In this
debut installment of the D&P Cross-Examination, Dan and Pete
discuss Director Garth Edwards’ 2014 feature length release: “Godzilla.”
In a conversation about the merits and shortcomings of the new “Godzilla”
movie, they touch on genre classification, computer graphics, the soundtrack,
analysis of specific scenes, and the new film’s place in relation to Godzilla
movies of the past. While the opinions expressed diverge in many places,
both Dan and Pete seem to agree that “Godzilla (2014)” is an unusual
blockbuster, deserving of discussion.
Note: For the
purposes of clarity, the new film is referred to throughout the article as
“Godzilla (2014)” to prevent confusion with Godzilla the character, or Godzilla
movies of the past.
Dan LaTourette:
Now, what I put in my post (here) about what I
felt the “Godzilla (2014)”
did with the more human perspective approach is that it made the viewer assume
the role of the humans instead of participating in observation of the people in
the film. Now, I'm not saying this is totally justifying the characters being
flat, but I will say I felt that the film asked its viewers to interact with
the film more than normal. Did you get any sense of this approach? Or, in
general, what didn't work with this human perspective approach?
Pete
Berris: I think that I may have had a slightly
different experience interacting with the film. Since I did not relate
especially well to the lead character, I'm not sure that I actually felt
tangibly connected to the events of the film as they unfolded. That being said,
I do think the characters in the film served a somewhat unusual purpose. As I
believe you have suggested, the film essentially invites the viewer to see
events as they unfold, through the eyes of characters caught in circumstances
beyond their control. To me, this felt like a conscious attempt at creating a
Godzilla film for the post 9/11 world. We live in an era where so many can
unfortunately relate to horrific images of skyscrapers collapsing, gigantic
tidal waves crashing ashore, and stadiums filling to capacity with survivors
trying to rejoin loved ones. Much of the imagery contained in "Godzilla
(2014)" could have come directly out of September 11th, Hurricane
Katrina, or other disasters of recent years.
For
a modern audience, connecting the struggles for survival contained in “Godzilla
(2014)” to some of the real human-level stories that have come out of events
like 9/11, would probably be natural. “Godzilla (2014)’s” palpable ties to such
recent news events changes the perspective of the film, and alters how the
audience can relate to both its characters and plot developments. By making the
disasters a key point of emotional reference for the audience, “Godzilla
(2014)” is able to employ contemporary issues for the purposes of building
suspense. Another effect of the pure emphasis on disaster itself in “Godzilla
(2014),” is that the movie often feels more aligned with the tradition of
disaster movies, than that of science-fiction monster movies. In “Godzilla
(2014)” the disaster and mayhem is more central to the film than the
"science" or the monster. In a way, the biggest difference between
“Godzilla (2014)” and the typical disaster movie is that the core catastrophe
in the film just happened to be reawakened dinosaurs rather than a hurricane,
or killer bees, or a “sharknado.”
DL: I
guess what I was trying to say is that the characters were made flat such that
the viewers had to become more involved with the film. Essentially, the
characters are more like avatars (like in a video game) rather than
full-fledged characters. The HALO jump was the biggest example of this since we
literally see the jump through the eyes of the soldiers, even through the
goggles.
PB: I
think your point that some of the camera techniques encourage viewers to
participate in the film is logical. I'm not as convinced that flat characters
are conducive to audience involvement, though
DL: Well,
I can definitely see why. It's not really the norm for a film like this
under this sort of marketing context. I will
say, though, that I feel this film has more layers than meets the eyes. I mean,
the director's last film was a sci-fi film with an incredibly meager budget,
but it got positive reviews. It seems this filmmaker works off subtlety.
PB: Although
I have not seen the director’s previous work, I do agree that “Godzilla (2014)”
certainly has moments that reach beyond the havoc and chaos that generally
dominates the screen. There are throwbacks to the first Godzilla film, “Gojira
(1954),” which are nice, such as the use of a Japanese scientist named Serizawa
who provides one of the main scientific viewpoints of the film (even if the
portrayal does not exactly align with the character’s sentiments in “Gojira”).
