Over almost 60 years now, "Gojira" has grown in stature from a film with a gimmick, to one that is now considered an artistic masterpiece. Indeed, its effects may seem Meliesque by comparison, but they are more artistically rendered, with greater believability, than what passes for such today.
It is an award calibre film, filled with award winning performances. The great Japanese actor, Takashi Shimiura, as Dr. Yamane, father of Emiko, who believes Gojira should be environmentally protected, so that we might learn from him, speaks the film's ecological viewpoint, that I happen to agree with. Momoko Kochi, as Emiko, has two iconic moments-- her scream when Gojira lunges at her from over the hill, after his first, iconic appearance, and her horror at seeing what her betrothed, Dr. Serizawa has concocted in his laboratory. And you cannot get more moving than Akihiko Hirata's portrayal of the brilliant, yet tormented, Serizawa, a man so conscience stricken he fears the potential for destruction of the device (known as "the Oxygen Destroyer," which is spoken as such, even in this Japanese version; I guess the words did not translate!!!!!!!!!!) he has created, and which foreshadows his tragic deed at the end.
The Odo Island shots are brilliant, Gojira's appearance on land at night, the footprints and tail print in the sand, are all there. This film has pace and buildup, and is one of the more well constructed of the giant monster films, on either side of the globe. How about the shot of Gojira peering into the giant bird cage, whose inhabitants he does not harm, by the way? And how about the mother and the children fleeing, secure in nothing bur their own doom? Or the radio reporter, who documents his own death, even while it is happening? Not to mention the hospital scenes, and the spiritual cries of the young girls raising their voices in song, echoing the plight of the Japanese people. It s enough to bring one to tears, and, darlings, I cry real ones whenever I view this movie.
Then there is Gojira. Everyone seems to forget how cute and lovable he is. He only comes out at night, not only because lights bother him, but because he has heard how good the night life in Tokyo is, and he just wants to join in, and have some fun! And then everyone runs away from him, and his feelings get hurt! I feel so sorry for Gojira; it is no wonder I agree with Dr. Yamane.
The climactic underwater sequence, where Ogata and Serizawa descend to the ocean's bottom to place the Oxygen Destroyer, and the sight of Gojira in his own environment is moving, and strangely operatic, in a Wagnerian kind of way. Or so a sage wrote upon its release marking its 50th anniversary, back in 2004. I would have to agree. Just as I would that the shot of Gojira, as the water is having the oxygen sucked out of it, rising to the surface, uttering his final roar, plaintively spreading his hands, is the saddest sight in the entire film. I have tears just thinking about it. For this scene alone, Gojira should have received a Best Actor Oscar, as should have Shimura and Hirata for their performances, but, hell, back then, no one thought of awarding this film anything. Yet, several years ago, Gojira appeared on the Academy Awards, and he now has his own star on the Hollywood Walk Of Fame! He has finally been given his due!!!!!!!!!!!! And it is about time.
But I will always love his cuteness, and his love of adventure and fun!
Another thing to be said for this film--it packed them in at the Film Forum. Not so with "Mothra," which preceded this screening, and was billed as being shown, too, in its original, Japanese version. For those who have been with me awhile, go back and read my posting on Julie Taymor doing (or should) it as a stage musical. After watching this film yesterday, I was more than on the mark, for, with its lush colors, night club sequences, dancing islanders, and musical climax, it could easily be done as a musical. But it is also slow moving, not especially well acted, except by the two who play the Tiny Girls, both of whom are called Shobijin, and are played by the Ito Sisters, Emmi and Yummi!!!!!!!!! Wonder what ever became of them? And, no, they are NOT lesbians!!!!!!!!!!!!!!!!!
Which brings up an interesting question, regarding Mothra. That is its gender. On the American, English dubbed TV version some of us were raised on, Mothra is referred to as female. In the Japanese version, Mothra is said to be male! Go figure!
The fact remains, though, that Mothra is not that interesting a monster. When the old man invokes the name, and the stones peel back, and the egg cracks open, what emerges is no more or less frightening than the average cockroach in any New York City apartment!!!!!!!! It just swims across the sea, and does not seem a bit menacing at all. Its taking down a few ships is not a bit believable.
Once Mothra becomes a butterfly, it's like Gay Pride, but even in flight, it does not have the menace or panache of, say "Rodan," a better film, which I would rather have preferred seeing in its original Japanese form!!!!!!!!!!!!!!!
What made "Mothra" worth sitting through was what happened at the end, which I did not expect! The words to the "Mothra" song are projected on the screen, and you should have heard the audience singing! What a hoot!
By the way, in Japanese, the name is "Mosura!!!!!!!!!!!!"
But never forget, the Star Of The Day was Gojira!!!!!!!!!!!! He gives a great performance on screen--one of the greatest--but as those of us who love him know, he is just a big, cuddly, fun loving reptile! My favorite!
And he gets one more special screening during the Sci-Fi Horror Fest! So take advantage of it, and meet and greet him!!!!!!!!!!!!!!!!!!!!!
"Gojira" rules, dolls!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
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