Feeds:
Posts
Comments

Posts Tagged ‘Motoyoshi Oda’

You know that thing, when you meet a person and initially don’t get on, but after spending some time together and getting to know them, you actually become really close friends? That’s really what Motoyoshi Oda’s 1955 film Godzilla Raids Again (also known as Godzilla’s Counter-attack and Gigantis the Fire Monster) is about – well, it illustrates the first part of the process, anyway. (I make no apologies for reviewing two Godzilla movies in a row, by the way.)

I was discussing this topic (Godzilla movies, not the process of making a friend) with Anglo-Iranian Affairs the other day. We are talking about possibly going to see Godzilla: King of the Monsters (again, in my case), and he expressed the hope that it was better than the last Godzilla movie we saw together, which was Shin Gojira (aka Godzilla: Resurgence), a couple of summers ago. I have to say that the response to this movie from my colleagues was neither kind nor especially positive, with the googly-eyed incarnation of Godzilla from the start of the film and the long scenes of dysfunctional committee meetings drawing particular stick. My response was to make the point that Godzilla movies are kind of like a lens, through which you can look at different things and get different responses: Shin Gojira is obviously a seriously-intentioned film with things to say about the Fukushima nuclear disaster, in an oblique way, very much in the tradition of the very first Godzilla, while King of the Monsters, though not entirely bereft of subtext, is much more of a fun monster mash.

So what kind of a movie is Godzilla Raids Again? Well, it was made relatively quickly following the massive success of the first film, and you can almost detect the producers wondering just exactly what they’re going to do to avoid a simple retread. The idea they eventually hit upon is one that has sustained the series for over sixty years since it was made, so the film has that in its favour – on the other hand, as is wont to happen in these cases, the idea as implemented here clearly still has a few wrinkles to be worked out.

The film opens with the introduction of its two protagonists, Kobayashi (Chiaki Minoru, guaranteed immortality as one of Kurosawa’s Seven Samurai) and Tsukioka (Hiroshi Koizumi), who are both pilots working for a tuna canning company in Osaka. It’s business as usual for the lads until Kobayashi’s plane has engine trouble and he is forced to land near a desolate volcanic island. Tsukioka goes to rescue him, and both pilots are shocked by the appearance of Godzilla, locked in battle with another giant creature. (The film is very clear about the fact that this is a different Godzilla to that in the first film, the original being dead at the bottom of Tokyo bay.)

The pilots report this discovery, rather to the dismay of the authorities. Nobody worries too much about where the monsters have come from (‘atomic testing’ is the handwave used), the big issue is how to stop them. The second monster is identified as Angilas (or possibly Anguirus, depending on which version you’re watching), a mutated ankylosaurus, although judging from his contribution, the chap doing the identification appears to be one of those escaped lunatics you often find pretending to be paleontogists in this sort of film.

The authorities hold a big meeting to decide what to do to resolve this new Godzilla crisis, which is honoured by the appearance of another of the Seven Samurai – Takeshi Shimura, reprising his role from the first film and making his sole contribution to this one. After showing some clips from the original film, he basically gives a big shrug and says that with the Oxygen Destroyer no longer available, Godzilla is essentially unstoppable and Japan is completely screwed. All he can offer is the idea that Godzilla is especially annoyed by bright lights and can be lured away from populated areas by dropping a ‘light bomb’ (basically, flares).

Well, it’s better than nothing, and when Godzilla resurfaces heading for Osaka, the authorities go for it, ordering a blackout and the use of flares. One of the real weaknesses of this film is that Ishiro Honda and Akira Ifukube don’t return as director and composer, but the following sequence does have an impressively eerie quality to it, the lights descending around Godzilla as he wades across the bay. Unfortunately, a group of convicts take advantage of the chaos to break out of custody, and end up crashing their stolen van into a gas refinery (as inevitably happens in these situations). The resulting fireball far outshines the flares and soon Godzilla is stomping into Osaka, looking intent on breaking things – and the news gets worse, as Angilas is not far behind, looking for a fight…

Yes, the main reason to see Godzilla Raids Again is the city-flattening tussle between Godzilla and Angilas which ensues. By the time the series entered the 1970s, Angilas was quite well-established as one of Godzilla’s key allies, even a friend, but there is little to suggest that here: the fight takes a surprisingly grisly turn, as Godzilla tears out his opponent’s throat with his teeth before setting fire to the corpse with his nuclear breath. The main reason to watch it may be, but it’s still not necessarily a very good one – in subsequent films, the film-makers had figured out that to make suitamation fights more convincing, they had to overcrank the camera so the creatures appeared to be moving more slowly and ponderously. Here, they hadn’t worked that out yet, with the distracting result that the monsters appear to be moving much too quickly and jerkily.

I’m not going to say that the discerning viewer may as well switch off at this point, but I do think that the main problem with Godzilla Raids Again is that all the interesting stuff is in the first half. The film is weirdly structured and badly-paced, with the monster fight that should really be the climax occurring round about the mid-point of the film. Following this there is a long and far from scintillating digression into the lives of the tuna canning factory owner, his family and employees. The first film’s subtext is clearly about the experiences of Japan during the Second World War; if this one has a subtext, it’s that the emergence of giant atomic monsters really complicates the business of running a tuna canning company. Godzilla burns down the factory! They have to think about relocating the company to Hokkaido, where there are at least fewer monsters (heh, just wait until King Kong and Legion turn up). There is a school reunion and a fairly well-mannered stag party, of sorts.

From here we go into a climax which just about deserves the name, as it is extremely protracted and not exactly gripping stuff: Godzilla is tracked down to another remote island, which is repeatedly bombed until he is buried under ice cubes. It is notably short on tension, though sadly not on sentimentality – once again, a heroic self-sacrifice is required to put a stop to the marauding monster.

That’s really the main problem with Godzilla Raids Again: too often, it just feels like a limp retread of the original, surprisingly formulaic even though this is only the second film in the series (the scene where the armed forces turn up and shoot at the monsters a lot, to no effect, already has a formal, almost ritualistic feel to it). Nor does it have the same kind of intensity or fire in its belly – the monster rampage in the first film is shocking for the horrendous casualties it causes amongst the civilian population, but here it just seems to be spectacle – pow, there goes Osaka Castle! – with no-one worth worrying about dying.

The monster suits are good, and there are some genuinely impressive special effects shots at various points in the film, but it really does suffer from the poor structure of the script and the lack of a strong final act. Although this film was a financial success, you can almost understand why it was six years before they made a third Godzilla film. Monster wrestling was to prove the future of the franchise (that, and regular appearances by aliens from Planet X), but the main problem with this film is that it’s treated as filler for the story, rather than the main attraction. It was not a mistake the series ever made again; this is obviously an important film in the franchise, but you would struggle to call it a great or even a particularly good one.

Read Full Post »