Showing posts with label daisuke serizawa. Show all posts
Showing posts with label daisuke serizawa. Show all posts

Thursday, 11 January 2024

Godzilla, King Of The Monsters! (1956)

Although not the second film in the series, chronologically, I decided to continue my journey through the filmography of Godzilla with this instalment because it is the film that rejigged the original film and repackaged it for mainstream Western audiences. It's probably the first Godzilla movie I ever saw, and I would say that applies to many other Brits and Americans of my generation.

The plot is the same as it was in Godzilla, with the main difference between the two films being a new character (an American reporter named Steve Martin, played by Raymond Burr) who narrates everything in a way that removes the need for subtitles. Most of this is accomplished by simply editing footage from the original film around the exposition delivered by Burr's character, but some of it is accomplished by a variety of stand-ins allowing moments to be reframed with our American at the heart of the the Godzilla carnage.

Put into the hands of Terry Morse for this interpretation, Godzilla, King Of The Monsters! isn't a terrible film. It works exactly as it is intended to work, and I would still mention it as an ideal introductory film if you have younger viewers who are interested in giant monster movies and the history of cinema. It suffers greatly in comparison to the original (because it's constantly patronising, and let's kindly and euphemistically refer to it as mired in some of the attitudes of the time), and those who have already moved through the majority of the classic Japanese films will probably view this as something to sneer it, but it's okay for a gateway film.

Burr is Burr, happy to have his hair mussed up as he tries to stay alive while a city is being ruined around him. It's hard not to take on that central role and not realise what it is, and he willingly takes on that task, being the narrator providing what is basically a summary of a much better movie. Everyone else is, well, I already commented on their performances in the original movie. Are they just as good here? Sadly not, but that's not their fault. It's the fault of the editing and the clumsy way some of the footage is altered to include Burr.

The good thing about Godzilla, King Of The Monsters! is that I can barely remember it after the end credits have rolled. It's a very small critter that stays resting peacefully in the shadow of a roaring titan. It's the Godzooky of the film series, if you will. There's space for Godzooky, in the grand scheme of things, but it will never be a rival to Big G.

6/10

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Tuesday, 2 January 2024

Godzilla (1954)

This year, 2024, marks the 70th anniversary of Godzilla, and I have taken that as a cue to finally work my way through as many "Big G" outings as possible, as well as numerous other kaiju movies. This review first appeared, in a slightly different form, over on Flickfeast, so please don't panic if you get a feeling of déjà vu.

It would be easy for me to write a lengthy essay about the circumstances that affected Japan so seriously it ended up creating Gojira (to give him his proper name). Okay, it would take some more time and research, but I would still end up covering ground that has already been well covered, and by better writers than myself. It would also be relatively easy to look upon this film and laugh, albeit with affection, at some of the melodramatic plotting and hokey special effects. But I’m not going to do either of those things.

Instead, as it has been many years since I last saw this movie, I am going to take a moment to remind everyone of an oft-forgotten aspect. The fact remains, despite the age and limitations of this film, that the build up to, and initial appearance of, “Big G” is an impressive and unnerving sequence. Admittedly, it becomes easier to see the crudity of the design work later on, but that very first main encounter so unexpectedly brings the monster into rather plain view that most people watching need some extra seconds to process exactly what they’re seeing.

Yet, at the other end of the spectrum, we also have a very human heart beating at the centre of it all. Takashi Shimura is Professor Yamane, the man doing his best to both help his fellow man and also avoid killing a remarkable beast. His daughter is played by Momoko Kôchi, and she’s believably attractive to both scientist Daisuke Serizawa (Akihiko Hirata) and Hideto Ogata (Akira Takarada), providing a love triangle that allows for all involved to back up their feelings with actions, be they courageous or cowardly.

The script, co-written by Takeo Murata and director Ishirô Honda (blending and translating works from Shigeru Kayama and Tomoyuki Tanaka), perfectly balances tension, spectacle, and moments that directly address the unique and specific fear felt by the people of Japan in relation to hugely powerful objects that can save or destroy mankind.

The special effects are uneven, but effective, remaining impressive today thanks to a mix of inventiveness and charm, and the scale of the destruction is established right from the off, although it would grow and grow throughout this enduring movie series, making this yet another classic that has remained a classic for good reason. It has an intelligence to it, an interesting mix of characters desperate to weigh up a situation before immediately looking to solve things with more detruction, and a giant monster laying waste to cityscapes. What’s not to love?

9/10

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