On 16th May 2014, Toho’s greatest monster will return to the big screen in an American reboot. With just 11 weeks to go, we here at THN are counting down the GODZILLA back catalogue.
Director: Takao Okawara
Starring: Tetsuya Bessho, Satomi Kobayashi, Takehiro Murata, Saburo Shinoda, Akiji Kobayashi, Akira Takarada, Makoto Ohtake, Keiko Imamura, Sayaka Osawa, Megumi Odaka
Plot: A meteor which hits Earth reveals a giant egg containing Mothra, releases Mothra’s nemesis Battra, and awakens Godzilla.
GODZILLA VS. KING GHIDORAH proved that the old monsters worked best in terms of box-office business. The next logical step then, was to bring back arguably Toho’s second most famous monster, Mothra. Mothra had her solo feature back in 1961 and battled Godzilla for the first time in 1964, where she took top-billing over the now iconic lizard. This time though, things were slightly different. Godzilla was popular again and so it was his name that featured first. Interestingly enough though, this film focussed mainly on Mothra, and launched a brand new trilogy for the butterfly beauty, starting with 1996’s REBIRTH OF MOTHRA (just called MOTHRA in Japan).
Takao Okawara joined the Godzilla franchise as director for the first time and impressed so much that he would direct 3 more films. It’s no surprise he became a trusted leader, since the film is the highest grossing film in the entire Godzilla franchise when unadjusted for inflation (KING KONG VS. GODZILLA still holds the title when adjusted). GODZILLA VS. MOTHRA was also the second highest grossing film of 1993, just behind JURASSIC PARK, showing that in an evolving digital age there was still room in Japan for a man in a suit. If that wasn’t enough, it was nominated for 3 awards at the 1993 Awards Of The Japanese Academy. Akira Ifukube received a nod for Best Music Score, Takehiro Murata was recognised for Best Supporting Actor, and Keiko Imamura and Sayaka Osawa were nominated for Best Newcomer for their role as Mothra’s diminutive guardians. Not bad for a franchise on its 19th instalment.
An asteroid hurtles to Earth in the opening shots, but surprisingly this doesn’t result in alien beings or that jerk King Ghidorah making an appearance. It’s a mere reflection of how fragile we truly are as a planet and a species. The asteroid, thankfully tracked by NASA, lands in the Pacific Ocean and awakens who else but Godzilla. Here the giant beast is shot underwater against a bright red sea. The use of colour emphasises the danger humanity will shortly face, which is good, as we have a bit of plot to work our way through before the monsters fight for their right to…well, fight some more.The asteroid both taketh away and giveth, as it may have awakened an insurance company’s worst nightmare, but it also creates a typhoon that reveals the resting place of a large egg, familiar to fans of the series as a Mothra egg. This also serves as a reminder of what’s to come, but the majestic coloured egg is in stark contrast to Godzilla’s scaly exterior.
It’s the next day and we cut to Thailand, a land that allows for some gorgeous establishing shots. The scenery is truly breathtaking, but we don’t concentrate on that for long, as we are introduced to our “hero” Takuya (Bessho). He’s an archaeologist, he dresses in a fedora, and he is currently removing a gold artefact from a sacred temple. He certainly rings a bell. Of course, he’s a clear homage to Indiana Jones, as is the majority of this introductory scene as he runs off while the temple collapses around him, only to escape and become arrested. This is the only scene where Takuya channels Jones, and thankfully he has much more development in store. Takuya is met in prison by his ex-wife acting as an aid and intermediary for a Japanese politician representing the Prime Minister. We discover that Takuya isn’t one to be paying child support. If that wasn’t enough, he apes another 80s Hollywood icon, as he is now dressed as Rambo. Takuya is asked to explore an island, a request he initially declines, until he finds out he could be serving 15 years. There’s some great verbal sparring between Takuya and ex-wife Masako (Satomi Kobayashi). Godzilla films may not always be known for their dialogue, but a real effort has been made here.
We’re then informed of global warming and use of natural resources, topics still very much under discussion today. We’re also shown a monster that is neither Godzilla nor Mothra, rising from a crack in the ocean floor. Takuya, Masako and Marutomo Company secretary Kenji (Murata) arrive at Infant Island. Kenji is defined by the fact he has worn a suit on a jungle excursion. It’s an obvious look, but what is more surprising is the layered performance of Murata. He’s genuinely kind-hearted, but his occupation is in a world of greed he feels obligated to conform to. The jungle locale looks breathtaking, and for the next 15 minutes we’re offered up a very engaging adventure movie. We’re given clichés, such as a rickety bridge snapping, but it’s so refreshing coming from a Godzilla film that it all feels completely new. One scene involves a calm campfire sequence in which we find out that Masako has lied to her and Takuya’s daughter concerning his occupation. It’s a sweet scene that hints at, rather than spells out, a connection.
