2023-12-27 18:14:42
Few cinematographic phenomena can boast of turning 70 years old and arriving with such vitality. The Japanese producer Tōhō revolutionized cinema in 1954 when it released Japan under Monster Terror (a title with which we have had to live in Spain at that time) Godzilla original), directed by Ishirō Honda. Drinking from success King Kong 20 years earlier and joining the genre of gigantic monsters (becoming the first exponent of what has been called the Kaiju Eiga), the film was not only an unprecedented success, but also introduced some innovations, such as the use of suitmotion (actor in a monster costume destroying a model to avoid the more cumbersome use of stop motion) devised by Eiji Tsuburaya and which King Kong himself would later adopt in the 1976 remake.
ATOMIC
Japan under Monster Terror It also responded to the new terror caused by the recently inaugurated Atomic Age. Like precedents such as The Monster of Ancient Times (released just a year earlier), the creature awakens following a nuclear test in the ocean, providing Godzilla with his legendary atomic breath. From being a destructive monster, and given the appreciation that the monster was acquiring in the public, Godzilla evolved into a heroic figure, defender of natural balance, facing other gigantic Kaijus (including an apocryphal King Kong, appropriated by Tōhō without permission ), which expanded the mythology of the character with creatures such as Mothra, King Ghidorah, Biollante or Mechagodzilla.
Godzilla Minus One It is the thirty-third feature film in the saga produced by Tōhō (to which must be added four American installments, the one directed by Roland Emmerich in 1998 and the three that are part of the Monsterverse). To commemorate the anniversary of the release of the original film, the production company has opted for a kind of remake of the 1954 version, but enriching the film with a historical and social look at Japan after the Second World War.
HUMILIATION
The end of the War was a double humiliation for Japan. Not only had they surrendered to the Allies, but the effects of the conflict had left the country devastated and the morale of the Japanese in tatters. This is perfectly reflected in the film, where we can appreciate the gradual reconstruction of the country before the arrival of Godzilla, but also how the defeat affects the different characters, especially Koichi (Ryunosuke Kamiki), Kamikaze aviator who carries the trauma of having been a coward and not having fulfilled his duty, something that also makes him an outcast in the eyes of other characters. For both the Japan of the film and these characters, the arrival of Godzilla, beyond the destructiveness of his threat, becomes an opportunity for redemption, the creature being a product of the same atomic threat that left honor in question. of all country.
REDEMPTION
Yes ok Godzilla Minus One It closely follows the structure of the 1954 film, with similar character profiles, it is far from a mere repetition. This historical component that it introduces helps the “human” plot have enough weight and maintains the viewer’s interest while the atmosphere is created for the appearance of Godzilla.
With a budget of less than 15 million dollars, this is a modest film, where Godzilla’s presence is widely distributed throughout the entire footage, giving the impression that his participation in the plot is greater. It is true that the modest budget is evident in the effects, but these manage to be very effective and overcome their limitations compared to, for example, recent American productions, visually more elaborate, but cinematically poorer.
THE KING OF MONSTERS
Godzilla Minus One It is, therefore, a modest film, but very well made, returning not only the creature to its origins, but Godzilla fans to the foundations of their love for this cinematic icon. The film’s worldwide box office success and good critical reception encourage us to fantasize about a sequel, where we can continue developing this recovered look at the original Godzilla.