Hideaki
Anno & Shinji Jiguchi,
2016, Japan
A
reboot of Godzilla by Toho Studios – directed by Hideaki Anno and Shinji
Jiguchi – that focuses on the political turmoil caused by a super-monster
stomping through Tokyo. That means lots of talk about military action,
evacuations and international relations. From time to time, Godzilla impressively
unleashes sheer destruction. He’s been upgraded to motion capture and CGI but they
haven’t even used the latter to make the eyes blink and his arms never move so it’s feel is very much
man-in-a-suit. More importantly, the long-shots of Gojira ploughing through the
suburbs and the city are bright, spectacular, clear and the best yet seen,
surely.* The film steers a very tricksy line between the appearance of
seemingly clunky old-fashioned effects and state-of-the-art techniques,
pleasingly and sometimes surprisingly.
But
the film is mostly cutting between various political, scientific and military
departments trying to deal with the crisis. Much is made of Japan’s
international relations dealing with the giant monster crisis: boardrooms become
the central location of the drama as a satire of government bewilderment and
bureaucracy ensues. If Gojira was born from the Atomic bomb, here the monster
more represents nuclear and natural disasters: he’s there to embody all the
terrible tragedies that befall Japan it seems (most obviously here it’s Fukushima Daiichi and Tōhoko, but remember he also fought the smog monster
Hedorah). There’s a sly acknowledgement to the origins of Godzilla by
having America name the beast and Japan then adopting it. America is
represented by an ineffective aerial assault – just one of many – and a
Japanese-American liaison (Satomi Ishihara) who bears the most difficult English
accent of the cast; she has a penchant for acting sassy and flipping her hair
like she’s learnt her moves from perfume commercials and seems to have stepped
in from one of the earlier tackier films in the franchise (there’s also a
somewhat baffling subplot about her becoming president eventually?). But it ends
up being France that proves Japan’s political ally.
There
are so many characters and groups being introduced all the time that it’s
probably forgivable if you don’t quite keep track (the IMDB page gives the
flavour of this). But mostly we follow Cabinet Secretary Yaguchi (Hiroki Hasegawa) as he angsts
over Gojira and his political ambitions. Directors Hideaki Anno and Shinji Jiguchi
try to keep all this boardroom and control centre action exciting by gliding
the camera through offices and having sheets of paper deployed in quick cuts
like karate blows, or more strikingly through a portable device’s screen’s POV
of the people looking at it, but there’s no doubt that this gets in the way of
giant monster action and that the film could have been shorn of much of this. Most
of the dialogue is made of instructions and exposition so it’s certainly better
than many Godzilla films, but the line that stuck out for me was also the most
enjoyably ridiculous: “Deploy all train bombs!” Of course, if you want to up
the cheesiness, just play the dubbed version.**
The
monster genre is typified and marred by the sense that the drama is almost always
weaker than the rampage, but here it’s more that the politics starts to get in
the way of the Kaiju. The seriousness is commendable and it’s all very slick
and less silly than most Gojira flicks, but as admirable as it is to return
Godzilla to Toho studios, there’s the sense that it’s longer and less fun than
it should be.
· Gareth Edwards
much maligned 2014 ‘Godzilla’ had some spectacular showpieces but failed to film its monsters in a way that
left the audience satisfied. Even if it’s a man in a suit, an audience likes its
kaiju anti-hero bright and clearly seen.
·
It’s “Send in all
the train bombs” in the subtitles and “Freeze the bugger!” becomes “Freeze the
bastard!” in the dub. It’s the little things… But this has been a review of the
subtitled version because dubbing makes everything less serious.
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