendly clothing, they don’t share many of
the characteristics of the original visitors from Planet X.
There are further Shōwa era reprises in the casting. Mizuno Kumi, who made a
recent comeback in Godzilla Against Mechagodzilla (2002), appears as
the head of the EDF, and in a direct callback to the character she played in
Invasion of Astro-Monster, her character here is called Namikawa.
Takarada Akira, playing the UN Secretary-General, also starred in
Invasion of Astro-Monster, Mothra vs Godzilla (1964) and the
original Godzilla (1954). Sahara Kenji is unrecognisable as the EDF’s
chief scientist; he’d been the star of Rodan (1956) and
King Kong vs Godzilla (1962) and had a recurring minor role as a
government official in the Heisei series movies. Representing the more recent
film series and cameoing in the pre-credits scene of the
Gotengo burying Godzilla in Antarctic ice are Nakao Akira and Ueda
Kōichi, as the vessel’s original captain and his first officer; they’d played
the Prime Minister and a senior Defence Ministry official in
Godzilla Against Mechagodzilla and Godzilla: Tokyo SOS, and
Nakao had made repeat appearances as the head of the UN’s anti-Godzilla strike
force during the Heisei series.
Stealing most of the scenes he’s in with his sheer physicality is Don Frye,
playing Captain Douglas Gordon. Frye was a mixed martial artist and pro
wrestler who was popular in Japan, so he clearly met the filmmakers’
requirements as far as the fight scenes were concerned. But Frye seems to have
parlayed this opportunity into a switch to an acting career. I note purely as
an aside that, at time of writing, his IMDb listing is longer than Kitamura
Ryūhei’s.
It would have been a shame if this cavalcade of absurdity had been the final
hurrah for Godzilla. There will be more Godzilla movies, but it’ll take a few
blog posts to get to them. For now, let this stand as the last film to feature
a Godzilla portrayed by a stunt actor in a costume. Three cheers for Kitagawa
Tsutomu, the main Millennium Godzilla; Satsuma Kenpachirō, the main Heisei
Godzilla; Nakajima Haruo, the main Shōwa Godzilla; and all the other stunt
actors who stepped into the role when needed.
Godzilla: Tokyo SOS (2003) Toho Studios Director: Tezuka
Masaaki, Asada Eiichi (special effects)
It’s March 2004, ten months since the JXSDF’s cyborg superweapon Kiryu
drove Godzilla away at the end of the previous movie. Radar stations in
Hawai’i and Japan detect an unidentified object approaching Japanese
airspace. The Japanese air force send jets to intercept it, but they’re
unable to establish contact with it or deter it. It soon becomes apparent
that the mystery object is Mothra. The Shobijin, Mothra’s twin fairy
envoys, have arrived with Mothra to talk to Chūjō Shinichi, the linguist
who helped them more than 40 years earlier (in Mothra
(1961)).
(The Shobijin here are dressed somewhat like the originals, with long hair
and simple, off-the-shoulder garments. They’re showing quite a bit more
midriff and leg, though. We’re told that they’re not the 1961 Shobijin but
related to them. Although we’re reminded in a later scene that Mothra’s
1961 attack was only provoked by the kidnapping of the Shobijin, the
kidnappers aren’t named. This is in line with the rewriting of
Mothra in Godzilla Against Mechagodzilla
(2002), in which we were told Japan developed their own maser weapons and
the fictional Cold War superpower Rolisica wasn’t named.)
The Shobijin want Chūjō to pass on the message that it was wrong to use
the 1954 Godzilla’s corpse to create Kiryu and that his skeleton must be
returned to its resting place. If it is, Mothra will pledge to protect
Japan from the new Godzilla; if not, Mothra herself will wage war on
humanity. This visitation is also witnessed by Chūjō’s nephew Yoshito –
who, as luck would have it, is a mechanic in Kiryu’s ground crew – and his
grandson Shun.
The repairs to Kiryu following the previous year’s battle are still
ongoing – the severed right arm has only just been replaced. We see a
computer schematic that makes it clear this time that Kiryu has been built
around Godzilla’s skeleton. The JXSDF has put its head on their official
seal, suggesting they continue to have confidence in it. (On which note,
there’s no mention in this movie of the Anti-Megalosaurus Force (AMF),
which have perhaps been subsumed into the larger JXSDF.) There’s a change
of flight crew, with the old pilots being sent to America for advanced
training and a new cohort being brought in. Yoshito is surprised to see
his old friend Kisaragi Azusa among them – she was an engineer herself
just a few years ago, but has retrained as a pilot. There’s some friction,
possibly jealousy, between Yoshito and one of the male Kiryu pilots, Akiba
Kyosuke. In Kiryu’s hangar, Yoshito is musing on what the Shobijin said
when Yashiro Akane, the hero of the previous movie, walks in to say
goodbye to Kiryu. She believes Kiryu doesn’t want to fight Godzilla, but
wishes Yoshito well when he says he intends to make it fighting fit again.
Chūjō gets an audience with the Prime Minister, but is unable to persuade
him to decommission Kiryu on the basis of his story. The Prime Minister
objects, as Yoshito also did, that he can’t easily trust Mothra to defend
Japan when she caused so much damage in 1961. He intends to scrap Kiryu
only after Godzilla has been defeated. Meanwhile, the JXSDF investigates
the corpse of a giant sea turtle that’s washed up on Japan’s Pacific
coast. (It’s named as Kamoebas, one of the daikaiju from
Space Amoeba (1970), and a JXSDF scientist says that its species
was discovered by the scientist character in that movie. Left hanging is
the question of whether, in this continuity, the Kamoebas species is the
product of alien interference or occurs naturally.) It was fatally wounded
by another creature, suggesting Godzilla is on the move again. When an
American nuclear submarine is destroyed off the coast of Guam, the JXSDF
are ordered to make Kiryu ready for combat. The ground crew aren’t
confident: although Kiryu can move, it needs more testing and there’s no
way to replace its Absolute Zero Gun, the only weapon effective against
Godzilla. Officials at the Defence Ministry continue to mull over the
question of whether Mothra can be relied upon.
Godzilla is spotted heading for Tokyo. Hoping to minimise further damage
to the city, the JXSDF tries unsuccessfully to corral him towards
Shinagawa, which hasn’t yet been rebuilt after the events of the previous
year. As the population rushes to evacuate or find shelter, Chūjō
discovers Shun has run off and follows him to his school playground.
Remembering what his grandfather told him about painting Mothra’s symbol
onto an airport runway to summon her, Shun has laid out the school’s desks
and chairs in the shape of the symbol. Mothra immediately responds and
intercepts Godzilla, physically battering him and using her glowing wing
scales as chaff against his breath ray. Chūjō is concerned that Mothra
would only shed her scales as a last resort and must be desperate.
Watching the stalemate between the daikaiju, the Prime Minister orders the
launch of Kiryu to support Mothra. Meanwhile, on Himago Island in the
Bonins, the Shobijin sing the old Mothra song to an egg. (Tempting as it
is to rewrite this as “Imago Island”, the kanji letters that spell
“himago” on-screen translate into English as “great-grandchild”. Wikipedia
tells me this is in line with Japan’s naming convention for the real Bonin
Islands.) The egg hatches to reveal twin larvae which soon swim at full
speed towards Tokyo.
Kiryu arrives on the scene just as Mothra is flagging. It scores some hits
on Godzilla with its arsenal of missiles, but is soon knocked over. Mothra
flies in front of it to take the force of Godzilla’s breath ray. The
Mothra larvae arrive after Kiryu has taken another beating and distract
Godzilla by firing their cocoon webbing at him. The adult Mothra
sacrifices herself to protect them from Godzilla’s breath ray. Akiba
struggles to get Kiryu upright again, but the controls are unresponsive –
Godzilla has caused too much damage.
Off duty while Kiryu’s out in the field, Yoshito has taken a staff car
into central Tokyo to look for his uncle and nephew. Guided by a talisman
bearing Mothra’s symbol that his uncle had dropped, he finds them both
safe but buried under rubble near the fallen Tokyo Tower. Consequently,
he’s on the scene when Akiba reports that Kiryu’s remote control is dead,
and he radios in to reply that he will attempt to make field repairs to
Kiryu. Racing through the deserted subway, Yoshito reaches Kiryu and
assesses the damage while the pilots and ground forces provide cover. He
makes the necessary repairs with radio support from the other members of
the ground crew, but is trapped inside a maintenance compartment by a
damaged access hatch as Kiryu stands up and re-enters the fray.
Kiryu is able to exploit a weak spot on Godzilla’s chest where he was
wounded in the previous film and incapacitates him, whereupon the Mothra
larvae cocoon him. Godzilla roars and, as before, Kiryu stops responding
to the pilots’ commands. (Looks like Professor Yuhara didn’t entirely fix
that problem after all...) But instead of going on a destructive rampage
this time, it picks up the cocooned Godzilla and flies out to sea with
him. The flight crew are ordered to pursue and shoot it down, but Yoshito
radios to tell them not to, revealing that he’s still inside Kiryu. He
believes that Kiryu wants to take itself and the current Godzilla down to
the bottom of the Pacific, where the 1954 Godzilla’s skeleton can rest in
peace. Kisaragi shoots open the damaged hatch, and Kiryu spontaneously
turns onto its back so that Yoshito can fall safely out over the water and
be rescued by his teammates. It farewells him by displaying the words
“Sayonara Yoshito” (in English) on a maintenance computer screen. Their
work done, the Mothra larvae swim off home while the Shobijin
telepathically thank our heroes. The Prime Minister pledges to work with
humility to correct the mistakes of the past. However, in a post-credits
scene we see a laboratory fully stocked with genetic samples from Godzilla
and other kaiju, implying that some new mistakes are about to be made.
