More Than Just a Monster: The Underlining Themes of the Godzilla
Franchise
The Godzilla franchise spans 32 Japanese films and 2 American
adaptations. They’re generally regarded as cheesy monster films by American
audiences, but to the Japanese, many of the films contain themes related to
their country’s experiences. This will
be an evaluation of many of the themes throughout the series starting with the creation
of Godzilla.
The origins of
Godzilla can be traced back to atomic bombings of Hiroshima and Nagasaki. Ishiro
Honda who directed and co-wrote Gojira, the original Japanese name for
Godzilla, was a soldier in the Japanese army and saw firsthand the devastation
by the bomb. For years, he wanted to direct a film about the horrors of atomic
warfare, but the occupation of Japan by U.S. forces prevented him from flat out
making such as film. According to Hibakusha Cinema, U.S. authorities
supervised, guided, and censored all forms of Japanese artistic expression and
mass communications. Depictions of Hiroshima and Nagasaki were handled with
utmost care. One requirement was to put the blame on the Japanese leadership
and not the Americans. Emphasizing, the Americans had no choice. The occupation
lasted until 1952. (Hirano) Another inspiration
was The Lucky Dragon No 5 incident and the re-release of King Kong and the
release of The Beast From 20,000 Fathoms. Cineaste
Journal discusses these influences. In March of 1954, The U.S. tested its first
hydrogen in the Marshall Islands. Unfortunately, a Japanese fishing vessel, The
Lucky Dragon No 5, was not warned of the test, and was exposed to fallout. The
ship returned to port covered in radioactive ash and the crew developed
radiation sickness resulting in the death of the radio operator. (Brothers) This event was
alluded to in Gojira’s opening scene where a Japanese fishing boat is attacked
by Godzilla, but the crew only sees a flash of light a lot like the flash of
the H-bomb. It’s also no coincident that the death explicitly shown in this
scene is that of the radio operator. One thing that sets Gojira apart from
other monster films of the 50s is Atomic energy is not just a plot device, but
Godzilla himself is a representation of the atomic bomb. An element that eludes
to this is Godzilla’s skin is meant to look like the sores people developed
from radiation burns. Many moments in the film reflect the Japanese people
during wartime. A wall of fire during one of Godzilla’s attacks is a nod to the
firebomb attacks by U.S. forces during WWII. At it’s core the original film is
a cautionary tale of the dangers of nuclear weapons. Two years after the release of Gojira in
1956, the film was reedited and released as Godzilla: King of the Monsters for
American audiences. This film added American actor Raymond Burr and through
body doubles made it appear he was interacting with the original cast. About forty minutes of the film was cut to
make room for Burr whose role was really just to narrate what’s going on. This
allowed the removal of much of the exposition. In the film journal Canadian
Dimension, The American distributors primary focus was to get more butts into
seat. They felt Americans would not see a film with only Japanese actor just 10
years after WWII. (Schwartzman). The result was
somewhat faithful to the original film. Obviously, many of the cultural
references to the atom bomb went over the Americans’ head. There were a few
more direct references were left on the cutting room floor. A couple riding a
train during Godzilla’s attack make a reference to them feeling likes it
Hiroshima all over again. The final line is the biggest change. In the
original, Dr. Yumani who is a scientist that gives exposition on Godzilla and
want the monster to be studied states that, “Another Godzilla will resurface as
long as Atomic tests continue” (Honda). This ecompasses the
theme of the film as the danger a nuclear annihilation will ever be present as
long as nuclear weapons exist. This also sets up the many upcoming sequels. In
the American version, Raymond Burr talks about the world can once again have
peace. The is a more positive conclusion, rather than the warning the original
leaves the audience with.
The following sequels
were divided into four distinct periods. The Showa which ran from 1954-1975 saw
the transformation of Godzilla from an allegory for nuclear destruction to the
savior of Japan. The Heisei which ran from 1984-1995 ignored all Showa films
except for the original. This era made Godzilla a force of nature. The Millennium
series which ran from 1999-2004 had each film serve as direct sequels to the
original. This series contained different tones and themes. Finally, the reboot
era was started with 2016s Shin Godzilla and also contains a trilogy of anime
films. Shin Godzilla took Godzilla back to his serious roots. In just ten years
during the Showa period, Godzilla went from invader to ally of Japan. An
article in Atomic bomb in Japanese Cinema, demonstrated the generational
changes that lead to the drastic changes the series made. The 1960s saw
economic growth for Japan and stability as a nation. The children during this
time did not experience the horrors of the bomb so their worldview was quite different.