It was additionally interesting that “Godzilla (2014)” strongly implied that
Serizawa's father died in Hiroshima, an obvious nod to the political and
philosophical underpinning of “Gojira.” Another notable subtlety is that in
“Godzilla (2014),” the title monster is referred to by both its original
Japanese name and American adaptation. One last decision that I think added
some dimensionality to the film was “Godzilla (2014)’s” presentation of the
1950s atomic bomb tests as an attempt to to kill prehistoric dinosaurs. I just
wish that many of these more nuanced moments had been more comprehensively
integrated into the film, rather than applied like a quick dressing.
Nevertheless, at times “Godzilla (2014)” is a multifaceted movie, even if the
execution of the more ambitious elements is disappointing.
DL: Yea,
and although I agree that none of these historical themes are ever really
explored thoroughly (mainly having to do with making sure the film meets as
many expectations as possible) I do like the fact that they are all placed in
the forefront for the audience to consider at least and, in the end, the
audience can actually connect the original themes of the classic Godzilla films
with the modern themes and ponder at their relationships. The biggest
question I came up with, and I would guarantee the filmmaker wanted to bring
up, is: Why is the idea of Godzilla still relevant?
Though I must say Ken
Watanabe's character, as necessary as it was, was misused. All he did was stand
around and looked on in
wonder and awe.
PB: Agreed.
In “Gojira,” Serizawa was a major character who voiced some of the major
scientific concerns of the film, and provided the main allegory for the dangers
of a nuclear age. Wantanabe’s Serizawa has some of the same potential, but it
remains unrealized. In “Godzilla (2014),” Serizawa suggests that Godzilla is a
restorative force of nature that the military should not kill (along the lines
of the argument offered by the character Dr. Yamane in the original), but
Serizawa’s proposal is addressed so tangentially and weakly that it almost
seems intended for outright audience dismissal. Serizawa certainly never even
comes close to butting heads with the military forces dominating both the plot
and the film. Serizawa offers one of the major “scientific” tenants of
“Godzilla (2014)” in citing Godzilla as a force to restore balance in nature,
but the idea is woefully ignored for so much of the movie.
While
"Godzilla (2014)" actually has two leads with the potential to
provide a robust scientific viewpoint, neither fulfill that role. Serizawa has
minimal lines and an even smaller impact on the course events. The other
scientific voice in the film, Joe Brody, is killed off a third of the way
through the film (which really says a lot). The relegation of science to the
background in “Godzilla (2014)” seems odd, because scientific concerns have
been a major preoccupation of Godzilla films for decades. By killing off one
major scientific lead, and rendering the other useless through ineffective
writing, the film abandons one of the major mechanisms of explaining why
Godzilla is still relevant today. This decision was a major surprise to me,
since there are so many opportunities for a movie to exploit major scientific
concepts that are shaping our era. Climate change, for example, seems like it
would have been a logical choice for “Godzilla (2014), especially since past
films in the series have focused on environmental matters (particularly in the
seventies). In any event, the focus of the film ended up being squarely militaristic,
rather than scientific.
DL: Yeah, good point, and I think that is where
personal taste takes control because I didn't mind this sort of thematic
ignorance. But let's go to something else. You mentioned not being a huge CGI
fan, and to a large extent, I'm not a huge fan of it either, but was there
anything in this film that was particularly effective in terms of CGI effects
as compared to other recent films you may or may not have seen?
Much of the CGI used in
the film was effective but it was in the final battle that I was blown away by
the general use of art direction, the color palette
and the particle effects used for the dust and debris (which
also clouded Godzilla for an ample portion of time). It made me feel like the
filmmakers wanted to treat this battle with fragile care rather than make it
seem like the only worthy aspect of the battle was the action itself.
As for the other
creatures, I can see your point, though I will say I was not as irked by their
design. I actually like the long legs and when the male first bursts out of the
complex at the beginning of the film, the strangeness of its body made me feel
disoriented and, thus, anxious during the scene. That, and a well established
soundscape.