I must admit up front, I like this film. Of course I do – it’s a sequel to the
1961 Mothra
that also happens to feature Mechagodzilla. Koizumi Hiroshi’s reprise of
Chūjō, 42 years later, is the fanservice I didn’t know I wanted.
All things considered, this is quite a lightweight sequel to
Godzilla Against Mechagodzilla. It’s nice to shift the focus from the
previous movie’s Top Gun (1986) shenanigans onto the mechanics (or at
least, for them to share the limelight with the pilots), but the story beats
are pretty similar and there’s not much here that we haven’t seen before. The
military characters bitch at each other, but with less reason than they had in
the previous movie. Once again Kiryu goes off the rails because Godzilla
awakens his predecessor’s ghost, even though that problem was supposedly fixed
last time. The ethical problem of exploiting the 1954 Godzilla’s corpse is
made more of this time, with the whole business of Mothra being willing to
fight humanity over it, but nothing comes of it – in the event, Kiryu is
dispatched to give support to an ailing Mothra and no more is said about it.
The question of Kiryu being “alive”, which was raised in the previous movie,
is developed here but in a subtle way. No one but Yoshito sees Kiryu’s
farewell message to him and it isn’t commented on at all, but the implications
are huge. Clearly, the 1954 Godzilla’s genetic material – or presumably it
would be more accurate to say his consciousness (or soul?) – has fused with
Kiryu’s computer systems to such an extent that he/it can communicate verbally
and identify individual humans by name. There have been occasional moments in
the past when Godzilla seemed to single out specific people for victimisation
(Godzilla vs King Ghidorah (1991),
Godzilla 2000: Millennium (1999)) and when it was suggested that there
might be some kind of linguistic meaning behind Godzilla’s roars (Ghidorah, the Three-Headed Monster
(1964), Godzilla vs Gigan (1972)), but this is something else again. It
looks like the JXSDF have inadvertently created a kaiju-derived AI with
human-level cognitive ability. That the (re-)reawakened Kiryu reacts
intelligently and compassionately instead of going on another rampage suggests
that, sometime between the two movies, it has recognised and grappled with the
same moral dilemmas as the human characters – and solved them. It’s a shame
there wasn’t a third movie, or more time in this one, to expand on this
further.
There’s arguably a hint of romance between Yoshito and Kisaragi, following in
the footsteps of the pilot-plus-scientist romances in Tezuka Masaaki’s
previous Godzilla movies, but honestly, there’s just as much or more of a hint
of romance between Yoshito and Akiba. They start off fighting each other, but
by the end, Akiba is the one ejecting from his plane to catch Yoshito and it’s
the two of them lounging in a dinghy waiting to be rescued, playing James Bond
and Love Interest. (You decide which is which!) Kisaragi even comments on how
Yoshito, who spends all his time focused on his work, isn’t interested in
women. If any kaiju fans out there are looking for queer subtexts, a) you’ve
probably picked the wrong genre, but b) you could do worse than look to this
film.
Once again, the Shobijin are played by the Grand Prix and Grand Jury Prize
winners of the most recent Toho Cinderella talent contest (the fifth one, held
in 2000). Once again, feel free to read some meta hilarity into their casting
as this pair of objectified magical pixie women. On the plus side, they didn’t
get kidnapped and exploited by an unscrupulous businessman this time.
As with the previous movie, the special effects are good. It seems to be a
standard Toho trope now for Godzilla’s first appearance to be heralded by a
tsunami-like wall of water. Mothra is well realised, both as a practical model
and through CGI – the opening scenes with the JASDF jets are nicely done, and
there’s a very pretty shot later on of Mothra silhouetted against a setting
sun that stands out. There’s a cute moment early on when Kiryu’s rampage from
the last movie is presented in a TV news report as a bit of shaky handheld
camera footage. The acting is mostly OK, although there’s some terrible acting
from the Americans among the cast, and some terrible dialogue for them to
deliver. I truly pity the poor bastard playing the submarine’s sonar operator,
who was expected to deliver the line: “Oh Jesus – big heartbeats!”
The post-credits scene hints at a third Kiryu movie that never came to pass.
After the promise of Godzilla Against Mechagodzilla, the reception of
Tokyo SOS was a grave disappointment and the longed-for trilogy was,
once again, abandoned. And that might have been it for the Millennium series,
except that 2004 would be Godzilla’s 50th anniversary year. Toho couldn’t let
that pass without marking the occasion, could they?
Godzilla Against Mechagodzilla (2002) Toho Studios Director:
Tezuka Masaaki, Kikuchi Yūichi (special effects) Also known as: On the
posters it’s Godzilla X Mechagodzilla, with the “X” pronounced “tai”
like the 1974 film’s title. Some use the acronym GXM for convenience. I
don’t think anyone’s seriously interested in calling this one “Godzilla vs
Mechagodzilla III”.
Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack
(GMK, 2001) was the most successful of the first three Millennium
series Godzilla movies by quite a margin, taking well over twice its budget in
domestic ticket sales and enjoying widespread critical acclaim. Director
Kaneko Shūsuke had done it again, revitalising a beloved but flagging daikaiju
franchise with modern sensibilities, a large dose of mysticism and a dash of
horror.
For reasons, executive producer Tomiyama Shōgo decided not to ask Kaneko to
make another Godzilla movie, but instead brought back Tezuka Masaaki, the
director of Godzilla vs Megaguirus (2000), objectively the least
successful of the three movies. Perhaps he felt Tezuka’s vision – less horror,
more heroic action – was a better fit for Toho’s or his own view of what a
Godzilla movie should be. (It’s worth noting that Toho released several of the
Millennium series Godzilla movies on double bills with children’s animated
films about Hamtaro, an anthropomorphised hamster...) Tomiyama was so
confident in his choice that he backed Tezuka to direct multiple films –
having abandoned their plan for a trilogy based on
Godzilla 2000: Millennium (1999), Toho would absolutely, definitely
follow through on a new trilogy featuring the fan favourite character
Mechagodzilla. Given the strong military focus of
Godzilla vs Megaguirus, Mechagodzilla and Tezuka must have looked like
a match made in heaven. The gamble paid off, for this first movie at least.
Godzilla appears at Tateyama in Chiba Prefecture in 1999 during a typhoon.
He’s got those big, gnarly, spiny dorsal plates again, but they’re not
purple this time and his skin tone is dark and not green. His head is less
flattened and better proportioned than it was in
Godzilla vs Megaguirus. He has very expressive eyes. The JXSDF sends in a specialist unit, the
Anti-Megalosaurus Force (AMF).
(Based on what we see, the JXSDF could be an in-story parallel version of
the JSDF or a special branch of it. The actual distinction between this,
the regular JSDF and the AMF remains unclear in this and the next movie.
We’ll find out in the sequel that JXSDF stands for the “Japan
Counter-Xenomorph Self Defence Force”. A series of on-screen captions
tells us that the AMF has 4,072 members, is dedicated to defending Japan
from monsters and was established in Chiba in 1966.)
The AMF deploys conventional tanks and maser tanks (those fantasy weapons
familiar from earlier films) without success. Maser tank driver Yashiro
Akane tries to manoeuvre out of the path of Godzilla’s breath ray, but in
the darkness and rain her commanding officer’s truck reverses straight
into her vehicle and is knocked off the road, where Godzilla crushes it
underfoot. Godzilla goes on to devastate Tateyama and then disappear back
into the ocean. Yashiro is officially cleared of all responsibility for
the AMF deaths but is reassigned to back-office work.
In a conference between the Prime Minister and her Minister of Science and
Technology, we learn that this is the first Godzilla attack since the
original one in 1954, which ended with that Godzilla’s death. Japan has
been attacked by several other giant monsters, however, including Mothra
(Mothra, 1961) and the giant humanoid Gaira (War of the Gargantuas, 1966). It was Gaira’s attack that led to the formation of the AMF.
(These incidents are illustrated with clips from the old films, plus a
restaged shot of the 1954 Godzilla being killed by the Oxygen Destroyer.
This time, Godzilla’s skeleton is left behind whereas in the original it
dissolved away. This will become vital to the plot in a few minutes.
Another small change is that, when talking about the development of the
AMF’s maser weapons from the heat rays used against Mothra, the Prime
Minister says the technology was invented in Japan, while in the 1961 film
those heat rays were on loan from a Cold War superpower.)
Since the masers were useless against Godzilla, the Science Minister is
tasked with overseeing the development of a new, more effective weapon. To
that end, he gathers together a team of top scientists including Professor
Yuhara, who wants to expand the field of conservation by resurrecting
extinct species. Yuhara has created a replica trilobite using a robotic
exoskeleton and organic components from a crab, with the crab’s DNA
directing the computers that control the body. (This sounds... ethically
complex.) The Science Minister has had the 1954 Godzilla’s skeleton
recovered from Tokyo Bay and proposes that the scientists should use DNA
from it to create a biomechanical nemesis for Godzilla. Yuhara rejects the
offer on the grounds that it’ll keep him apart from his young daughter
Sara, whose mother has recently died, but he accepts when the Ministry
officials agree that she can join him on site.