The trio eventually come across the egg and we meet Mothra’s tiny twin guardians, this time called the Cosmos. They relate a tale of an ancient, yet advanced, civilization that abused the Earth and were punished by Earth’s creation, Battra, a black Mothra. Mothra was then charged with ridding the world of Battra, only for the two to seek shelter after destroying civilization. What’s interesting is that this civilization had no hatred and no war, but still found its greed being its downfall. Man is truly its own worst enemy…aside from giant monsters of course. Battra is finally spotted and is fired upon to little effect, while Mothra’s egg is transported by a gigantic ship. Battra is a ferocious looking creature, which isn’t helped by its colour scheme of black and yellow, those dreaded colours associated with wasps, the worst creatures in existence. Battra’s attack shows off the great integration between the monster footage and the footage of panicking locals. It makes me want to give back story to each of the people running by screaming.
At sea, Mothra’s egg is first attacked by Godzilla and then by Battra. Godzilla now has slightly bigger eyes but they are still dark and animalistic. As Godzilla and Battra fight, Mothra hatches and puts up quite a fight in some very clear shots. Okawara seems content in allowing the fights to be as clear as possible, with very little shaky camera work, and long shots rather than confusing close-ups. Mothra is flung into the air and eventually swims back to Infant Island while Godzilla and Battra get a wonderfully photographed underwater fight before falling into a volcano crater. It’s nice that the monsters always pause to allow for a bit more human interaction. After this debacle it is realised that the Cosmos have disappeared, as Kenji has taken them to compensate Marutomo Company for the loss of Mothra. The body language of Murata’s award-nominated performance is very precise and paints him as somebody morally uncomfortable with his actions. Upon Takuya and Masako’s arrival back in Japan, Takuya takes off before he can meet with his daughter, showing his fear of commitment, but also leaving question marks as to whether he is completely irresponsible or unhappy with himself.
With the Cosmos now held captive, they sing the song made famous by The Peanuts back in 1962, and it is as gorgeous as ever. Mothra hears their cries and returns to shore. The Cosmos are quite bad-ass in a way, as they know calling for Mothra will result in the deaths of thousands, but how are humans going to learn if they don’t? Nothing is able to stop Mothra, and man’s arrogance is portrayed in a single quote by the boss of Marumoto Company. “Destroy it,” he cries at Mothra, “Destroy it all. I’ll rebuild the whole city.” It’s a desperate attempt at bravado and it’s all a little too late considering the Cosmos are now missing. As it turns out, Takuya, our supposed hero, has stolen the girls and has attempted to sell them. His claims that it was to gain money for a better life for his family just show how vulnerable he is. I loved that it takes him to the very end, along with his daughter’s pleas, to realise the error of his ways. Best of all, even after Mothra leaves in peace, she’s still inadvertedly destroying stuff.
Mothra eventually takes her more majestic form, just as Godzilla and Battra return. The battle is incredible, with swooping aerial shots, and gigantic sets. Seriously, it seems as though the model city goes on forever. There’s also huge variety in the buildings, with a Ferris wheel becoming a big part of the final battle. Mothra and Battra eventually join forces to take down the threat of Godzilla, and it is handled with a lot of heart as Battra suffers some fatal injuries. Everything a Godzilla film should be, the only downside for some will be that Mothra is the true star. However, it’s still a powerful piece, with Mothra’s “attacks” usually accompanied by disturbingly beautiful music. The performances are on point and the dialogue is some of the best in the series. Besides, who isn’t going to love an adventure story turning into a monster mash-up?
Dub-Misstep: Again, this was a fairly simple dub that was neither terrible nor great.
Monsters: Godzilla is brilliant as always, but takes a backseat to Mothra and Battra. The two have history, chemistry, and actual character arcs, whereas Godzilla is just an obstacle for them to fight with. Godzilla gives them good reason to join as a team, and their designs are both very unique, it’s glorious to see them take to the sky.
Notes For GODZILLA (2014): If there is one monster I want to see join Godzilla in the future, it is Mothra. She’s just such a contrast to the massive beast in both her forms. However, I would want it done without any shame towards the origins. Keep the tiny singing ladies, use the song, and just have fun with it. I know it’s doubtful, but maybe even give Mothra her own film. She’s proved worthy of a franchise before.
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.
