Unknowingly, surprising myself a little bit, I've become a fan of this gargantuan mega-beast, an "ultimate weapon" - a notion familiar from my Final Fantasy heyday, and one that, as far as I know, is unique to the Japanese ethos. And from the beginning, I somehow knew I would be rooting for the beast. When I first saw this official poster, I thought there's something sad, even heartbreaking about this shot of Godzilla from behind. And I suspected a different approach may have been taken in the latest rendition of the Godzilla franchise, which turned out to be the case. So much screen time is used paving the way for "the advent of his lordship" -- recounting history, creating contexts, building up human characters and showing the terrors and devastation caused by the other two kaiju (beasts) who are the real bad apples -- that this film almost feels like an "Off-Hollywood" production. Even when the much anticipated overlord of monster movies finally appears, the film continues to tease and whet our appetite by giving us scanty few crystal clear and full-frontal camera shots of Godzilla. Instead, what we often get is seeing the rapid incoming crest of a huge wave, the submerged hulk of Godzilla in the ocean revealing only its jagged razor-like spine, or its dark silhouette roaring against an apocalyptic sky. Of course, eventually the film builds up to the climactic showdown between Godzilla and his enemies and we are not robbed of seeing its legendary "atomic breath".
The subtle approach of the film is uncharacteristic of "the norm" of summer blockbusters, even less so in a monster film where audience expects to be quenched of the thirst for senseless wrecking, bashing and much raw and crude brawling with brawny muscles. But after all, Godzilla is the child of Japanese imagination, and to embrace the indirect and subtle approach is probably to be faithful to the original, to attempt to return to its root. It is exactly due to the "hōga feel"(邦画/日本國產片) supported by the flawless CG technology available today, that makes the 2014 Godzilla stand out among many of its peers. Audience who expect to see more screen time of Godzilla, though, will certainly disagree. But for those more attuned to a longer build-up or suspension, this film will not disappoint.
Habitually, I look for deep morals in seemingly silly narratives, which I have to say is far from the case in the Godzilla franchise. Moviegoers who refuse to look beyond the surface hurly-burly will still get to enjoy all the fun, but Godzilla is much more interesting when it's more than just a meaty, powerful, senseless "reset button". Since it's birth, Godzilla was an physical embodiment of nuclear terror, despite its physically comical presence. I find it hard to take the 1954 Godzilla very seriously: the clumsy, bumbling monster with puppy eyes and a big head. It reminds me of "Denver, the Last Dinosaur", an 80's cartoon I watched in China while I was in grade school. But the 2014 Godzilla means business. The latest Godzilla is almost twice the size as its 1954 senpai. Its movement is still slow, yes, but it is no longer clumsy or wobbly. Instead, there's grace and composure in the way it moves. And the almost slow-motion moves of Godzilla succeeds in adding authority and makes me wonder if it's thinking some deep, sober thoughts.
The sentient angle, intentional or coincidental I can't be sure, gives this Godzilla more depth. Is it feeling sad and/or tired that it has to return to the surface again to clean up our follies? Is it able to defeat the real bad guys this time? It looks like an old king unwillingly waging his last battle while in his heart wanting nothing more than some peace and quiet. And those fiery, beady red eyes, instead of making me shudder, only make me sad. I think the film succeeds in creating a deeply impressive allegory about follies, monstrosity, and end of time. The humans in the film follow a predictable story line, and sooner or later you no longer pay much attention to them. The "real us" are the monster now, terrifying, with the ability to annihilate and devastate. But maybe the film is trying to say we've had enough, of ourselves. And we just want it all to end.
Godzilla 2014 may be a bit lacking in the "action" department as a qualifying summer blockbuster, but I enjoyed it tremendously. I recommend that you see the film without carrying any mental baggage. And wait for the ending blast. Oops.