Objections to the project include that it’ll cost a great deal of money
and that it’ll look like Japan’s rearming itself. Nonetheless, Parliament
signs off on it. Three and a half years and one montage later, the
bio-robot is complete. Sara and her schoolfriends think it should be
called Mechagodzilla, but its official name is Kiryu (“Machine Dragon”).
Colonel Togashi, the commander of the squad assigned to Kiryu, recruits
Yashiro, which doesn’t go down well with one of the other pilots on the
team, Hayama, whose brother was among those who died in 1999. Isolated
from her peers, Yashiro ignores Yuhara’s clumsy advances but quickly bonds
with his daughter Sara, who has taken on part-time work in the project
facility’s cafeteria.
The former Science Minister, who has since been elected Prime Minister,
unveils Kiryu at a press conference. It looks a lot like the “Super
Mechagodzilla” from Godzilla vs Mechagodzilla II (1993), with the
over-the-shoulder rocket launchers and back-mounted jetpack. It has a
battery life of two hours, although it needs nearly half of that power to
fire its main weapon, the Absolute Zero Gun, which literally freezes its
target to absolute zero. It can be recharged in the field, remote
controlled and airlifted by a small fleet of VTOL jet aircraft called
White Herons. As with Yuhara’s artificial trilobite, DNA is a key
component of its computer systems. (What isn’t made explicitly clear, but
becomes apparent in the next film, is that Kiryu doesn’t just use the 1954
Godzilla’s DNA but has in fact been built around the substructure of his
entire skeleton.)
Before the presentation has even finished, Godzilla is spotted heading for
Tokyo and Kiryu is scrambled. Kiryu’s ballistic and maser weapons don’t
seem to harm Godzilla but do stall him, and Yashiro, at the controls in
her White Heron, prepares to fire the Absolute Zero Gun. But a loud roar
from Godzilla seems to freeze up Kiryu’s systems and it stops responding
to the AMF team’s commands. Godzilla slips away back into the bay. As the
White Herons close in to airlift Kiryu back to base, it spontaneously
turns on them, then begins to march through Tokyo, all the while firing
its weapons at the aircraft and into the surrounding buildings. Yashiro
earns her team-mates’ respect by rescuing Hayama from his downed aircraft.
Unable to stop Kiryu’s rampage or control it at all, the AMF have no
option but to wait for its battery to run down.
Insistent that Kiryu has a life of its own, Sara is upset that the AMF
makes it fight Godzilla against its will. Yuhara opens up to Yashiro about
the death of his wife and their unborn second child, explaining that Sara
has been sensitive about questions of life, death and choice since then.
Yashiro has a heart-to-heart with Sara, who rebukes her for feeling her
own life is worthless. Yuhara modifies Kiryu’s operating system to prevent
it going rogue again. When Godzilla is sighted heading for Tokyo again,
Togashi personally lobbies the Prime Minister to order that Kiryu be
launched, promising that the AMF now have it under control. A hesitant
Prime Minister agrees that it’s their only option and takes responsibility
for the order.
Kiryu arrives in Shinagawa just in time to save a hospital by
body-slamming Godzilla. A pitched fight ensues, involving both beam
weapons and hand-to-hand combat, during which Godzilla breaks off Kiryu’s
shoulder cannons. Eventually Kiryu succeeds in throwing Godzilla down and,
with barely enough battery power left, the AMF team prepares to fire the
Absolute Zero Gun. At the critical moment, Godzilla knocks Kiryu over with
his breath ray and three corporate tower blocks are flash-frozen and
shattered. Kiryu’s remote control systems are also damaged, so Yashiro
volunteers to land, get inside Kiryu’s maintenance booth and operate it
manually. Tokyo’s power supply is diverted to recharge Kiryu via one of
the other White Herons.
Almost immediately, Godzilla blasts Kiryu in the back and Yashiro is
briefly knocked out, but she quickly recovers and gets Kiryu upright
again. To prevent Godzilla doing the same thing again, Hayama ejects his
co-pilot and flies his White Heron into Godzilla’s face. Hayama tells
Yashiro to take this opportunity to fire the Absolute Zero Gun at
Godzilla. Instead, Yashiro has Kiryu pull the aircraft cockpit out of
Godzilla’s mouth and throw Hayama to safety, then fly Godzilla out over
the bay and discharge the superweapon at point blank range underwater.
Godzilla survives but is badly injured, with a large wound in his chest.
He turns and trudges off into the Pacific as Kiryu bobs to the surface,
missing an arm and out of power. (Note: the stump of the severed arm only
shows wires and doesn’t give any hint that the 1954 Godzilla’s bones are
under that metal cladding.) The Prime Minister is pleased that Japan now
has the capability to deter Godzilla, if not actually kill him. Perched on
Kiryu’s shoulder, Yashiro watches Godzilla retreat while she waits for her
team to retrieve her.
In a post-credits scene, Yashiro is reunited with Sara and Yuhara in
Kiryu’s hangar. With a renewed appetite for life, she agrees to take
Yuhara out to dinner.
The first thing to say about Godzilla Against Mechagodzilla is that
it’s almost a note-for-note reprise of Godzilla vs Megaguirus. A female
officer of the JSDF’s anti-Godzilla force holds a personal grudge against
Godzilla because of her commanding officer’s death in a disastrous operation a
few years earlier. There’s a suggestion of romance between her and a frankly
obnoxious scientist who’s been key in developing a physics-defying superweapon
to fight Godzilla. There’s also a precocious child with ties to the opposing
kaiju that she confides in. Unsurprisingly, as well as sharing a director,
this movie was scripted by one of the two writers behind Megaguirus.
I think it all gels better here than in Megaguirus, though. The JXSDF
feels like a more satisfying tribute to the Heisei series’ G-Force than the
G-Graspers in Megaguirus, which felt a bit too much like a dozen people
operating out of a downtown office. As the overly forward scientist, Yuhara is
awkward and unfiltered rather than offensive in the way Kudō was, while
Yashiro has more personal motivation than merely having lost a colleague to
Godzilla, which Tsujimori would have had in common with her entire battalion.
Making the child character a relative of one of the adult leads provides a
more credible reason for her to keep meeting up with Yashiro than was the case
with Jun and Tsujimori. On a technical level, too, this movie outshines
Megaguirus throughout. The opening scenes of the JXSDF fighting
Godzilla at night in a typhoon stand out as particularly good.
If Tesuka’s back as director, then so is Ōshima Michiru as the incidental
music’s composer. This time the old Ifukube march doesn’t even get a look in.
The main theme from Megaguirus is reused whenever Godzilla makes an
entrance and over the end credits, but there are some great new themes as well
for Kiryu and the JXSDF.
At first glance, Kiryu seems to serve much the same narrative function as
Mechagodzilla did in its 1993 appearance: a military solution to a natural
problem, which in this case becomes as bad as the original problem. There are
some important differences, though. For one thing, Kiryu is actually effective
– the cost was terrible, but it got results in the end. And then there’s
Kiryu’s name, which is more “authentically” Japanese than Mechagodzilla, which
just makes the 1993 machine sound like a piece of imported technology and made
the 1974 version more obviously an alien creation. It’s significant that Kiryu
is the product of a specifically Japanese military-industrial organisation,
not an international body with American involvement like the UNGCC in
Godzilla vs Mechagodzilla II. This is unmistakably Japan’s dilemma: can
it, should it solve its contemporary problems by rearming? The question of
rearmament is very briefly mooted in this movie but swiftly glossed over. The
answer, supported by the film’s conclusion, seems to be not only that the
circumstances might warrant it, but that the end would justify the means.
The question of rearmament is one that Japan has faced since the end of the
American occupation in the 1950s, when the US urged them to rearm and they
understandably demurred. It would come to the fore again soon after this
film’s release, when Japan was asked to join President George W Bush’s
“coalition of the willing” in the 2003 invasion and occupation of Iraq. Japan
sent ground troops, but only in their constitutional capacity as a defensive
force, not as aggressors. It’s only in the last couple of years that the
Japanese government has passed the changes to their constitution necessary for
Japan to build and maintain an offensive capability again. This move is
believed to have been prompted by the intimidatory actions of their neighbours
China and North Korea.
The other interesting thing Godzilla Against Mechagodzilla does is
raise the question of whether Kiryu is in any sense “alive”.
Godzilla vs Mechagodzilla II had that bit of nonsense at the end about
“life against artificial life”, but Kiryu contains organic components and
genuinely seems to be haunted. Reclaiming and weaponising the corpse of the
1954 Godzilla has quite literally raised the spectre of that original assault
on Japan. This would seem to work against the upbeat ending of Kiryu’s
eventual success by suggesting that by aping our enemies, we’ll only become
like them.
The only other thing I’ll say about Kiryu for now is that, by having it be
Japan’s superweapon (à la 1993) and having it attack Tokyo (à la 1974),
the creators of this movie are very much having their cake and eating it.