PB:
Speaking of sound, how do you feel about the soundtrack to the movie?
DL: The
soundtrack was the most surprising thing. Of course, they got me with the use of the underrated
gem of “Breakfast in Bed” from the album “Dusty in Memphis,” one of my all-time
favorite albums in the history of mankind. But, in general, it was more
than just that. The HALO jump featured iconic music from “2001” and, instead of
me getting all purist on the choice I actually liked it.
PB:
Going back to Godzilla's monster foes for a minute, how do you feel about the
amount of time they had on screen? For me, their prevalence was a bit of a
problem, since they overpowered the named star in terms of screen time...
DL: Right,
so I am going to play my “Jaws” card for this. One of the things that
makes the Spielberg film so amazing, even more amazing forty years later, is
that the onscreen time of the shark was very minimal. Consequently, the
significance of its appearance increased and, thus, the dramatic effect
increased…at least that is the theory. This goes way back to the Hitchcockian
philosophy of suspense that it is not the bang, but rather the build up to that bang, that
which instead of that creates the most drama and emotional involvement.
Godzilla was not seen as much as the other creatures and a lot of his screen
time was with shaky camera or even through the television set. Yet, because of
this restraint of showing him, I felt the significance of his presence was
amplified, and his role as the force of balance was
amplified as well. Since the film was taking more of a human perspective and
much of the film was showcasing how this whole phenomenon was out of the
humans’ hands, the arrival of Godzilla after much destruction and uncertainty
became a cathartic shift in the tone of the narrative. A consequence of this is
that, in the end, we never get a sense of who Godzilla really is. And
this is where I feel like the
film's ambition peaks because, as a human in the midst of such an event,
at what point would we take time to truly understand this fantastically large
creature? We wouldn’t get the chance. Once the
battle is over Godzilla leaves and we can’t control that.
PB: I
think you make some very strong points. In particular, I think we may feel
similarly about Godzilla's presence throughout the film, which is frequently
palpable even when he is not on the screen. If “Godzilla (2014)” had not
succeeded in that regard, I think the movie would have been dangerously close
to being a complete wash. That being said, as much as I understand your
argument, Godzilla's lack of screen time remains a major issue for me on a
number of levels.
Godzilla's
involvement, even including his indirect off-screen impact, is so scant that it
really strains the new movies’ ties with some of its antecedents. Since the
focus of “Godzilla (2014)” is more on the disaster itself than on the monsters,
the film’s ties to science fiction and monster movie genres feel a bit tenuous.
In focusing on the effect, rather than the cause, "Godzilla (2014)"
really aligns itself to disaster movies, and films like “Jaws.”
I
think part of the problem for me is that the approaches of those two movie
types are somewhat disparate, and sometimes cancel each other out in
"Godzilla (2014)." The suspenseful build up in "Godzilla
(2014)" that you compare to "Jaws" and some of the great
"Hitchcock" movies is certainly a nice touch, and it does
periodically work. However, I think this approach was undermined by the
trappings of the disaster genre that permeated "Godzilla (2014)."
With disaster movies, and the new film, the spectacle is everything. So while
"Godzilla (2014)" attempts to gradually build to the entrance of the
leading monster with classic suspense tactics, it also simultaneously reeks
disaster style havoc with two additional monsters, a massive military force,
two nuclear plant meltdowns, and a menagerie of action-packed sequences. While
I think the film may have done a respectable job in recreating tropes from both
suspense and disaster movies, it does not really combine them neatly. As a
fabricated illustration of how “Godzilla (2014)” sometimes feels, imagine an
alternate version of Hitchcock's "Rear Window" where Jimmy Stewart’s
obsession with the mysterious activities across the way are constantly
interrupted by eighteen dancing mobsters with tommy guns, an explosive gas
leak, a herd of amorous elephants, and a squadron of World War I fighter pilots
performing aerial maneuvers outside his room. More simply, the build to the
bang is lessened when the succession of lesser bangs becomes too distracting.
