Critical notations on the new GODZILLA

I went to see the Godzilla reboot yesterday with Anne-Marie and A, and we all enjoyed ourselves, especially A, but I do have a few critical thoughts and feelings to share.

  1. Director Gareth Edwards and writers Max Borenstein and Dave Callaham, and their collaborators in special effects, get right one of the essential points from the original kaiju movies, which is that many of these “monsters” are sympathetic characters. Most of what they do, they do not out of malevolence, but simply as a result of their natures: they mate and breed, hunt and feed, and fight other animals that they see as threats or rivals. People are largely irrelevant, which may be what also makes them terrifying even as you can also sympathize with these creatures simply trying to survive and reproduce.
  2. I also appreciate how the new design for Godzilla references the classic “person in a suit” while also updating the character for contemporary aesthetics and expectations. There is one shot of Godzilla where he takes in a big breath and exhales that prompted A to remark that he looked like a person, which to me, was just perfect. The “humanity” of Godzilla is important to acceptance of him as something other than just a “monster.”
  3. Like others, I thought about Pacific Rim (2013) a number of times during this film, and, on the whole I enjoyed last year’s movie more. I found the creature designs to be more interesting, and, I suppose, I also liked the spectacle of having the giant robots as well as the giant monsters (although as A pointed out to me, the kaiju in Pacific Rim are alien while the ones in Godzilla are terrestrial). Mostly, I think that my reaction here has to with the difference between remaking an existing work and creating something new from familiar material. Guillermo del Toro made something new and the larger universe of his film is richer and more interesting than that of the new Godzilla.
  4. Another important difference for me was the fact that Pacific Rim featured two people of color (Idris Elba’s Stacker Pentecost and Rinko Kinkuchi’s Mako Mori) in the principal cast, while Godzilla defaults to the far more common young white male and his white family for the primary human characters. Indeed, even though the story starts in Asia and Japan is given a central location in the narrative in a nod to the source material, somehow a white American (or EuroAmerica) family has narrative prominence in Godzilla. Anne-Marie also made the good point that the primary family relationship, and loss, for the white guy protagonist in Pacific Rim (Charlie Hunnam’s Raleigh Becket) is a brother, not a wife and kid or even a parent. This is a less common dynamic for these kinds of films.
  5. For me, the most interesting, and underused characters in Godzilla are Ken Watanbe’s Dr. Ichiro Serizawa and Sally Hawkins’ Vivienne Graham. The story of Serizawa’s decades long pursuit of Godzilla seems more interesting to me than the monster/disaster movie spectacle we get at the end of his pursuit. As far has Hawkins goes, I’m not sure that her name is mentioned once in the film or that we are told that she is also a scientist. But she seems to be Serizawa’s partner in the search and I want to know more about that (I gather that this is the focus of the prequel comic). Both Watanabe and Hawkins are charismatic actors who draw your attention when on screen, and I was more compelled by them than I was by Aaron Taylor-Johnson (Elizabeth Olsen did not have much to do, but I am interested to see her as the Scarlet Witch now).
  6. Obsession with Godzilla is also a narrative through line for James Stokoe’s “The Half Century War” mini, and, honestly, as far as contemporary re-imaginings of this story goes, it is hard to do better than what Stokoe did with that book (I wrote about the way that Stokoe adapted Godzilla for comics, particularly his roar, for PopMatters).
  7. I left the theater with an uneasiness over the reworking of the origin story which removes American culpability for creating the kaiju as a result of the testing of nuclear bombs in the south Pacific. The original Godzilla (1954) picked up threads of anger and resentment among many Japanese for the American use of nuclear weapons in World War II and the subsequent occupation. This is also an important reason for Godzilla being a sympathetic, even, ultimately, a heroic, character: he, too, is a victim of the American bomb. There is a brief acknowledgment of Hiroshima in the new film between Serizawa and Admiral William Stenz (David Strathairn), but that only served to remind me of what has been lost in the new telling in terms of being a critique of American militarism and nuclear weaponry. Now, at worst, the American deployment of military and nuclear force just seems stupid or ineffectual rather than existentially threatening to ilife as we know it (I am drawing on Anne Allison’s Millennial Monsters, University of California Press, 2006, for the gist of this interpretation of the original Godzilla).
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