Let’s end with a bit of actor-spotting. There are some familiar guest stars
playing the two Prime Ministers in this movie. Portraying the 1999 Prime
Minister is Mizuno Kumi, who appeared in several Shōwa era films, perhaps most
notably (for us) as the alien infiltrator Namikawa in
Invasion of Astro-Monster (1965). As an aside, there has never yet been
a female Prime Minister of Japan in real life. The 2003 Prime Minister,
formerly the Science Minister with responsibility for the Kiryu project, is,
delightfully, played by Nakao Akira. Nakao featured in
Godzilla vs Mechagodzilla II and the two movies that followed it as
Colonel Asō, the head of G-Force who oversaw the construction of the Heisei
Mechagodzilla. It’s about time that I also mentioned Ueda Kōichi, who played a
variety of officials and other characters in small but memorable roles as far
back as Godzilla vs Biollante (1989). Here he plays General Dobashi, a
top Defence Ministry official, a role which he’ll reprise with substantially
more screen time in the next movie.
Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack
(2001) Toho Studios Director: Kaneko Shūsuke, Kamiya Makoto (special
effects) Also known as: GMK, which has been widely adopted for
brevity’s sake.
Still looking for that elusive spark that would reignite the fortunes of the
Godzilla franchise, Toho turned to director Kaneko Shūsuke. This was a dream
assignment for Kaneko – he’d expressed an interest in directing a Godzilla
movie in the early 90s and been rebuffed. He’d then gone on to direct the
Heisei era Gamera trilogy for Daiei and kicked arse. He even got to co-write
the third one, and he’d get the chance to co-author GMK too. Toho had
distributed the Gamera trilogy through their cinemas and presumably couldn’t
help but notice their success. Could Kaneko do for them what he’d done for
Daiei?
Admiral Tachibana Taizō lectures a room full of JSDF recruits about the
one great challenge the JSDF has faced since its founding, Godzilla’s
attack in 1954. Godzilla was defeated and Japan has enjoyed peace since
then, but the JSDF needs to remain vigilant as monster sightings are
reported elsewhere in the world. He’s called away by a report of an
American nuclear submarine going missing near Guam. A Japanese submarine
dispatched to the scene finds the sunken vessel scored with claw marks,
and is itself broadsided by a briefly glimpsed creature with a familiar
set of dorsal plates.
In Niigata Prefecture, a team from the TV channel BS Digital Q is filming
a piece about a legendary kaiju that’s supposed to live on the foothills
of Mt Myōkō. (The “BS”, a standard TV channel prefix, stands for
“Broadcasting Satellite” and not for anything else we might cynically
think of.) As we’ll find out later, the journalist in front of the camera,
Yuri, is the daughter of Admiral Tachibana. The local mayor is upset by
the filming when he learns that BS Digital Q specialises in sensationalist
features about the paranormal, but Yuri persuades him that it’ll bring
tourists to the area. She thinks she sees an old man watching her from the
nearby trees, but he’s not there when she looks again.
That night, an earthquake in the area causes a road tunnel to collapse and
bury a gang of delinquent bikers who’ve destroyed a jizō statue (a small,
rounded, roadside shrine guardian). A truck driver who was driving behind
them sees the head of a large, toothy creature moving through the debris,
which he mistakes for Godzilla.
The next day, Yuri is upset that her editor won’t let her follow up the
story about the earthquake, and in particular the detail that the
epicentre was recorded as moving. A colleague, Takeda Mitsuaki, gives her
a book about legendary guardian monsters that he thinks has a bearing on
the event. Illustrations in the book show a three-headed dragon, a
large-eared reptilian creature and a moth.
That night, a party of drunken teenagers at Lake Ikeda remove another jizō
statue, apparently planning to steal it, and are set upon by an enormous
larva that emerges from the lake. (It’s easily recognised as a larval
Mothra.) This event and the one at Mt Myōkō seem to have been predicted by
the book, which suggests an incident at Mt Fuji will be next.
Yuri, Mitsuaki and one of their other colleagues visit the police station
at Motosu, at the foot of Mt Fuji and just next to the Aokigahara Forest.
The police have detained the old man Yuri saw at Mt Myōkō; apparently he
lives in the forest and warns passersby of Godzilla’s imminent return, but
now he’s damaged a shrine. As Yuri secretly films him, he tells her to go
and wake up Ghidorah while there’s still time. Ghidorah is named, along
with Mothra and Baragon, in the book about the guardian monsters. (That’s
right, the third guardian isn’t Godzilla at all but Baragon, the
floppy-eared, burrowing reptile from
Frankenstein vs Baragon (1965). Apparently he wasn’t famous enough
to get a namecheck in the film’s title.) All three will be needed to
defend Japan from Godzilla. The old man believes Godzilla is animated by
the souls of all the victims of the Pacific War, who are angry that people
have forgotten their suffering.
Godzilla appears in the Bonin Islands, near where he was first seen in
1954, and devastates a village. The JSDF investigates and issues a warning
about Godzilla’s possible reappearance, but a complacent government takes
no further action. Yuri tries to tell her father about the three guardian
monsters, but he’s preoccupied with Godzilla. Admiral Tachibana was
orphaned as a young boy in the 1954 attack and hasn’t forgotten.
Nonetheless, he remembers what Yuri told him when he hears reports of the
other monster sightings that seem to line up with the legend. Meanwhile, a
businessman goes to the Aokigahara Forest to commit suicide. He takes a
jizō statue and stands on it in order to hang himself from a tree, but the
ground opens up beneath him and he falls into the cave where Ghidorah
sleeps. He’s trying to convince the Motosu police of what he saw when
Baragon surfaces in the street outside the police station and breaks open
the wall of the cell in which the old man’s being held, before heading off
south through the countryside. Everyone present mistakenly assumes Baragon
is Godzilla.
Baragon is, as before, a quadrupedal reptile with elephantine ears, a
large horn on his forehead and a ridge of much smaller horns over the back
of his head. His skin looks more red than it used to. He also looks quite
plasticky – he’s easily the least impressive daikaiju in this movie.
Godzilla comes ashore at Yaizu in Shizuoka Prefecture. He looks more like
the Heisei era version – rounded, almost feline head, dark skin colour,
dorsal plates not so huge and spiky – but taller and with white,
pupil-less eyes. His atomic breath ray is back to its old blue-white and
there’s an added inhalation effect before he fires it. He marches inland
towards Tokyo and meets Baragon coming the other way at a hot spring
resort at Hakone. Baragon initially surprises Godzilla by burrowing
underneath him and latching onto his arm, but Godzilla gives him a savage
beating and incinerates him with his breath. The government finally
authorises the JSDF to respond to the threat of Godzilla.
The JSDF discovers that conventional missiles can’t hurt Godzilla, who
easily destroys their fighter jets. Admiral Tachibana is dismayed to learn
that Godzilla was only defeated in 1954 by a superweapon (the Oxygen
Destroyer, not named here) whose existence has since been covered up. The
JSDF were in fact powerless against him and only took the credit to
reassure the public. On Lake Ikeda, Mothra hatches from her cocoon, while
in the Aokigahara Forest, the old man succeeds in waking up Ghidorah.
Yuri, who was able to report on the events at Hakone from a distance,
continues to follow Godzilla by bicycle and broadcast live footage,
imploring the JSDF not to attack the guardian monsters as they confront
Godzilla.
The JSDF sets up camp in Yokohama, with a battleship in the harbour under
Tachibana’s command. Godzilla and Mothra arrive at the same time and face
off against each other. In an unusual manoeuvre, Mothra attacks Godzilla
by firing darts at his face from her abdomen. Several buildings and
soldiers are caught in the crossfire as Godzilla targets and misses Mothra
with his breath ray. Ghidorah arrives and joins the fray, discharging
electricity into Godzilla through his teeth, but is quickly subdued.
Godzilla’s atomic breath makes short work of Mothra and most of the JSDF’s
forces, but Mothra dissipates into a cloud of energy that’s absorbed by
Ghidorah.
Ghidorah shines with a golden light and sprouts wings, looking more like
the version we’ve seen in earlier movies. Completely unharmed now by
Godzilla’s breath, he focuses the energy and fires it back at Godzilla,
knocking him into the bay. As the two daikaiju fight underwater, Tachibana
orders a minisub loaded with torpedoes and pilots it down in the hope that
Ghidorah will create wounds he can shoot into. Godzilla, mimicking
Ghidorah’s trick, is able to absorb the energy blasts from his three
mouths and fire them back at him, destroying him. However, the combined
mystical energy of the three deceased guardian monsters drags him back
underwater. Tachibana ends up piloting his minisub down Godzilla’s throat
and shooting his way out from inside. Godzilla is seemingly killed by his
own atomic breath discharging through a gaping wound in his shoulder.
On the surface of the bay, Yuri is happily reunited with her father. The
staff at BS Digital Q celebrate the news of her survival, but as the
editor orders work to begin on a special commemorative programme, he’s
told the mysterious old man has disappeared from the tape of Yuri’s
interview with him and has been identified as one of the victims of
Godzilla’s 1954 attack. (At last, a true paranormal story for the
channel!) At the bottom of the bay, Godzilla’s heart still beats.
At first sight, this might look like a reimagining of classic daikaiju to
rival anything that happened in the Heisei series. King Ghidorah not evil?
