On 16th May 2014, Toho’s greatest monster will return to the big screen in an American reboot. With just 13 weeks to go, we here at THN are counting down the GODZILLA back catalogue.
Director: Kazuki Ohmori
Starring: Kunihiko Mitamura, Yoshiko Tanaka, Masanobu Takashima, Koji Takahashi, Toru Minegishi, Megumi Odaka, Toshiyuki Nagashima, Ryunosuke Kaneda
Plot: Godzilla cells left over from his previous attack are fused with plantlife in an attempt to creat a bacteria that will destroy Godzilla once and for all.
GODZILLA had officially returned to the cinematic universe in 1984, but it took 5 years for a sequel to reach Japan (7 after the US release). Not only that, but Toho producer Tomoyuki Tanaka had also called upon the creative input of fans, asking them to invent a new story and monster for Godzilla to face off against. This was quite a brave step, with the last attempt resulting in the arrival of one time robotic hero Jet Jaguar. Unfortunately, the monster created, Biollante, would suffer the same fate in that this would be his only appearance on film. That would prove to be a very unfair result though, as Biollante took the blame for GODZILLA VS. BIOLLANTE’s box-office disappointment. It would be five years before we meet another new monster in the franchise, and even then it was to be Space Godzilla.
5,000 scripts were stuffed into Toho’s letterbox, with the eventual winner being Shinichiro Kobayashi, a dentist and science fiction writer. His ideas were adapted by Kazuki Ohmori into what we now know as GODZILLA VS. BIOLLANTE, a film that has gained more and more respect from the Godzilla fanbase as the years have gone by. It once again sets Godzilla up against a monster foe, but keeps Godzilla as the villain. Well, maybe “villain” is too strong a word. He’s a destructive and overly large beast that kills and destroys due to no fault of his own. The introduction of Biollante highlighted many of the key themes concerning the Godzilla franchise, and even expanded upon them. The darkness remained intact, while also managing to incorporate slightly more obvious science-fiction elements.
Despite the lengthy gap between films, especially for the Godzilla franchise which had managed to churn out two films a year at times, the film picks up exactly where GODZILLA 1985 left off. First we’re introduced to a new computer system that discusses “G” as the big lizard is affectionately referred as. We then see a group of scientists uncover a Godzilla scale. The discovery results in a gun fight between two groups, showing how man’s greed isn’t going to subside anytime soon. Accompanied by electric 80s tunes, the music is fantastic in its own right, but does seem to lower the gravity of the situation. Hearing the classic Godzilla theme paired with guitars and synths is wonderful, but maybe not during an intense action sequence. Still, it was the 80s. As a group of soldiers do away with some unidentified men, your typical 80s henchman assassin shows up. He wears sunglasses at night, he has a long black trench coat, and fingerless leather gloves. He’s also able to take out three men in three shots. His look may be dated now, but you still know he’s cool from the outset. The cell is then taken to Saradia, a non-existent Middle Eastern country. I always enjoyed this part of the Godzilla films. Why cause offence by placing villains and unethical experiments in existing countries when they can be imaginary?
The land of Saradia is home to the Biotechnology Institute, where the Godzilla cell is experimented on by Dr. Shirigami (Takahashi). Fearing that oil will one day dry up and leave the land of Saradia devoid of an income, biological research is their plan B. Shirigami cross-breeds weeds and inserts the Godzilla cells into their DNA in order to promote self reproduction. Unfortunately, the lab is blown up, which kills Shirigami’s daughter, Erika (Yasuko Sawaguchi). Terrorism? Focus on oil in the Middle East? Scientific experiments on plants? GODZILLA VS. BIOLLANTE has hardly aged a day. A five-year skip forward in time now shows us that Shirigami believes his daughter’s spirit resides in plants, as we also meet Miki (Odaka), a psychic who tries to read plants fields of mental energy. Psychics would gradually play a larger role in the Godzilla franchise, and they fit surprisingly well. What better way to show man’s obsessive thirst for knowledge and power than experiments and mutations on themselves? A bunch of Americans working for the corporation Bio-Major still spy on Shirigami, whilst they too are spied upon by a Saradian mercenary. Meanwhile, Shirigami and fellow scientist Asuka (Tanaka) discuss the ethics of her father’s research, which involves using the frozen semen of Nobel Prize winners. Got to have a hobby I suppose.
A Godzilla Memorial Lounge resides in a building of Japan, which helps create a sense of time passing by but not being forgotten. This isn’t the only hint at previous events, as there is now a special branch of the government dedicated to potential Godzillian threats. This division of the armed forces, subtly named the National Land Bureau, is headed up by Gondo (Minegishi), a man who spends his days swatting mosquitoes and hoping that Godzilla does return in order to save his job. This means he’s all excited when Asuka tells him she suspects Godzilla’s return, but why does she suspect such a thing? It’s all down to one of the most brilliant, powerful, and terrifying shots I’ve ever seen. Upon visiting the Japan Psyonics Center, where young children with psychic abilities are nurtured, Asuka is told that all the children had the same dream the previous night. As she enters a large class and asks what they dreamt, they each hold up a hand-drawn picture that resembles Godzilla. The sheer joy on the children’s faces, mixed with drawings of such a destructive force in an innocent style, is truly shocking and unforgettable. You can immediately connect with how Asuka would feel at this moment, and it’s enough to make you cack yourself.
