"あれがゴジラ" Godzilla-1.0/C Review

Godzilla-1.0/C

5/5

Written, Directed and Visual Effects by: Takashi Yamazaki

Rated: PG-13

           April, 1945: Japan has lost everything after the second world war. The country has fallen from "zero" to "minus." The nation's population is broken and desperate. Then, the radios bring a report. A massive under-sea creature was sighted off the coast, leaving a wake of destruction. It is heading for our homes and loved ones, and will crush all we have left. It is the gripping fear of war; the devastating results of the atomic bomb; the anxiety of what awaits tomorrow. Will anything survive the avenging malice of Godzilla?

           Godzilla Minus One (2023) is the latest film from the Toho Entertainment Company. This project was led by Japan's foremost director and visual effects artist, Takashi Yamazaki. It has been in development for roughly five years and, upon its release, received universal praise (garnering a 100% on Rotten Tomatoes in its opening weekend). This reviewer, though, was not able to see that film.

           Godzilla-1.0/C, pronounced "Godzilla Minus One Minus Color," is the black-and-white version of Godzilla Minus One. It is playing for a limited release in cinemas from January 26 through February 1. Director Takashi Yamazaki says this version was made by colorists who "took the care and the time to go through a careful and very complex process." Yamazaki states, "The black-and-white images make Godzilla look very realistic and documentary-like, which leads to even more fear," going as far to say one of the scenes in this version "was so terrifying it made his knees shake!" Yamazki also says, "This is not only for those who liked Godzilla Minus One but also those who are seeing it for the first time. They should definitely see this black-and-white version." This reviewer saw that film.

           With Minus One, director Takashi Yamazaki brings audiences into the homes and lives of postwar Japan, with remarkable authenticity. His eye-witness view of families in bombed wreckage has a sense of compassion. He illustrates employment opportunities in this culture as hope for the future as well as sunshine for today. He shows an admirable understanding of an ex-soldier's trauma along with the honor of their service. His story's events are detailed with the exact battleships and airplanes from this era, even featuring their names and their historical outcomes from World War II. With all of this and more, Yamazaki turns the modern movie screen into a portal to the past.

           But Minus One is not just a biographical period-drama. It's a Japanese monster movie, and this means terror, screaming and lots of destruction. Even here, Yamazaki delivers as the film's visual effects supervisor, pulling movie-goers dangerously close before the mighty Godzilla. His footsteps pulverize city streets and shake movie theater seats. His tail obliterates buildings, as audiences brace for impact. His jaws hurl screeching metal skyward and send screaming crowds backwards. And his roar erupts with resounding force as people gaze in stunned silence.

           These terrifying visual effects could clash with the film's humane direction, but they are held together and strengthen each other through, once again, Yamazaki as the film's writer. His story centers around a failed kamikaze pilot, too afraid to die and too petrified to live. Through this main character, Yamazaki unfolds a gripping and entertaining story with a profound and life-affirming message. Minus One's screenplay is rich with action, comedy, commentary, heart, despair and resolve. Surprisingly, none of these aspects upstage one another. Instead, every moment of passion wells up with emotion and every attack from evil raises dread. With so many excellent scenes, viewers may catch themselves thinking, "Go back. I want to see that again!" Those who avoid historical dramas may find themselves invested in the characters' situations. Likewise, the adults who scoff at silly creature features might be unable to look away from the king of the monsters.

           Minus One could also boast of its extraordinary cast, but they consider themselves far too humbled. Lead actor Ryunosuke Kamiki states he is "lucky to be part of the Godzilla universe," and would be happy if the "fans would take him under their wing." Kamiki's co-star Minami Hamabe also describes having the chance to be in a Godzilla film as "a joy and an honor" as well as "a childhood dream come true." Their privilege is the movie-goer's pleasure, with everyone in this distinct cast giving an incredible performance. To bring attention to a few: Munetaka Aoki as the grizzled Tachibana, Hidetaka Yoshioka playing the eccentric "Doc" Noda, Sakura Ando portraying the prickly Sumiko, and an endearing child actress playing little Akiko. All these actors let their performance fill their face, voice and body, allowing audiences to empathize with any of Minus One's characters.

           The release of Minus One marks 70 years in the monster's franchise, and Minus One celebrates this in spectacular fashion. The film takes inspiration and gives homage to the more than dozens of Godzilla films before it. Director Yamazaki cited Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001) as his personal favorite Godzilla film, and the Godzilla in that film helped inspire the visual look and scale of Minus One Godzilla's atomic breath. Musical composer Naoki Satō uses theme arrangements from earlier films in Minus One's poignant score. Several scenes in Minus One are directly inspired from previous Godzilla films, and Minus One's primary story comes from Ishirô Honda's original 1954 film. Yamazaki believed he "should stay true to the original film's spirit, addressing the issues of war and nuclear weapons."

           While Minus One shares multiple traits with its predecessors, Yamazaki's work is unique to this beloved franchise. This is because Minus One is the first Godzilla period-piece, as the previous movies took place in the present or not-so-distant future. Specific to North America, Minus One is the first Godzilla movie to be nominated for an Oscar (for Best Visual Effects, though it should have also received Best International Feature). It is also the current highest-grossing Japanese film in U.S. box office history, having earned over 50 million dollars off of its estimated 15 million dollar budget. Having achieved this, Minus One proves it is a noble tribute to the past and a sure pathway to a bright future.

           One final note: This review would not be complete, without a word of explanation. There has not been a proper review on this blog in over 1,700 days. Why is Minus One the film to break-up this hiatus? Well, sometime in the summer of 2019 movies seemed to have hard defined audiences. There did not appear to be merit in informing people whether they should see what was going to be an obvious "hit" or "miss" with its intended demographic. In time the common narrative became, "If it was made for you, you will like it. If you don't like it, then it wasn't for you," with the implied message being, "Stay away from what's not yours." This is why Minus One has awoken this blog from its slumber: It is a film for all audiences. Fans, newcomers, young, old, male, female, national and international movie-goers can all wholly enjoy this theatrical experience.

Verdict: Godzilla-1.0/C is just as powerful, engaging and well designed as the iconic black-and-white monster from which audiences run away and can't wait to see again.