The films during this time saw a more confident Japan. Rather than be helpless
against invading monsters, they had the means to fight back. (Vohlidka)
In
King Kong vs Godzilla, Japan uses Kong to fight Godzilla rather than be at the
mercy of the monster. The themes moved
to issues like greed. Godzilla vs Mothra contained a scene in which two
business men fight over a large sum of cash as Godzilla approaches resulting in
their deaths. Ghidorah: The Three Headed
monster is the first time Godzilla is presented as a hero. This was around the
time of the Tokyo Olympics. This film had a message of unity with the monster
joining forces. By the end of the Showa period, Godzilla became practically a
superhero for children. The Nuclear theme didn’t resonate with younger
audiences as it once did.
Godzilla films
has been viewed as a representation of Japanese/U.S. relations. Like the Americans, Godzilla invades from the
sea leaving destruction. His presence is ever felt in later films like the U.S.
occupation. He goes from enemy to ally. A paper from Acta Orientalia Vilnensia
looks at how some of the films demonstrate this relationship. In Gojira.
Godzilla is the aggressor and leaves destruction equal to that of the Atom
bomb. The American are nowhere in the original film. King Kong vs Godzilla
demonstrates an American influence on Japan. Kong is obviously an American
monster. He wins at the end which can be an interpretation of the death of old
tradition. Godzilla vs Monster Zero features American actor Nick Adams who
serves as a major character in both the Japanese and American versions. This is
viewed as a change to the U.S. as Japan’s partner. (Ikeda)
One
topic common in the series is environmentalism linking back to Godzilla vs
Mothra. Mothra is very much connected to nature. The island Mothra comes from
has been destroyed by nuclear tests. The film which presents this message the
most is Godzilla vs Hedorah. According to an article on Motherboard, Japan was
dealing with a serious pollution problem in the 70s. In Dokai Bay of northern
Japan, the water had become so polluted that no aquatic life could live in it,
and it was nicknamed the sea of death. (Oberhaus) Godzilla vs Hedorah
was intended as an environmental message by director Yoshimitsu Banno. Just as
Godzilla was the embodiment of the Atom Bomb, Hedorah is the embodiment of the
damage pollution can cause. Hedorah is an alien lifeform which bonds with
Earth’s pollution to form a giant monster which feeds on pollution and spreads
its toxic sludge. The monster can fly and spreads a poisonous gas. This is a
warning to the negative medical effects of smog. Hedorah is defeated by the
combine forces of Japan and Godzilla, a reinforcement of the theme of working
together to solve this crisis. The film ends with a gag of another Hedorah
rising as a warning if pollution continues, another Hedorah will rise. This is
like the ending to Gojira in which Yumani warns of continued nuclear tests. The film Godzilla vs Biollante addressed
genetic modifying and Japanese environmentalism. According to a Suny Fredonia
paper, Japanese environmentalism is a culturally-embedded
practice that is based on obligation, cooperation, and harmony with or toward
nature. (Benton and Mariofiote) The film involves a scientist combining
Godzilla cells with that of a plant resulting in Biollante. The creation is a perversion
of nature. The creature starts out as a giant beautiful flower, but later turns
into monstrous acid spitting creature. The theme of the film is man disrupting
natural order. Godzilla’s very existence is a representation of that imbalance.
Using this view, Godzilla’s destruction is punishment from nature. Exploitation
of nature results in punishment by nature. The main point is said by Dr. Shiragami,
the creator of Biollante. “Godzilla and Biollante are not monsters. The real
monsters are the ones who created them”. (Ohmori) Mankind brings
destruction upon itself when trying to manipulate nature.