In "Godzilla (2014)," the leading beast is so overpowered by the
tropes of the disaster genre that I think the title could have almost been,
"G.I. Joe verses two Gargantuan Old-Time Reptiles: Guest Starring
Godzilla"
DL: I
almost think that you are now maybe thinking about this film too much as a
disaster film which is reasonable considering your feelings, but what I
perceive creatures, and Godzilla. The creatures are wreaking havoc for reasons
that we can say are aligned with biological instinct.
In fact, one of the
interesting things I'd like to point out now is that these creatures are not
bad guys and, for the most part but not all of it, were not framed as outright
bad guys. Having two of them might seem cumbersome but at least it is grounded
in some form of a biological explanation. The humans mostly have no understanding of
this biology, but what they do know is that having
these things around is totally costly, and they try to figure out a way
of beating them. What the story does
right, I think, is that it gives the humans time to formulate a plan, and
fail to the point where Godzilla really is the only option to destroy the creatures. I think that the dynamics between these three characters fall
in line with the monster movie more than the disaster film.
The question is: what
monster is the film for? I'll briefly pull
out another card from another film. “Fargo,” one of my favorite pictures to
watch, is known for introducing its protagonist halfway through the film. And
while I know the expectations are far different in that film than in the
well-established Godzilla franchise, what it shares with the Coen film is that
so much damage has been halfway through the film that narratively it renders, well for lack of a better term, balance or,
maybe poetic justice to restore order: that balance in the Coen picture is
Marge and in our film it is, of course, Godzilla. But
I think this all starts with the premise of the film expressing itself from the
human perspective, which would really make the monsters secondary inherently.
But I don't think that really happens because in so many monster films and even
disaster films, so much damage is done with no inclination of what it must feel
like to be in one of those CGI explosions. Nevertheless, maybe getting creative
and thinking that the humans are the third monster might inspire you to lean
towards my sentiments.
PB: I
agree that the film presents the monsters without an explicit value judgement,
and instead generally depicts them as a biological force of nature. While this
approach can definitely be found in some monster movie classics like "The
Beast from 20,000 Fathoms (1953)," I think that the execution of this
concept in "Godzilla" still feels more rooted in the disaster movie
tradition. Since the monsters simply exist as an organic force, it would be
possible to substitute any other go-to threat of the disaster movie genre for
the monsters in "Godzilla (2014)" and have a predominately similar
picture (minus the title). In many other monster movie classics, this might not
have been possible since the central creature generally represented some
concept that was inseparable from the heart of the film. For example, in
"Gojira" the moral was all about the dangers of humans and the atomic
age--an idea that would have been harder to pull off with, say, a whopping
hurricane instead of Godzilla.
Again,
the central focus of “Godzilla (2014)” is disaster in and of itself. While the
film hints that Godzilla is a natural force intended to restore order, the
movie fails to resolve what exactly was so out of order as to require a
monster's intervention. Yes, "Godzilla (2014)" makes passing
references to atomic anxiety of the sort contained in "Gojira," but I
feel as though it was insufficiently woven into the narrative to count as the
central focus.
While
you suggest that the humans could be viewed as the monster, an approach that
has certainly been embraced by past monster movies including
"Gojira," I struggle with that reading of "Godzilla
(2014)." Again, the presentation of the main characters is more like that
of a disaster movie than a monster movie. The central focus provided for the
audience is the ubiquitous, wholesome nuclear family, which is in danger of
being torn apart by the harsh realities of a nearly apocalyptic scenario. This
structure is a hallmark of the disaster genre, a recurring motif and device in
a wide swath of that genre’s pictures. The goal of course, is for the audience
to wear out the edge of their seats, wondering if the nice little family can
survive an absurdly trying sequence of events. Whether intentional or not, the
effect of this approach is to have the audience associate with the characters.
This effect is certainly true in "Godzilla (2014)." If the audience
didn't relate to the characters, the central suspense device in the film would
not work. However, the problem in “Godzilla (2014),” is that since the audience
associates with, and roots for, the central characters, the film lacks a major
mechanism for portraying humans as monsters.
