I was watching Godzilla 2000 on the DVD early this afternoon. As I was sitting through it, I recalled how much I’d enjoyed seeing it in the theater back when it first came out. I’ve only been able to go to a few of the Godzilla films on the big screen, which is a very different experience from seeing them on a television set. I started thinking that it was unfortunate that I’d missed out on the opportunity to catch the 2014 version of Godzilla in the theater.
And then, in a strange coincidence, maybe half an hour later, Michele was checking online to see what movies were playing in the area tonight. It turned out Godzilla was actually still playing at Cinemart Cinemas on Metropolitan Avenue in Forest Hills. Cue a quick hop into the shower and then a rush by the two of us to take the Q54 bus over there!
First things first: the 2014 remake of Godzilla is far and away a major improvement over the first time an American studio attempted to adapt the property, back in 1998. This time around, Godzilla is NOT a giant iguana who runs away from the military while laying eggs all over the place. Nope, once again Godzilla is a titanic, city-smashing prehistoric reptile reawakened by atomic testing, a nigh-unstoppable force. Yes, the design of the creature is tweaked somewhat, but it still recognizable, still a being that you will look at and say “Yep, that’s Godzilla.”
The movie opens with an extended prologue set in 1999. In the Philippines, a mining expedition has unearthed a cavern containing an enormous dinosaur skeleton. Exploring the cave, Dr. Ishiro Serizawa (Ken Watanabe) also discovers two mysterious egg pods, one of which has hatched. Soon after, at the Janjira nuclear plant in Japan, a sudden & mysterious earthquake causes the entire facility to collapse, rendering the area radioactive, and causing the death of plant manager Joe Brody (Bryan Cranston)’s wife.
Fifteen years later, Joe’s now grown son Ford Brody (Aaron Taylor-Johnson) is returning home to San Francisco after a tour of duty abroad as an ordinance disposal technician with the U.S. Navy. Ford’s reunion with his wife Elle (Elizabeth Olson) and their young son is cut short when he finds out his father has been arrested for attempting to enter the quarantined Janjira area. Joe is obsessed with the nuclear meltdown that killed his wife. He is convinced that it was not caused by a natural disaster, and that the government is covering up the true reason. Joe once again heads back to sneak into the quarantine zone, with Ford reluctantly accompanying him. Investigating, they find the area mysteriously empty of radioactivity, but are eventually arrested for trespassing. Taken to the site of the former reactor, they discover that a giant cocoon is in the center of the complex guarded by Project Monarch, a joint Japanese and American endeavor headed by Serizawa.
Unfortunately, shortly after their arrival, the cocoon begins to hatch. An EMP wave knocks out all electronics in the vicinity, and a creature called a Muto, which looks across between a praying mantis and a reptile, emerges. It demolishes the Monarch facility, fatally injuring Joe Brody, and then heads east. Serizawa explains to Ford that the Muto is a prehistoric creature, a parasitic entity that feeds off radiation. After hatching in the Philippines a decade and a half before, it destroyed the nuclear plant and spent the next 15 years soaking up the nuclear fallout. Serizawa gets Ford to recount the information his father told him before he died, and he deduces that the Muto is now homing in on a signal from another of its kind. Indeed, Serizawa learns that the other egg found in the Philippines, long stored away in the Nevada desert, has hatched, and that the second Muto, a female, is moving west in search of its mate.
The activity of the Mutos has also revived Godzilla, another prehistoric creature, one originally awakened back in 1954 which the American military attempted to covertly destroy under the cover of the testing of nuclear weapons in the South Pacific. Serizawa now believes that Godzilla is the mortal enemy of the Mutos, and that the creature’s role is to destroy the parasites and restore balance to the natural world.
As the two Mutos converge, causing tremendous destruction and horrific losses of life, Godzilla finally emerges from the sea to fight them, with all three finally meeting in the heart of San Francisco. All the while Ford attempts to make it home to his wife and son, while aiding the military’s efforts against the monsters along the way.