The Prime Minister ignores Asuka’s warnings, because let’s face it, that’s usually what people in power do in such situations. However, it is decided to explore Anti Nuclear Energy Bacteria. Bacteria that will, of course, consume nuclear energy. This would be most brilliant against Godzilla, as he himself feeds off nuclear energy. The only problem is that Shirigami’s help is needed to experiment on the Godzilla cells. After the death of his daughter he has vowed never to experiment with the cells again, but eventually agrees if he can have the cells for 7 days. His intention is to add his daughters DNA, encased within a plant, to the Godzilla cells. This results in a monster that rivals THE LITTLE SHOP OF HORRORS’ Audrey II. Fast moving vines sweep away a pair of American thieves, killing one, but allowing the other to escape. The monster attack on a minimal scale adds an extra fearsome element apart from the usual mass destruction. The surviving thief, a man working for Bio-Major, threatens to blow up a number of explosive devices surrounding Godzilla’s volcanic tomb, which would release the beast once again. Although Japan are willing to comply, an assassin kills the last Bio-Major thief, who is yet to disarm the explosives.
Godzilla arrives, and by God (or should that be man?) does he look incredible. For the first time the designers have made him look as beastly as possible, without betraying his original design. No longer does he have big wide eyes, but small and dark eyes. This change alone makes him so much more terrifying. There’s no longer any way to empathise with the creature in terms of looks, which also aids us in forgetting it’s a man in a suit. Shirigami’s creation, named Biollante, blossoms with the return of Godzilla, and due to their genetic connection, Biollante calls to the bringer of chaos. Eventually the two battle and Godzilla destroys the giant plant, meaning it’s up to the humans to stop Godzilla. Godzilla is fired upon by soldiers, who manage to inject the beast with the ANEB. Gondo faces up to Godzilla by firing one of the missiles directly into Godzilla’s mouth before Godzilla destroys the building in which Gondo stands. It’s the first time a main character has been killed by the titular antagonist, and it’s quite the memorable death. Gondo goes out in typical self-sacrificing style, but it adds a personal touch of vengeance for the audience. Godzilla isn’t so friendly anymore.
As it becomes apparent the bacterium has failed to work, it is surmised that being coldblooded has enabled Godzilla to resist it. It is decided to warm up Godzilla’s blood using experimental thunder creating microwave emitting discs. As the bacteria seems to make Godzilla weak for a short while, spores fall from the sky and an eruption from the ground reveals a new and evolved Biollante, and it is the GREATEST looking monster from the any Godzilla film so far. The sort of plant-mixed-with-an-alligator look makes this a distinctly original creature. The fact it’s also double the size of Godzilla and zooms across the terrain at high speeds actually makes the number one monster look a bit unsure of himself. Godzilla stares at the creature, and the new suit gives him expressions of pure hatred. The fight is an epic battle, where the kaijus are shown as equal at times. Eventually Biollante wins, but dies in the process of knocking Godzilla out and into the ocean.
GODZILLA VS. BIOLLANTE is a brilliant sequel on all accounts. It stays true to the tone of the original, while also reintroducing the monster vs. monster aspect of the Showa era. Elements such as psychics, and genetic mutations explore the imaginative sci-fi factor, while real world themes such as corporate espionage and terrorism are also littered throughout. The franchise once again declares that monster movies can be fun and daft, as well as tackling social and political issues; or maybe not so much “tackling” as they interweave strands of discussion into the main plot. It’s a true shame that the film didn’t do better at the box-office, as it caused the series to once again play things safe in future releases.
Dub-Misstep: There isn’t much to note here. The dubbing may not always be great, but there are no huge differences in plot or editing. The only thing of note was a lawsuit between Toho and Miramax, where Toho claimed Miramax entered a verbal agreement. This delayed the US release by two years.
Monsters: Godzilla looks absolutely terrifying and he is joined by Biollante. Biollante unfortunately never got another chance to shine on film. It was blamed for the poor box office as it was not a recognisable kaiju. Biollante has grown in popularity over the years, as a truly ferocious beast, and one of the best technological achievements of the franchise.
Notes For GODZILLA (2014): Wouldn’t feel out of place today as it keeps a very dark tone and pushes the limits. Main characters die, Godzilla looks ferocious with all humanity stripped from him, as well as themes that could still be considered relevant today. The idea of exploiting Godzilla’s genetics is one the makers must be toying with for the sequel.
G-RATING:
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GODZILLA will be released 16th May 2014. It stars Aaron Taylor-Johnson, Elizabeth Olsen, Juliette Binoche, Ken Watanabe, Bryan Cranston, Sally Hawkins, Akira Takarada, and David Strathairn.