Mothra without the singing fairies? But that came about by accident rather
than by design. Kaneko’s original plan was to pit Godzilla against three
forgotten monsters of the Shōwa era: Baragon, Varan (who featured in an
eponymous film in 1958 and made an unnamed cameo appearance in a Godzilla
movie in 1968) and Anguirus (last seen in 1974). Toho’s response to this first
proposal was to ask for the more popular Mothra and King Ghidorah to be
included instead. Kaneko and his co-writers made little to no effort to
accommodate this change beyond renaming the kaiju.
But I’m damned if I know which kaiju subbed in for which. As a lake monster
who also flies, Varan looks like a match for Mothra, but then the big final
showdown involves a flying kaiju and happens in the water in Tokyo Bay, so
maybe he was replaced by Ghidorah. Anguirus, by contrast, looks underqualified
for either role.
What did stick was the idea to switch Godzilla from being a mutated
victim/avatar of American nuclear weapons tests to being the nightmare
embodiment of the vengeance of everyone who suffered during the Pacific War.
(That term, incidentally, is frequently taken simply to mean the Pacific wing
of World War II, but could potentially encompass the Second Sino-Japanese War
which started in 1937.) The scene in which Admiral Tachibana asks his daughter
why the souls of dead Japanese soldiers who fought for their country would
want to attack it, and she observes that many other Asians and Americans died
in the war too, saves this from coming across as a nationalist aggrandisement
of the military dead. Godzilla’s wrath isn’t the frustrated, reactionary
grumping of old imperialists but a broader stand-in for “the sins of the
past”, something a bit more in line with the indiscriminate curses of
contemporary J-Horror films and with Kaneko’s horror-inflected take on the
Gamera mythos.
Recasting other monsters of the atomic age as ancient, mystical guardian
spirits of Japan is a bold choice, though. Perhaps there is a hint of a less
aggressive kind of nationalism in there, a suggestion that it might be in
modern Japan’s interests to reconnect with older parts of its culture. Then
again, it’s only one step away from what Kaneko did with Gamera, turning him
and Gyaos into genetically engineered weapons of ancient Atlantis. Perhaps, if
Kaneko had been given the chance to make a sequel to GMK, he would have
taken Toho’s daikaiju further into the realms of BS Digital Q’s
National Enquirer-esque fantasies.
There’s a certain curmudgeonly flavour to the way GMK handles its
unnamed characters. Delinquent youths are responsible for disturbing two of
the guardian monsters and get a swift comeuppance. This seems a little
undeserved given that, as it turns out, it’s a good thing those monsters were
released and if those kids hadn’t desecrated those roadside shrines, that
mysterious old man certainly would have. Kaneko, who was still in his 40s at
this time, was by his own admission a grumpy old man at heart.
As for the little vignettes of people who are about to be killed by Godzilla,
these were apparently meant to humanise his victims, in lieu of the usual
scenes of anonymous crowds. But they more often come across as comical, either
as mean-spirited jokes (the man at a urinal on the island where Godzilla makes
his first landfall, the woman in a hospital in Shizuoka) or as punishment for
the characters’ stupidity (the tourists who pose for holiday snaps in front of
an oncoming daikaiju at Hakone).
On the subject of mean jokes, GMK features the Millennium series’ first
explicit, undeniable, no-interpretation-required dig at
Godzilla (1998). In the opening scene, Admiral Tachibana specifically
mentions a recent monster attack in New York as a reason for the JSDF to stay
alert. Two members of his audience whisper to each other about this. Wasn’t
that Godzilla, asks one. That’s what they say in America, replies the other,
but the Japanese don’t think so.
As far as the major characters go, Yuri feels like a suitably rounded
protagonist and Admiral Tachibana, the main military figure, is humanised by
the scenes of him at home with his daughter and reminiscing about his
childhood in 1954. The rest are filled in with quite broad strokes and there’s
not a lot of depth to them. Even Tachibana’s childhood trauma is dropped in
front of us but never really followed up on. For an ostensibly moody film,
GMK actually doesn’t waste that much time on mood or on human drama,
focusing instead on knockabout action. I don’t know what to make of the final,
cheesy twist – that old campfire tale standard, “but he died nearly 50 years
ago!”
There are a couple of familiar faces among the cast. Hotaru Yukijirō, clearly
a favourite of the director, having played the comedy cop Osako in the Gamera
trilogy, cameos as the suicidal businessman who discovers Ghidorah’s lair. The
mysterious old man who tries to warn everyone about Godzilla’s return is
played by Amamoto Hideyo, a stalwart of the Shōwa era. He was Dr Who (not that
one) in King Kong Escapes (1967) and the friendly neighbour Shinpei in
All Monsters Attack (1969). Yuri’s editor at BS Digital Q is played by
someone we’ve seen quite recently, Sano Shirō, who was the government
scientist Miyasaka (with much shorter hair) in
Godzilla 2000: Millennium (1999).
On the whole, GMK is a very good-looking film. (Well, except for
Baragon. Baragon looks like the kind of thing that was parodied in the opening
scenes of Shin Ultraman (2022).) There’s a shot up from ground level of
Godzilla coming ashore, with a fishing boat dropping from his shoulder, that
truly makes this giant nightmare version of the character look impressive. In
its story and its characters, I think it’s weaker, but it has enough momentum
to stop you noticing that until after you’ve watched it. It was the most
successful of the Millennium series Godzilla movies by a clear margin and it’s
well liked by the fan community. It just doesn’t quite tick all the boxes for
me.
Godzilla vs Megaguirus (2000) Toho Studios Director: Tezuka
Masaaki, Suzuki Kenji (special effects)
This film opens with a cheeky faux newsreel reporting on Godzilla’s
destruction of Tokyo in 1954. (The scenes feature the current,
flat-headed, super-spiny Godzilla suit – they’ve either been restaged very
closely or had the Godzilla 2000: Millennium
(1999) Godzilla superimposed over the original. In later, colour scenes,
his dorsal plates look a lot more purple than in the previous movie.)
There’s no indication that Godzilla hung around afterwards or was killed
in this timeline. In the wake of the calamity, the seat of the Japanese
government is relocated to Ōsaka. Japan forges ahead with its postwar
reconstruction, but experiences another setback when its first nuclear
power plant, the one at Tōkai, draws Godzilla back out of hiding. The
government concludes that Godzilla feeds on atomic energy and bans the
construction of any further nuclear plants. Japan experiments with various
renewable energy sources, but none of them can keep up with the country’s
demand. Finally, in 1996, the Bureau of Science and Technology succeeds in
developing a means of generating electricity from plasma using deuterium,
which shouldn’t pose any of the problems of nuclear energy. Nonetheless,
Godzilla arrives in Ōsaka to attack the plasma energy plant. A JSDF squad
is deployed to deter Godzilla with bazookas, without success; Tsujimori
Kiriko, one of the survivors, swears to avenge her commanding officer’s
death.
Five years later in a rebuilt Tokyo, Tsujimori is the chief officer of the
G-Graspers (their name advertised in English on their baseball caps), a
wing of the JSDF dedicated specifically to managing the threat posed by
Godzilla. She and a colleague recruit Kudō Hajime, a brilliant but
unambitious young scientist, to work on a project under his former
lecturer, Dr Yoshizawa. Yoshizawa proposes to develop a weapon, deployed
by satellite, that will create an artificial black hole and launch it
directly at Godzilla, safely sealing him away inside its event horizon.
(She talks about a target diameter of two metres, which sounds pretty
unsafe to my amateur ears. At that size, it would have 113 times the mass
of the Earth. Let’s hope there’s an off switch.)
Three months later, the device is ready for testing. Dr Yoshizawa credits
the research into plasma energy with making it possible. She’s keen that
once the weapon has successfully eliminated Godzilla, it should be
decommissioned. (Suggesting a parallel with the Oxygen Destroyer –
Yoshizawa vs Serizawa?) The weapon is successfully tested on a derelict
building in a rural area, although the assembled scientists and G-Graspers
observe a rippling in the air above the target area that lingers for a
moment before disappearing. Kudō believes this is a form of dimensional
distortion caused by the temporary black hole’s gravity. The test is also
observed by Hayasaka Jun, a local schoolboy and insect enthusiast on his
summer break. One of the G-Graspers catches Jun in the nearby woods and
Tsujimori swears him to secrecy. That night, however, Jun hears a gigantic
insect flying past his house and, following it with a torch, sees it
disappear into the distortion, which has reappeared. The insect has
apparently laid eggs in the area – Jun finds one, silvery and the size of
a beach ball, and takes it home.
A short time later, Jun and his mother are settling into a new flat in
Tokyo, where his father has a new job. Jun notices that the egg, which
he’s kept in a cardboard box, is leaking, although it doesn’t seem to have
hatched. He takes the egg out onto the street and discreetly drops it into
the sewers. Down there, it multiplies and hatches into larvae roughly the
size of a person. The larvae crawl back up to the surface and start
attacking people at night. Once they’ve fed well enough, they metamorphose
into similarly sized flying insects like dragonflies. (From what we’re
shown, this process is close to instantaneous and doesn’t involve a
pupation stage – the adult simply emerges from the larva as if shedding a
skin.) Jun sees one of the adult insects flying past his flat. He contacts
Tsujimori and tells her about the egg he took and what he saw. He’s
recognised the flying insect from one of his reference books as a
prehistoric creature called Meganula.