Additionally, at no point in “Godzilla (2014)” does the
protagonist express doubt about his course of action, nor does he ruminate
about the philosophical meaning of the monster. As a result, the audience is
not really encouraged to question the human role either. Viewers are simply
expected to adopt the lead's concerns of following orders and returning home
safely to his family. Admirable, but hardly the sort of moral pontification
that might be expected in a monster movie. Admittedly, this lack of
philosophical introspection may be understandable since the film elected not to
feature a scientist in the central role (itself a departure from scores of
monster films), but the problem is that no other characters provided the
opportunity to truly question the human role either. As I have said before, the
two scientific leads in the film were ineffective, and they were certainly
deficient at offering a serious critique of humanity.
DL: I
actually agree with pretty much all your points and I am happy that it is so
elaborate in the way you convey your knowledge of the genres in question; you
certainly know more about monster films than I do. Expectations play a big roll
and I feel that what the filmmakers ultimately did to this film is a
hybridization of marketable genres. The monster film, per se, hasn't really
been a successful genre recently (at least I can't really think of an actual
monster film in the past...um, well, I guess since “Jurassic Park”). The
disaster film, for worse, has been a more dominant genre, with recent examples like “Day After
Tomorrow” and “2012”--both
terrible films.
If
I were to compare “Godzilla (2014)” to
a film that does something similar, I would compare it to something like '”Alien”
(granted, I consider '”Alien” to be the finest horror film and is still one of
the best sci-fi films...so this one is an ideal example, but bear with me). It
tinkers with tropes of two genres and tries to find ways the two genres
compliment each other to induce an intriguing form and expression. I feel that
was what this Godzilla film did, just not as successfully. But, I still stand
by the assertion that the
film is more a monster movie than maybe you perceive
it as, and to
back that up, I guess I'll look more towards cultural norms
than the actual genre. To me, it makes sense that this film is constructed
differently than the ones made in Japan in the last century. I feel that the roles of the
humans might reflect a
difference of mentality of what the humans’ role
should be and, conversely, what Godzilla's role should be. Though I have not
really looked into the film that much to give any specific examples, I feel
strongly that this cultural and temporal difference is the main reason to
employ a broader interpretation of the monster film/disaster film. The ending,
as in the second to last shot, is purely a disaster film ending. The next shot
of the water after Godzilla dives in is a monster film ending (a shot I
love...there's a serenity about it that I still have yet to think through). To
me, there really is an acknowledgment of the use of both genre tropes.
Now,
in terms of the morality of the film...I feel that is purely visual.
Unfortunately, I have to watch the film again to remember how some of these
shots were constructed. But one example I
do remember is a brief shot (maybe ten
seconds), where the main character is running back after he had blown up
the nest. Godzilla falls and they happen to glance at each other through a
devastated alleyway. It is cut short by the engulfing dust that swallows the
monster. There is the red sky that the soldiers jump
through and the deserted city in Japan which seems like a far cry once you get
to the end of the film. To me, there is always a
sense that the humans have been making the wrong decisions and there is this
melancholic tone to the actions of the humans throughout the film, despite it
also being very mechanical due to the fact that it is mainly military people
making the decisions. Also, and this is not really an attempt for
justification, but maybe the fact that the scientists took the back seat (a
move that I would even think the filmmakers were considering in relation to the
previous films), is sort of a nod to the way we treat
science. The characters we do follow don't necessarily hold the weight of the
moral issues involved, but can only react
and respond to the decisions made beforehand.
PB: Nicely
argued. I think your last comment is particularly thought-provoking. Even if
the relegation of science to the back burner in "Godzilla" is not an
intentional commentary on how science is regarded by so many today, it could
very well be a byproduct of the zeitgeist in that regard. Either way, it sounds
like we agree that science is not really the main focus of this film. As for
genre classification, I certainly agree that elements of both the sci-fi
monster and disaster genres are included (along with tropes from classic
suspense pictures), and it sounds like we just differ on the ratio at which
these different movie traditions are blended. The boundaries between the genres
we have been talking about are certainly not well-defined walls either, which
means there may be no satisfactory answer. I think part of what may make
classifying "Godzilla (2014)" difficult is that the film tends to
move from one genre-type to another in an almost linear manner, rather than
addressing the different genres concurrently.
