(Note: Article originally published on October 8th, 2016 in Godzilla-Movies.)
This is Part 4 of a retrospect of the Millennium Godzilla series. To read previous chapters, click below:
Before Shin Godzilla - Retrospect of the Last Era, Part 1: Godzilla 2000
Before Shin Godzilla - Retrospect of the Last Era, Part 2: Godzilla x Megaguirus
Before Shin Godzilla - Retrospect of the Last Era, Part 3: Godzilla, Mothra, King Ghidorah
“Toho had a chance to revitalize their flagship franchise as something relevant for a post-9/11 world—and had they done so, they may well have come up with something brilliant, or maybe something stupid or tasteless. They never tried.” - David Kalat (4)
After the success of Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), Toho had to regroup. Producer Shogo Tomiyama's original vision for the Millennium Series was a trilogy—although there was no continuity among the three films he had produced, the fact remains he delivered three entries. However, GMK had changed things; the series was once again viable. After months of rumors concerning the return of MechaGodzilla, Nikkan Sports confirmed in early March that the Monster King’s doppelganger would return in “Godzilla 2003”. “The reason for why MechaGodzilla will be the opponent will be revealed in the story.” Tomiyama explained, thrilled about his new take on the machine. (1)(2)(3)
2002 was the year the band got back together. After a team of outside talent dropped the most successful Toho Godzilla since 1995’s Godzilla vs. Destoroyah, Tomiyama had decided to bring Masaaki Tezuka (Godzilla x Megaguirus [2000]) back to direct. (2)(3)(4) During GMK Tezuka had stepped down to second unit director and cameoed as a JSDF officer. (5) His humble attitude and loyalty to Toho made an impression on Tomiyama, thus he was given another go at Godzilla. (4)
Tomiyama met with Tezuka to talk about the basic premise: The bones of the original Godzilla, from 1954, are put inside an armored exo-skeleton to create MechaGodzilla. Tezuka was intrigued by the idea, but a script had yet to be written. A new, unnamed writer was initially tasked to pen the film, but the initial screenplay was troubled. In response, Tezuka and Tomiyama brought in the tried and true. (11)
Screenwriter Wataru Mimura, coming off his directorial debut, Spooky Eyeglasses (2002), was announced as part of the production in April. (7)(8) Returning without co-writer Hiroshi Kashiwabara (Godzilla vs. SpaceGodzilla [1994], Godzilla 2000 [1999], Godzilla x Megaguirus), this would be Mimura's second attempt at a MechaGodzilla concept since 1993's Godzilla vs. MechaGodzilla. The process was not easy. “The script for Godzilla against MechaGodzilla was quite difficult,” Tezuka admitted. “We started with the double heroine concept, but it wasn't working for the script. The second heroine ended up becoming the little girl Sara.” (11)
Shinichi Wakasa returned to tweak the design of the first two Millennium movies. (6) Godzilla retained the angular components seen in Godzilla 2000 and Godzilla x Megaguirus, but Wakasa adjusted the proportions and stuck with traditional colors. He also built the new MechaGodzilla based off Shinji Nishikawa’s concept. (13)(14) Nishikawa had previously contributed to the concepts for Biollante and SpaceGodzilla. (15)
Perhaps the most welcomed return was composer Michiru Oshima. If there was any consistent praise about Godzilla x Megaguirus, it was the pounding score by the only female composer in the franchise. Oshima would reprise her Godzilla theme and record her new score with Moscow's International Symphony Orchestra. The decision gave her music greater range than Megaguirus. “There is a significant difference in the tone quality between twenty people and sixty people performing,” she praised. (4)
Kenji Suzuki was denied the role as special effects director by Tezuka following disagreements on Godzilla x Megaguius. (18) With Makoto Mamiya (GMK) gone, a new special effects artist was needed to take over. Yuichi Kikuchi, a graduate of the Tokyo Shashin Senmon Gakko (Tokyo Visual Arts), was assigned the task. In the mid-to-late 1990s Kikuchi found work at Tsuburaya Productions, joining Ultraman Tiga and its follow-ups. After working with special effects director Shinji Higuchi on Gamera 3: The Revenge of Irys (1999) he landed a job at Toho as Suzuki’s special effects assistant on Godzilla x Megaguirus. Following GMK, he was promoted to special effects director for the upcoming MechaGodzilla outing. (9)
Kikuchi made it his mission to bring back the kinetic fun of King Kong vs. Godzilla's (1962) titular battle. (10) Since it was the first Godzilla movie Tezuka saw as a child, he was on board with this. (8)(11) And just like that, MechaGodzilla swung the King of the Monsters around and around by his tail, ala, King Kong.