(Yes, it’s an unexpected callback to Rodan (1956). There’s no
suggestion that the events of Rodan happened in this film’s
continuity. Jun refers to the larva and adult respectively as Meganulon
and Meganula, as if they were distinct creatures – a JSDF scientist will
say the same thing later on when examining the beast’s tissue samples.
Meganeura is the taxonomic name of a genus of insects that lived roughly
300 million years ago during the Carboniferous Period – the JSDF scientist
will get that detail right, which is more than can be said for the
scientist in Rodan. We only ever saw the larvae in Rodan, in
which they were referred to as Meganulon.)
Satellite images show Godzilla clashing with a Meganula off Japan’s
south-west coast. A G-Grasper squad flies out in their VTOL plane, the
Griffon, to collect samples of the dead Meganula’s tissues from the
ocean’s surface. Tsujimori takes the opportunity to plant a tracking
device on one of Godzilla’s dorsal plates when he returns to the scene,
and her team launches an automated mini submarine to follow him.
Meanwhile, the black hole weapon, now christened Dimension Tide, is
successfully launched into orbit from Tanegashima Island Space Center. (A
real location, established in 1969 and still operating today!)
The JSDF is called in to oversee rescue operations after Tokyo’s Shibuya
district is flooded. The apparent cause of the flooding was something in
the sewers. They send in an aquatic drone that Kudō’s developed based on
the minisub and find Meganulon eggs littering the submerged streets.
Meanwhile, Godzilla is tracked heading north towards Japan. In order to
use the Dimension Tide against him, Tsujimori proposes to lure him onto
the uninhabited island of Kiganjima. (It’s a fictional island – the
coordinates shown on-screen would place it a little north of Ogasawara.)
The government agrees, although Yoshizawa and Kudō are concerned that the
weapon hasn’t been tested from orbit yet. The G-Graspers successfully
provoke Godzilla into coming ashore and the Dimension Tide is powered up.
Just at that moment, an entire swarm of Meganula flies in from Shibuya and
mobs Godzilla, confusing the satellite’s targeting system. The insects
feed on Godzilla’s energy through their stingers, but eventually he’s able
to swat or blast most of the swarm. With the Dimension Tide successfully
locked on, the JSDF fires. To everyone’s surprise, Godzilla reappears from
beneath the impact crater, as if he was buried instead of absorbed by the
black hole. Because the Dimension Tide takes an hour to cool off and
recharge, they can’t take a second shot and Godzilla wades back into the
ocean.
Several Meganula have somehow survived both Godzilla and the black hole
and return to Shibuya. There they dive under the floodwater and transfer
the energy they took from Godzilla into an enormous larva. When this
hatches, it’s the size of Godzilla and shares some of his physical
characteristics, notably reptilian skin and a mouth full of teeth. Its
wings can scythe through buildings or, when vibrated rapidly enough,
produce a loud, high frequency soundwave that devastates Shibuya. This is
evidently the queen Meganula; the JSDF’s paleontological expert claims
that it’s known as Megaguirus, a fiercely territorial creature.
Godzilla now approaches Tokyo, and a frenetic effort to evacuate the city
begins. Tsujimori recalls that Godzilla’s previous attacks on Japanese
cities were all directed at power stations and ponders what could have
attracted him this time. The G-Graspers scramble in the Griffon and try to
draw Godzilla into an open space so they can fire the Dimension Tide at
him again, but are surprised by the arrival of Megaguirus, who faces off
against Godzilla. The high frequency sound produced by Megaguirus’ wings
interferes with a nearby satellite relay tower and disrupts the Dimension
Tide’s control signal, stalling its firing sequence. During the course of
a violent fight, Megaguirus repeatedly plunges its stinger into Godzilla’s
belly and drains more energy from him, but is defeated when Godzilla bites
its stinger off and roasts it with his atomic breath.
The JSDF are now faced with a new crisis: the Dimension Tide satellite has
lost orbital stability and is falling to Earth. (Happily, though, it’s
going to fall straight down, right onto the spot it was meant to be
targeting.) Meanwhile, Godzilla marches on into Shibuya and tears down the
Institute of Science. Mr Sugiura, the head of the Bureau of Science and
Technology, confesses that he was overseeing continued research into
plasma energy in secret. Tsujimori angrily confronts him about the lives
that have been lost because of his political ambition. She then flies the
Griffon over to Godzilla’s position in order to give the falling Dimension
Tide an easier target to lock onto. Tsujimori ejects safely as the Griffon
ploughs into Godzilla’s back, and Kudō remotely fires the Dimension Tide.
Godzilla unleashes his atomic breath into the oncoming black hole; he, the
black hole and the satellite vanish in a flash of light. There’s no sign
of him in the resulting crater, although Tsujimori worries he may once
again simply be buried in the ground beneath. In a post-credits scene, Jun
is in the science lab of his new school when the building is shaken by a
violent tremor and he hears Godzilla’s roar outside.
On the morning of 30 September 1999, a criticality accident took place at a
uranium enrichment facility attached to Tōkai Nuclear Power Plant. Nearly
seven times the legally mandated maximum quantity of uranyl nitrate was
deposited into a precipitation tank, achieving critical mass and sparking a
chain reaction that rolled on, firing out gamma rays and neutrons across the
facility, until it was brought under control the following morning. The 1999
Tōkaimura nuclear accident was the worst Japan had seen and would only be
topped by the 2011 Fukushima Daiichi incident.
The causes of the accident were a litany of failures including inadequate
training, poor workplace supervision, lax regulatory oversight and cut
corners, all the way down to the technicians mixing the enriched uranium
manually in steel buckets. It was a stark illustration of how badly things can
go wrong when industry ignores regulations and health and safety practices.
The two technicians who’d had their hands on the buckets when criticality
occurred died of organ failure after months in hospital, and hundreds of
others within the facility and in the surrounding area received dangerously
high doses of gamma radiation. In March 2000, the facility owner, JCO, was
stripped of its credentials and its President resigned. Six of the plant’s
staff – including the supervisor of the two technicians who’d died, who had
himself received three months of treatment for radiation sickness – were
charged with criminal negligence in October 2000. JCO itself and three of the
individual defendants were charged with violating the relevant regulations.
Although that’s just two months before the release of this film, I imagine the
prosecution was a foregone conclusion when scripting began. The defendants
pled guilty but argued extenuating circumstances. The sentence that was
finally handed down in March 2003 was much lighter than might have been
expected, with suspended prison sentences for the individuals and a fine of
1,000,000 yen for JCO’s violations. By way of comparison,
Godzilla vs Megaguirus had a budget roughly 950 times that amount.
So here, released mid-December 2000, is a movie in which corruption and
complacency in the energy industry are revealed to be the cause of Godzilla’s
destructive rampage. Tsujimori even gets to punch the chief executive
responsible in the face, which I’m sure must have been a cathartic moment for
contemporary cinemagoers. Perhaps in order to soften the commentary, the
disaster that strikes Tōkai Nuclear Power Plant is moved back to the year of
its commissioning and Japan’s nuclear energy industry is replaced with the
more science-fictional deuterium-based plasma energy industry, fronted by the
glib Mr Sugiura. (It’s not entirely clear if Sugiura is meant to be a
businessman or a civil servant, or some combination of the two, like the
villainous Katagiri in Godzilla 2000: Millennium. As the head of the
Bureau that developed plasma energy, he takes a very hands-on interest in the
related Dimension Tide project and is a constant background presence in the
scenes set at G-Graspers HQ.)
And yet Godzilla vs Megaguirus equivocates. The whole premise of Japan
finding an alternative to nuclear energy and Godzilla attacking anyway seems
to suggest that nuclear’s as good as any other option, notwithstanding the
dangers. The opening backstory makes it clear that safer, renewable energy
production methods such as solar, wind and hydroelectric – at least, at the
state of advancement they were at in the 90s – aren’t enough to meet Japan’s
high energy demands. (Even with nuclear energy production in full swing around
the time this film was made, Japan still depended on imported fossil fuels –
oil, coal and natural gas – for roughly 80% of its power. Today that figure’s
closer to 90%.) An unrepentant Sugiura insists that he had to play fast and
loose to give the domestic energy industry a leg up and help Japan to become
more self-reliant. That’s pretty much exactly the rationale JCO gave for their
crimes after the public found out about them.
While we’re looking for hidden meanings, perhaps Megaguirus, as a product of
the Carboniferous Period, could be said to stand in for those fossil fuels.
Draining away Godzilla’s H-bomb-given energy (taking nuclear’s market share?),
Megaguirus comes to resemble him and is as dangerous and destructive. And then
there’s the flooding in Shibuya, which can be attributed to the hatching
Meganulons although the exact cause remains unclear. Rising sea levels were a
concern in pop culture at least as far back as
King Kong vs Godzilla (1962), and climatologists have increasingly come
to understand the part that burning fossil fuels plays in affecting the
ecosystem and causing those water levels to rise. I don’t know, though –
perhaps this is an interpretation too far. In this reading of the film,
Godzilla would have to represent nuclear energy as a “clean” substitute for
fossil fuels – much as he did in Godzilla vs Hedorah (1971) – while
simultaneously being a generic stand-in for “the bad things that happen to/at
power plants” in the rest of the movie.