I
thought that this approach to the different directions of the movies was
actually a very odd aspect of the film. As I recall, the film almost occurred
in several stages. There was the largely science fiction introduction, before
the film set up the nuclear-family- disaster-movie platform. “Godzilla (2014)”
promptly returned to science fiction when the protagonist returned to Japan.
After Joe Brody dies, disaster and suspense tropes take over for the most part,
until the final sequence that you just summarized. To be fair, I do think that
there are sections of the film where the genres blend more harmoniously. As the
protagonist and his fellow soldiers venture into San Francisco in an attempt to
regain their lost nuclear warhead, they bravely walk through the chaos like
disaster movie characters. However, the scene playing out beside them, a fight-
sequence between Godzilla and the other two monsters is very much a nod to some
monster movie classics (including many in the Godzilla franchise that involve
the named star dueling with monsters ranging from multi-headed space beasts and
sea monsters, to gigantic moths and flying dinosaurs). For me at least, the
different genres weren't woven together as thoughtfully in much of the rest of
the movie.
DL: Yeah,
I can see that. And it seems to me that your final thoughts about the film gear
more towards these genre complications. Again, I don't know if you have seen
'Alien,' but that is probably the best example of genre conflation where
literally no compromise is made: slasher and sci-fi in harmony.
But
can we talk about the HALO jump? I just want to talk about it more. I still
think it is a a scene that made “Godzilla
(2014)” for me and the culmination of all the pleasant surprises that
came before. When the HALO jump occurred, I knew I was seeing something that
wasn't necessarily run-of-the-mill.
Despite
all the trepidations of CGI that many people have, there is something within me
that roots for it. It has a lot to do with the fact that I like video games and
the premise of most games is to construct worlds of their own through the
magical powers of the computer. My tenure of video games have given me access
to some very beautiful and very captivating worlds and so when I regard CGI I
say to myself that I know that beauty can be made and expression can be
unfiltered.
The
HALO jump scene is marvelous and one of the most beautiful CGI scenes in
mainstream science fiction. I think the only two films of recent memory that
can be equated to such marvel are 'Gravity'
and 'Avatar.' But
I will say that what
makes 'Godzilla’ (2014) uniquely compelling is that it is rooted more in a
perceptible reality. Seeing San Francisco draped in a red sky infused with
starkly menacing clouds was equally intriguing and spectacular.
I mean, watching it on the gargantuan screen with my unfashionable 3D glasses
made me relate the wide shot of the cityscape to a romantic painting of the
19th century that heavily enunciated the organic power of nature. Indeed, that
is truly what we are witnessing with the monsters, but the film expresses it in
more than just monsters, and this shot really exemplifies an attempt that I
feel is mostly successful.
But
the actual scene, the movement of these images, is just as impressive. Backed
by a curious choice of music that ended up being (as I said earlier) perfect--the same music used in '2001:
A Space Odyssey' when both the apes and the humans on the moon discover the
monolith--there was a tone that was filled with anxiety
and weathered melancholy when coupled with the imagery. The whole human
perspective aesthetic reached its pinnacle when the soldiers fall from the sky
and we enter the perspective of the main character as he falls through the dense,
dark clouds and past the fighting monsters (in 3D, that was an almost physical
experience). Aesthetically, this all made sense, and
I remembered smirking when witnessing the consistency of such formal choices.
But, man, the red streaks in the sky? One reviewer likened it to tears, which
is why I like to connect this scene to
the whole visual theme of humans as a monster.
Okay,
I'll stop, this can be a singular post in of itself. But I like the scene. It works, and stylistically it is one of the
more involving scenes in recent memory. CGI is employed in a fascinating way
and endorses the idea that beautiful things can come from
it.