The movie definitely has a very slow build to it, with the Mutos first appearing about thirty minutes in, and Godzilla himself not receiving a full reveal until an hour in, the halfway point of the film. The story is very much concerned with developing the characters, probably to a degree not seen since the original Gojira back in 1954. I think it does a decent enough job of that. Yes, while the characters at times are still somewhat thinly drawn, on the whole they do fell rather more fleshed out than in the majority of big budget, special effects extravaganzas. Elle Brody is probably the least-developed of the group, mostly standing around fretting about her son or running away from danger, serving primarily as Ford’s reason to make his way home. But I guess Elizabeth Olson does her best with the material.
At least the script doesn’t attempt to hammer home its messages. You might think that it is awfully convenient that Ford is an expert at ordinance disposal, which conveniently enables him to be inserted into most of the action. But it actually does make sense that someone who lost his mother in a nuclear meltdown when he was just a child would grow up to want to save lives by rendering similar devices harmless. A lot of other movies would have just come right out and said that, but here is just a possible subtext for a viewer to pick up upon. Likewise, Serizawa carries around a broken pocket watch from Hiroshima that his father gave him, but it is commented upon in such a way that the audience isn’t bludgeoned over the head with the notion that humanity is warlike and destructive to the natural world, that we created an environment where Godzilla and the Mutos would thrive.
The movie also places the protagonists very much in the center of the action. Typically, in most Godzilla films, the humans are off at a safe distance, watching the monster battles and resulting destruction unfold with a minimum of risk. Here, the characters are right at the heart of the carnage, with buildings crashing down right on top of them, the threat of injury or death very much present. The death of Joe Brody very much drives that home. Though it is a real shame that Bryan Cranston’s character is killed off so early in the movie, this demonstrates that it is not just unnamed extras who are in danger.
Michele and I did agree that the movie could have used more of one thing: Godzilla himself. After all, the big guy is absent from half the movie. His confrontations with the Mutos are only seen very briefly right up until the last 15 or so minutes, mostly because they are all being witnessed by people fleeing from the monsters.
Director Gareth Edwards appears to have made this movie with as much of an eye for realism as he could without sacrificing the undeniably fantastical elements of gigantic prehistoric creatures beating each other up. Edwards obviously wanted a movie that told most of the story from the POV of the civilians on the ground and the soldiers in the trenches. That means that we get a great many chaotic glimpses of giant monster feet or swinging limbs or swishing tails, buildings tumbling down, and crowds of people rushing about. Oh, yes, and smoke… lots and lots of smoke! Because, yes, if Godzilla and a couple of his rivals started tearing up a major metropolitan area it probably would cause poor visibility due to the fires and debris. But as a moviegoer I wanted to be able to see the monsters much more clearly and not struggle to figure out what was taking place at times.
Nevertheless, I do appreciate that Edwards wanted to craft a movie that wasn’t mere disaster porn. There are definitely too many of those, long on SFX & explosions and short on plot & characterization, with no real consequences. Edwards went a bit too far in the other direction, focusing too much on the humans and not enough on the monsters. But I cannot fault his intentions.
Certainly the depiction of Godzilla was well done. The creature is not a villain, but neither is it heroic. Rather, Godzilla is a force of nature. Edwards also draws a certain parallel between Ford Brody and Godzilla. Ford wants to get home safely to his wife & son, and to save people. Godzilla, while he doesn’t appear particularly concerned with protecting humans, is seemingly not attempting to harm them, either. Well, at least not deliberately, but if he has to demolish a few buildings in order to stop the Mutos, then that’s a small price to pay. But, in the end, both Ford and Godzilla are willing to lay down their lives, the former to protect his family, the later a planet.
So, while not without flaws, the new Godzilla is nevertheless entertaining, thoughtful, and well-made. I’m glad I had an opportunity to see it on the big screen.