Godzilla vs Megaguirus subordinates the commentary, if any, to the
simpler business of presenting a slam-bang kaiju action movie, and that's fair
enough. On that front, this is a return to more familiar territory after the
slightly more grounded Godzilla 2000. Japan’s response to the threat of
Godzilla once again consists of a well-drilled paramilitary outfit with access
to outlandish fantasy weapons, not two scheming civil servants and an amateur
investigative team armed with seismographs. But the G-Graspers are a pale
shadow of the Heisei series’ UN-backed G-Force. (I mean, “G-Force” at least
offered a play on words – what’s “G-Graspers” even supposed to mean?) As a
reimagining, this movie treads quite a lot of familiar ground. Again, we have
an antagonistic kaiju realised at least partly through CGI that wants to
become like Godzilla (so again, decide for yourself whether this is a dig at
Godzilla (1998) or just an overused Toho trope). Dr Yoshizawa’s concern
over the possible future abuse of the Dimension Tide looks like a superficial
reference to Dr Serizawa’s dilemma over the Oxygen Destroyer in
Godzilla (1954) but without the noble sacrifice at the end. (The
similarity in the characters’ names, Yoshizawa and Serizawa, might even be
deliberate. Incidentally, Hoshi Yuriko, as Dr Yoshizawa, presents the most
familiar face in the cast - she played the female journalist leads in
Mothra vs Godzilla and Ghidorah, the Three-Headed Monster (both
1964).) Besides being an unexpected reprise of the less well-remembered
monsters from a 1956 movie, the Meganulons present us with a swarm kaiju just
two Toho Godzilla movies after Godzilla vs Destoroyah (1995). (Or
perhaps, with their insectile appearance and their appetite for energy,
they’re a little closer to the Legion footsoldiers in Daiei’s
Gamera 2 (1996)?)
In terms of the effects, CGI is clearly gaining a foothold at Toho. The
establishing shot of the near-future parallel Tokyo is a little too obvious –
it’s the CGI bullet trains that give it away. There are some very odd
directorial choices in the climactic kaiju fight, with plenty of bad, jerky
slow-motion moments and a comically sped-up shot of Godzilla shaking his head
after a fall. There’s an absolutely crazy shot from below of Godzilla leaping
through the air to bodyslam Megaguirus. Apart from that moment, we’re back to
the old standard of daikaiju being shot from their own eye level, which makes
the scope of the action feel somewhat limited. There is one scene of Godzilla
marching through the streets of Shibuya towards the Science Institute that I
think does benefit greatly from being shot from overhead and behind.
The scenes of the Meganulons and Meganula, by contrast, offer some human-scale
action and are uniformly well realised. Scenes of the Meganula shedding their
Meganulon skins and taking flight are very nicely achieved through CGI. The
daikaiju suits and city miniatures are all as good as they’ve ever been.
There’s one scene in which the effects team actually exceeded my expectations
and I’m in two minds about it: the prop for Kudō’s aquatic drone (presented at
actual size) very clearly isn’t the minisub prop (a miniature standing in for
something the size of a car), it’s a different colour and shape, but it would
have been so cheeky if they’d had Kudō walking in holding the same prop.
The character work is so-so. There isn’t exactly a romantic subplot between
Tsujimori and Kudō – it’s vaguely hinted at but it comes to nothing, and after
all, Kudō’s off-puttingly arrogant. Tsujimori is a stalwart lead, capable and
focused, and her personal grudge against Godzilla is paid off in a nice Moby-Dick moment when she climbs over Godzilla’s back to plant the tracker on him. She has to put up with a level of casual sexism that’s actually
surprising in this movie when you compare it to the Heisei series or the 1990s
Gamera trilogy, with little Jun asking her what a woman’s doing in the
G-Graspers and Kudō developing a desktop assistant that's an objectified
version of her. The other adult characters are too bland to leave an
impression, but Jun feels like in another world he could have been the child
star of a Gamera movie.
The last thing I’ll draw attention to is the music by composer Ōshima Michiru.
Ifukube Akira’s iconic Godzilla theme is, inevitably, heard again in this
movie, but around it is, I think, the first score by another composer that can
really give Ifukube a run for his money. She delivers a tremendous military
march that plays over the scene of the JSDF confronting Godzilla in 1996 and
the later fight between Godzilla and Megaguirus. The stridulating violin theme
for the swarming Meganula shows, by her own admission, the influence of the
synthesised soundtrack of Hitchcock’s The Birds (1963) and maybe a hint
of Psycho (1960) as well. We’ll hear from Ōshima again.
Godzilla 2000: Millennium (1999) Toho Studios Director:
Ōkawara Takao, Suzuki Kenji (special effects) Also known as: The slightly
re-edited American release was just called Godzilla 2000
(2000).
I’ll bet Toho were glad they retained the right to continue making their own
Godzilla films when negotiating the terms for TriStar’s
Godzilla (1998). Within a year and a half of the American movie’s
release, they’d produced the first of a new wave of films that could be seen
as reclaiming the daikaiju’s legacy and responding to the choices made by Dean
Devlin and Roland Emmerich. Although these all came out during the Heisei era,
they’re generally referred to as the Millennium series to avoid confusion with
the 1984-95 Heisei series.
The conceit of all but one of the Millennium series films is that each one
ignores all the material that’s preceded it except for the original
Godzilla (1954). (In practice, how much or how little each film will
ignore will vary greatly.) Presenting a string of new takes on Godzilla might
have been a way for Toho to show certain overseas film producers how they
thought it should have been done. It seems, though, that it was really just a
pivot from a planned series after Toho saw the underwhelming ticket sales for
Godzilla 2000. Presenting a selection of reboots was an expedient way
for them to try other approaches until they found one that worked for Japanese
audiences. TriStar themselves undertook to distribute Godzilla 2000 to
American cinemas, but ended up trimming and re-dubbing it to create another in
the long line of American re-edits. Subsequent entries in the series received
limited exposure, if any, in US cinemas.
Ichinose Yuki, a journalist, tags along with independent scientist Shinoda
Yūji and his young daughter Io on a nocturnal expedition to track
Godzilla. (We don’t initially know it’s Godzilla. Well... we do, because
we’re watching a movie with his name in the title, but we’re a few scenes
into the movie before anyone says “Godzilla”. All that’s clear from the
first scene is that they’re tracking something that registers on
seismographs, which implies a natural phenomenon.) Ichinose wants to get
pictures of Godzilla to bargain her editor into giving her a job on a
computer magazine; sadly, Godzilla’s radioactivity has the effect of
ruining her film, so she ends up stuck on the assignment.
Godzilla comes ashore at fogbound Nemuro, up north in Hokkaidō. (In a
possible callback to The Beast from 20,000 Fathoms (1953), there’s
a close call with a lighthouse.) Shinoda, Io and Ichinose intercept him
and barely escape with their lives, then witness him destroying a local
power station. Shinoda theorises that Godzilla might somehow hate man-made
energy sources.
Godzilla now has quite a flat, wide head, somewhat greenish skin and
extremely pointy, spiny dorsal plates. He’s very snaggle-toothed. His
breath ray is orange rather than blue and more fiery than before. His
history is never explained in the movie, it’s just accepted that he’s a
periodic hazard for Japan with a particular taste for power stations.
Katagiri Mitsuo, the head of the Crisis Control Intelligence Agency (CCI),
is schmoozing at a corporate soirée when his subordinate Miyasaka Shirō
informs him of the Nemuro incursion. (Presumably the CCI is a kind of
quango with responsibility for giving the relevant government departments
advance warning of any Godzilla-scale threats. It evidently has broad
scope and a generous budget to conduct its own research, as we’ll see in a
second. Katagiri is said to also be a deputy cabinet secretary, but at
which ministry isn’t made clear.) Later, a submarine under the direction
of Miyasaka is planting CCI “G-Sensors” in the ocean trench off Japan’s
east coast when it finds a meteorite made of a highly magnetic substance.
Katagiri thinks it could be exploited as a new, cleaner energy source and
orders it raised. When the operation begins, however, it raises itself and
floats impossibly – Miyasaka suggests it could be something alien.
Sent back out by her editor, Ichinose looks for Shinoda at the
headquarters of the Godzilla Prediction Network (GPN). (Presumably this is
back in the Tokyo area rather than Hokkaidō, given how quickly Shinoda is
able to get to Godzilla’s next landing spot.) GPN HQ turns out to be an
office in the back of a brewery warehouse – although Shinoda has access to
a fair amount of hi-tech equipment, he’s clearly underfunded. The GPN does
seem to include at least two other people, in Matsushima and Fukushima.
Shinoda defers all the GPN’s business and admin activities to his
daughter.
Godzilla approaches Tōkai, where there’s a nuclear power plant. The
government orders the emergency deployment of the JSDF. Katagiri has the
authority to order the reactor shut down as a precaution. He and Shinoda
race there, Shinoda in his truck and Katagiri in a helicopter. Their
relative positions are clear: Shinoda wants to study Godzilla because of
what he might reveal about the development of life on Earth, Katagiri
wants to destroy him because of all the expensive damage he causes. It’s
revealed that Shinoda used to work alongside Miyasaka at the university
lab where Katagiri recruited his CCI staff; had Shinoda not already
resigned by then, he still would have refused any job offer from Katagiri
because of their irreconcilable ideologies. Shinoda tries to warn Katagiri
that Godzilla might attack other power sources in the area besides the
nuclear plant.
