In the Word of the Fan on Godzilla Day 2022
Musings on the franchise during its 68th Anniversary
FIRST READING
I’m sitting in a theater with three of my best friends on “Godzilla Day” just moments before the lights dim. The screening of Godzilla x MechaGodzilla (2002) is about to begin and the joy stems merely from seeing the film on the big screen. I’ve watched the film well into the double digits, I know what to expect. Though there’s always the hope I may walk away with something new. The movie did what it always has done—open with a tremendous first act, setting up a myriad of likable characters that devolve into cavalierly uttering, “my life is worthless,” to a young child. Okay, there’s a downward spiral, but it doesn’t matter.
Let’s get dogmatic. Godzilla films are meant to be seen on the big screen. I get the tremendous honor of adding another title to that list—another Japanese produced tokusatsu shot with the goal of being projected onto the silver screen. We forget the series wasn’t intended for direct-to-video or streaming. And beyond those old VHS tapes and Blu-ray discs, I wonder how special effects directors, like Yuichi Kikuchi, feel about 360p Youtube uploads being a popular home for their work. Perish the thought they have the benefit of context, via a full movie. But Godzilla Day’s Fathom Event1 gave context to context to context.
In the word of the fan.
SECOND READING
The 2021 Godzilla vs. Hedorah short made a surprise appearance before the double decade young MechaGodzilla film. Following the short, a featurette boasting the hard work, professionalism and style of tokusatsu gave the audience a glimpse of Godzilla’s gift to Japanese cinema. “Some people aren’t looking for realism,” one of the filmmakers ingeniously reminded us. This continues to be a difficult concept for western fans to grasp as the Godzilla series proper embraced an eastern visual style over western naturalism. This is the vernacular that popularized the series - a genre - a cinema industry. This is Godzilla. And yet, some don’t want Godzilla to be Godzilla.
Let’s pause the dogmatism. We now wander aimlessly in a world where film criticism is an anxiety inducing villain, personally attacking our viewpoints. As a result of that paranoia, legendary filmmakers like John Carpenter are heretics after merely commenting they have, “no interest” in Hollywood Godzilla outings. He didn’t even say the material is bad, merely they were “computer-fests”—that’s never been Carpenter’s tea.2 In fact, Hollywood’s over-reliance on digital technology is largely why Carpenter waved goodbye. But the gall of instilling doubt in the direction of a franchise based out of an industry he’s excelled. “I shan’t consider the possibility of his viewpoint, because obviously I know better,” speaketh the back row, hidden from the lights.
Is it possible the charm he misses from the ‘Merica outings is the connection the Godzilla franchise has with a special effects style it popularized? Godzilla is king of tokusatsu, but if you replace it with the same Hollywood visuals we see every weekend, what uniquity is left? “Pauper of the Monsters” doesn’t exactly have the same ring to it, but if the shoe fits the cinematic—Warning! This paragraph you’re reading might A) make you think B) piss you off or C) all the above. “Being offended is inevitable. Living offended is your choice.”
In the word of the fan.
THIRD READING
But relax. Godzilla x MechaGodzilla had a special wide release. The Godzilla vs. Hedorah short hijacked U.S. theaters. Despite the 2002 film’s mediocrity, choppy Blu-ray projected quality and English title overlay, the joy was emaculate. The experience was different. Godzilla was Godzilla and he was as big as ever. Director Masaaki Tezuka and Kikuchi can hang their hat on western audiences viewing their work the way it was meant to be seen. Godzilla is still king of something, if just occasionally. Not everyone has to accept it, but thinking about the possibility is inevitable. It can also be a choice.
In the word of the fan.
Praise be to the Pauper of the Monsters.
That's not why Carpenter quit film making......but feel free to try and rewrite history and the meaning of what he said about the films.....
Keep writing, please.