PB: The
scene that really stood out to me in "Godzilla" was the showdown
between the monsters and the military on the golden gate bridge. One of the
first classic sci-fi movies I remember watching when I was a kid featured a
sequence where the military literally rolled out in response to the central
threat of the film. In an exciting mishmash of what was probably stock footage,
well formed lines of tanks, jeeps, and soldiers roared out of a military base
prepared for battle with the unknown. Though some of the other details are less
clear in my memory, I suspect that line after line of well formed tanks, jeeps,
and soldiers also failed in their mission. This filmic tactic was essentially
an ingenious construct to illustrate how powerful the preternatural antagonist
of the film was. Even the modern American military, circa 1951, was powerless
to stop such a terrific foe! While such sequences are commonplace in the
monster genre, and the Godzilla canon is no exception, it is easy to imagine
how disconcerting imagery of military defeat at the hands of a superhuman force
must have been. An audience might have shuddered as all of the psychological
comforts and securities of the modern age, not to mention military superiority,
were exposed as ineffective on the Silver Screen (at least until the ingenious
scientific solution that usually resolved monster films). In any event, it was
a good movie trick then, and it's a good movie trick now. The golden gate
bridge scenes in "Godzilla (2014)" are both a welcome throwback to
some of the film's antecedents, as well as a well-proven technique to remind
the audience of the possibility that something may exist beyond the scope of
our understanding, capabilities, and strength.
In
any event, we have covered quite a bit of ground, including genre
classifications, the soundtrack, the role of science in "Godzilla,"
and even details from specific scenes. Considering all of this, what is your
overall impression of the movie?
DL: To
me, “Godzilla (2014)” represents a tweak in the mainstream. I think the film
altered many expectations for average moviegoers and for knowledgeable
moviegoers like me and you. Some of these
alterations were successful while others were not, but
I feel that the existence of such alterations tells me that these filmmakers were
aware of the narrative and
filmic choices they had at their disposal, and
they made use of them rather
than narrow their field of vision and go down the predictable path that
dominates many other mainstream. In the general scope of things, the film gave
me many pleasant surprises that allowed me to remain curious as to what they
could come up with next. To me, with what the
filmmakers were trying to do, many of
the formal choices ended up being reasonable, and I was happy to see such
organization in the choices. And then, of course, there are scenes that I was
totally blown away with because they just reeked of care and intelligence; the visuals looked
stunning and deliberately ambiguous. In the end, it was a lot of fun and smart,
something you don't necessarily get when you have a budget of eight quadrillion
dollars. How would you summarize your overall
opinion of “Godzilla (2014)?”
PB: My
opinion of "Godzilla (2014)" remains mixed. As a disaster movie, I
would have to say that it is one of the better examples that I have seen, even
if it isn't exactly a genre that's generally renowned for its attempts at
"high-artistry." As a science fiction monster movie, I find
"Godzilla (2014)" more disappointing. To reiterate my argument, the
movie lacks a true "scientific" voice, and many of the tropes of the
genre are deemphasized. Additionally, the film shies away from going out on a
limb with any of the grand morals that tend to give classic monster movies
their intellectual bite (pun intended). I think that “Godzilla (2014)” is most
disappointing when compared to other Godzilla movies. I think it barely
qualifies as a part of the canon, since, as I have copiously complained, there
is not nearly enough Godzilla in "Godzilla (2014)." While there have
been other movies in the series where other monsters get a large share of the
spotlight, those films felt much less distanced from the Godzilla tradition in
other ways.
As
art, I think "Godzilla (2014)" frustrates by failing to follow
through on some moments of great potential, while other bright spots are poorly
integrated into the overall story arch. But, as entertainment, I thought the
new "Godzilla" movie really was a lot of fun. In Godzilla on
my Mind William Tsutsui writes, "Who can beat 90 minutes of
suspended disbelief, moral certainty, and guiltless revels in gratuitous
destruction? The Godzilla films were made to be engrossing, exciting, humorous,
perhaps a little thought-provoking, and--above all--enjoyable." Despite
its shortcomings "Godzilla" easily meets most of those criteria, and
may end up being the most enjoyable blockbuster of the summer.