General Takada, in charge of the JSDF response to Godzilla, is confident
that his team can take Godzilla down with a new variety of
high-penetration missile. A first wave of conventional missiles launched
from fighter jets and tanks lures the aggressive Godzilla inland to where
the special missiles are waiting for him. Although they break his skin,
they unfortunately don’t injure him seriously, and only the distraction of
an airstrike stops him from destroying the tanks. Meanwhile, Miyasaka has
been shocked to watch the meteorite raise itself upright, levitate out of
the water and eventually glide off towards Godzilla’s position. It scans
Godzilla, then fires an energy beam at him, knocking him into the water.
He retaliates, blasting the rock off what proves to be a metallic UFO. It
flies away down the coast and parks itself once more in an upright
position in the water. Miyasaka speculates that it’s solar powered and
tilts to follow the sun – it could have been buried at the bottom of the
ocean for millions of years before the CCI submarine’s searchlight
reactivated it.
Shinoda is keen to study some of the scales that the missiles knocked off
Godzilla, but needs access to the CCI’s more advanced equipment. He agrees
to Katagiri’s condition that he turn over all the GPN’s data on Godzilla,
although Io craftily ensures that the CCI receives only a dud copy of the
data. Working together, Shinoda and Miyasaka discover that Godzilla’s skin
tissues contain a factor that nearly instantly repairs any damage on the
cellular level. Shinoda names this factor “Organiser G-1”. (The American
re-edit changes this to the more literal “Regenerator G-1”.) He’s soon
dreaming of the potential medical applications.
At sunrise, the UFO is re-energised and breaks free of the electromagnetic
restraints the CCI and JSDF had optimistically placed on it. It flies over
Tokyo’s Shinjuku district and lands on top of the Tokyo Opera City Tower,
crushing the top few floors. (Opened in 1996, this building follows in the
long tradition of prominent recent constructions to be destroyed in a
Godzilla movie.) The surrounding area, including Ichinose’s publisher’s
office, is evacuated. Commandeering the tower’s servers, the UFO hacks
into all the computers in the neighbourhood and absorbs all the
information it can. It also starts to lower the proportion of oxygen in
the atmosphere around it. The CCI decides the best way to counter this
threat is to plant bombs in the upper floors of the tower. However,
Shinoda receives a phone call in the CCI control centre from Ichinose,
who’s inside the tower’s server room trying to get the scoop on what
specific information the UFO wants. Desperate to get her out before the
bombs go off, Shinoda and Io race to the tower and get past the CCI’s
guards with Miyasaka’s help. Once they’re there, though, Shinoda takes an
interest in the data and stays behind while Io escorts Ichinose out.
Katagiri refuses to postpone the detonation to save Shinoda’s life,
despite Miyasaka’s protestations. The bombs fail to damage the UFO, which
destroys the rest of the tower itself, having apparently got what it
wanted.
Shinoda has, however, managed to get out with one of the server room’s
computers. Just before it demolished the tower, the UFO broadcast the word
“MILLENNIUM” (in English!) on all electronic displays in the area,
followed by other words (in English and Japanese) such as “Earth”,
“Alteration” and “Dominate”, giving some hint of its apocalyptic
intentions. Shinoda shows that it plans to change Earth’s environment to
suit an alien form of life, and that it’s particularly interested in
Godzilla. With Godzilla’s “Organiser G-1”, it could regrow the physical
forms of its original pilots. Godzilla chooses that very moment to wade
ashore from Tokyo Bay. Miyasaka suggests turning off Tokyo’s power supply
in the hope that he’ll leave again, but Shinoda and Katagiri agree that
the object of Godzilla’s attention isn’t the city, but the UFO.
After a short but violent confrontation, the UFO gets the upper hand and
samples Godzilla’s DNA, using it to create a gigantic alien organism that
resembles a stingray perched on top of a cluster of tentacles. But the
creature immediately stumbles and mutates, roaring as it does so. Shinoda
guesses that Godzilla’s genetic information, which the aliens have
absorbed along with the regenerative factor, is too much for them to
control. Godzilla recovers and blasts the shell of the UFO, but is now
confronted with an alien that increasingly resembles himself. (Ancillary
material from Toho names this daikaiju “Orga”, although it’s never named
in the film.) The two clash repeatedly, with the alien instantly healing
any injuries Godzilla causes. Godzilla is finally able to destroy the
creature by blasting it from within when it tries to swallow him whole.
Pausing only to smite Katagiri in a strangely personal attack, Godzilla
turns his attention to the city around him and goes on a celebratory
rampage. The surviving heroes muse that humans themselves are responsible
for the problem of Godzilla.
As is often the case, the new Godzilla movie riffs on a recent Hollywood
blockbuster. Here it’s Twister (1996), following a plucky scientific
team with their off-road vehicle and their ramshackle equipment as they race a
better-funded rival to pursue and study a natural disaster. This may be
significant, as Twister was the film that director Jan de Bont took on
after he walked away from TriStar’s Godzilla project. We’d rather have seen de
Bont’s take, Godzilla 2000 seems to say. That the kaiju antagonist is
(initially, at least) a computer-generated image that tries to imitate
Godzilla could also be a subtle dig against Godzilla
(1998).
Of course, it could equally just be a knock-off of the end of
Godzilla vs Biollante (1989), in which Godzilla defeated a foe
mimicking his form by firing his atomic breath ray down its throat. Pale
shadows of Godzilla can also be seen in
Godzilla vs SpaceGodzilla (1994) and the three films thus far to
feature Mechagodzilla (1974, 1975, 1993). This isn’t a new idea in these
movies... but it does take on a new significance in the wake of the
Devlin/Emmerich movie.
The nuclear plant that Godzilla attacks at Tōkai is, in fact, the oldest in
Japan. In March 1997, there’d been a serious radiation leakage at an attached
nuclear waste management facility, which might have had a bearing on its
choice as a location in this movie. It only plays a minor role, though. A far
worse incident happened at a nearby enrichment facility at the end of
September 1999, only a couple of months before the movie’s release and almost
certainly too late to have influenced the script. We’ll hear more about that
in the next blog post.
There’s another reference to a nuclear power station, more (in)famous now than
it was at the time, when Shinoda checks in with a colleague in Fukushima. It
seems the GPN keeps an active watch over Godzilla’s most likely targets.
Interesting, then, that the other GPN operative we hear from is based in
Matsushima. There are a couple of towns of that name, but presumably this is
the one down south in Kyūshū, which is home to a large coal power station.
Shinoda firmly believes that Godzilla is interested in attacking other energy
sources besides nuclear, an idea that really isn’t followed up on in this
film, but which, again, will be explored further in the next film. I can’t
find any indication of any large power stations in the Nemuro area, so what
kind of facility Godzilla attacks there must remain a mystery.
The introduction of “Organiser G-1” and, with it, the suggestion that Godzilla
is functionally immortal is quite a departure from earlier films. Hitherto,
Godzilla has been resilient, certainly, but not invulnerable. The nearest any
previous film has come to this is the broad suggestion in
Godzilla vs Biollante that Godzilla’s cells hold some sort of
regenerative factor and, at the other end of the rationality spectrum,
Godzilla vs Mechagodzilla II (1993) resorting to mysticism to bring him
back from the brink of death. A quarter of a century later,
Godzilla Minus One (2024) will show a Godzilla with a similar
super-healing ability, but without any explanation.
As far as the visuals go, the cinematography is far too dark in some crucial
scenes, notably across the entire last half hour, making it difficult to
follow what’s going on. The American re-edit goes some way towards mitigating
this, turning the brightness up a bit as well as tightening up the pacing. The
compositing is noticeably better than in the Heisei series movies, and
director Ōkawara Takao seems to have got the memo about shooting from street
level for greater impact, although that’s more in the earlier scenes. The
climactic (and too damned dark) fight falls into much the same pattern as in
previous films, with characters watching the events unfold from a nearby
rooftop as if to deliberately justify the default use of kaiju-eye-level long
shots.
Having all the lights go out in Nemuro as Godzilla wades in and crashes
through the power lines is a nice touch, too often overlooked in similar
scenes in the past. There are a handful of other moments I’d consider
highlights of this film. One is the title caption scene, as a spooky moment in
a fogbound lighthouse becomes the reveal of Godzilla carrying a ship past the
window in his teeth. Another is Ichinose’s first encounter with Godzilla as
Shinoda reverses his truck out of a tunnel with the kaiju in pursuit, plunging
his feet through the tunnel roof. (But why on Earth did the effect of the
windscreen shattering need to be realised with CGI?)
Old hands might notice two familiar faces among the cast. Shinoda is played by
Murata Takehiro, who had a secondary role in Godzilla vs Mothra (1992)
as Andō Kenji, the company man with a conscience. Apparently he got a lot of
positive attention for that performance, and he proves to be a capable leading
man here. And the villainous Katagiri is surely unmistakeable to anyone who’s
seen Yamato Takeru (1994), in which he played the evil Moon god
Tsukuyomi. He chews the scenery just as much here – in what might be the
movie’s most bizarre moment, he seems to try to outroar Godzilla seconds
before being swatted with a gigantic forelimb.