Godzilla x MechaGodzilla is sprinkled with these little homages by a team hellbent on recalling better days. With no disrespect, Tezuka comes off first and foremost as a fan and a filmmaker second. Depending on what individuals want out of their movies, the former identity can be understandably attractive. Tezuka loves the idea of monster brawls akin to King Kong vs. Godzilla. He was adamant about characters fighting Godzilla all the way through the end of his movies. (10) He also researched technological advances with DNA for the psuedo-science that brings the latest, sleekest MechaGodzilla to life. (8) Never once, however, does Tezuka ponder the profundity of these images. 2001's Godzilla, Mothra, King Ghidorah: Giant Monsters All-Out Attack slaved to give Godzilla meaning. However, the follow-up shoehorned another “life is precious” lesson, courtesy of Mimura's stock lip-service used for 1993’s Godzilla vs. MechaGodzilla. Whereas GMK feels like an auteur's Godzilla film, Godzilla x MechaGodzilla is a fan's Godzilla film—it is perhaps best enjoyed as a fan who recognizes the nostalgic callbacks.
Remade glances of the 1954 Godzilla, sterile of post-war symptoms, flash across the screen. The “Absolute Zero Cannon” nods at Ishiro Honda's Atragon (1963). The original maser tanks return in a shot staged identically to the War of the Gargantuas (1966) set up—all in the name of fan service. Ramifications of the original monster brought back to life are briefly stated as the new MechaGodzilla (christened, “Kiryu”) goes on a rampage across Japan. Otherwise, it merely serves as an admittedly fun excuse to build a robot Godzilla—justification the 1993 counterpart lacked.
This was the commercialized Godzilla that could entertain families and it largely succeeded. At a preview screening for the film a young boy cried out during the climax, “What happened to the big girl [Yumiko Shaku as Lt. Akane Yoshiro] in Kiryu?” When all was revealed, the same boy was elated. “The big girl is alive too!” Older fans were less receptive. (8) But this isn't the first time they've had to share with younger audiences.
Once again Godzilla was paired with a Hamtaru film and the double-billing was more palatable. (1)(2) Young Sara Yuhara (played by Shin Takuma) has a central role, giving holdovers from Hamtaru: Ham, Ham, Ham, Marbaroshi no Princess someone to relate with. At one point in the film she converses with other young friends, one of which is holding a hamster. (Like Hamtaru.) (4) The rodent’s inclusion is a strong reminder of how hard Toho tried to sell Godzilla. Tezuka originally envisioned an ending with Akane's death and a blood red sea, but Tomiyama vetoed the idea as too drab for a New Year's film. (4)(8)(11) One can easily imagine the same conversation ending with Tezuka being ordered to insert a shot of a hamster.
Unfortunately, Toho had overestimated Hamtaru's contribution to GMK's success. When the film opened on December 14th, 2002, the results were far from the same. Godzilla x MechaGodzilla pulled in less than both GMK and Godzilla 2000, but did slightly better than Godzilla x Megaguirus. Tomiyama was puzzled as to why it failed to hit GMK's numbers; the possibility that a better product – a better film – had been released in 2001 seemed to elude him. (15)(17)
By 2002 fans were still trying to come up with a name for the third era. In the west the term “Shinsei” had been coined, meaning “new birth”, “rebirth” or “new system”, but it never stuck. In Japan it was becoming known as the “X” series, due to the symbol replacing the “vs.” abbreviation in two films. Ultimately, westerners settled on the “Millennium Series”. (12) The concerns of what to name the third series seemed to be a more pertinent topic than the latest adventure. After all, grouping a cycle of films for future reference would be useful. Nostalgia, as delivered by the 2002 episode, wears off.
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Sources:
1) Cinescape Archive – September 9th 2002
2) Cinescape – Godzilla 2003 Official
3) Cinescape – Toho Godzilla Site Update
4) A Critical History and Filmography of Toho's Godzilla Series, 2nd Edition - David Kalat
5) Massaaki Tezuka IMDB
6) Cinescape – Shinichi Wakasa to Work on Godzilla x MechaGodzilla
7) Cinescape – Mimura on Godzilla 2003
8) Henshin!Online - Interview: Masaaki Tezuka and Wataru Mimura
9) SciFi Japan – Ultraman: The Next
10) Monster Zero News- Review: Godzilla against MechaGodzilla More Potential than Realized
11) SciFi Japan TV Ep. 27 – Tokyo SOS Director EXTRA
12) Godzilla on my Mind: Fifty Years of the King of the Monsters - William Tsutsui
13) Sidelong Glances of a Pifeon Kicker - A Star Powered MechaGodzilla Event in Ginza
14) IMDb - Shinji Nishikawa
15) Shinji Nishikawa Interview - David Milner
16) Exisle.net - Shogo Tomiyama Interview, via Henshin.com
17) World of KJ, Japanese Box Office, from member Corpse, sourced from Kogyutsushin
18) Terror from Beyond the Daves - Masaaki Tezuka & the Proper Etiquette for Accepting a Godzilla Movie!
I do not know you or your writings...until today. These are all excellent articles. this last one is good too but feels less involved than the previous entries and I think it has more to do with the subject matter being thin rather than your examination. can't wait for the next article.