TOHO returned to
making Godzilla films with 2016’s Shin Godzilla. This film took Godzilla back
to its roots. It serves as a hard reboot of the series setting up a world where
Godzilla never existed until now. This film really looked at nuclear energy
rather than atomic test making it more contemporary. A monster appears in Tokyo
bay and the politicians are powerless to act against it. They determine it
cannot come ashore disregarding a younger female scientist who believes it’s a
possibility. Of course, it does. Eventually, the cabinet is wiped out, and it’s
the younger generation that saves the day. An article on Inverse suggest this
shows a divide between generations and that the current leadership is washed up (Zakarin). During Godzilla’s
attack there’s is long process of command that must be approved for any
firepower to be used. The prime minister even refuses to fire when he hears of
the possibility of civilian casualties. This displays a lack to do what is
necessary. The debate scenes are a satire of Japan’s slow government response
to disaster. Japan’s military might is displayed in a open manner. According
io9, Public opinion had been very anti-militaristic up until now due to North
Korean tensions and other recent threats (Cranz). This film doesn’t
shy away from displaying Japan’s strong, but outmatched military. The film uses images related to the 2011
tsunami and Fukushima nuclear plant meltdown. When Godzilla comes ashore
there’s a massive wave and later on, there’s a radiation cloud in Godzilla’s
wake. Unlike the original, the U.S. along
with the world is involved, and even one of the leads is a U.S. diplomat. Also
displays positive U.S. relations. The world decide nuclear weapons must be used
against Godzilla making Japan the location for another nuclear strike. By the
end, Godzilla is only contained. One-character states “we must learn to live
with Godzilla”. This statement can be interpreted as one of the main points of
the films. Nuclear energy will be around for a while, Japan must learn to live
with it.
As for the American
films, there have been two films made fully outside of Japan. Godzilla (1998)
and Godzilla (2014). Godzilla (1998) carries vary little of it’s Japanese roots
not just in look, but in theme. The film is based in the U.S., and the monster
is merely a mutated iguana. The French are at fault for the monster’s creation.
Blame was taken away from the Americans due to the military’s involvement in
the film. Overall, there’s no warning of nuclear energy in this film, rather the
main tension is keeping the monster from breeding. Godzilla (2014) is more faithful to the
Japanese films. The director Gareth Edwards told Daily News that “Godzilla' has
always been about nuclear power and radiation. When writing the film, the
horrible events in Fukushima happened and we had to make the decision: Do we
stay away from that or do we acknowledge that you've opened this Pandora's box
of nuclear power, and when it goes wrong, it really does go wrong?" (Sacks) Similar to the
Japanese films, current event shaped the film. The ultimate message of this
film is nature is out of man’s control. Ken Watanabe’s character states,” The
arrogants of man is thinking nature is in our control and not the other way
around’. (Edwards) One major difference
is Godzilla’s origins. Rather than being a result of atomic testing, he’s an
ancient alpha predator that the U.S. tried to kill with the A bomb. The bomb
fails to kill him. This depowers the strength of the world’s most powerful
weapon thus putting nature in control.
In conclusion,
Godzilla is a misunderstood series. While many films do slide away from serious
commentary, many of them contain themes that relate directly to the experiences
and culture of the Japanese people.
Works Cited
Benton, Bond and Tracy Mariofiote. Fatalism, Fear,
and Retribution: Japanese Environmentalism in Godzilla vs. Biollante.
2012. 25 April 2018.
Brothers, Peter H. "Japan's Nuclear Nightmare:
How the Bomb Became a Beast Called Godzilla." Cineaste 2011:
36-40.
Cranz, Alex. Shin Godzilla Is a Wonderfully
Over-the-Top Satire of Japan-US Relations. 7 October 2016. 23 April 2018.
Godzilla.
Dir. Gareth Edwards. Perf. Ken Watanabe. 2014. BLU-RAY.
Godzilla vs Biollante. Dir. Kazuki Ohmori. Perf. Kôji Takahashi. 1989.
DVD.
Gojira.
Dir. Ishirô Honda. Perf. Takashi Shimura. 1954. DVD.
Hirano, Kyoko. "Depictions of US Bombings in
Japanse Cinema During the US Occupation Period." Broderick, Mick. Hibakusha
Cinema. New York: Routledge, 2009. 103-116.
<https://books.google.com/books?hl=en&lr=&id=5Xn_AQAAQBAJ&oi=fnd&pg=PA103&dq=japanese+cinema+during+the+us+occupation&ots=M0daWUz7UZ&sig=Z3C2IgizfcypsrzUMdHNXBJ2bYo#v=onepage&q=japanese%20cinema%20during%20the%20us%20occupation&f=false>.
Ikeda, Yoshiko. "Godzilla and the Japanese after
World War II: From a scapegoat of the Americans to a saviour of the
Japanese." Acta Orientalia Vilnensis (2011).
Oberhaus, Daniel. Godzilla Is a Radical
Environmentalist. 22 September 2017. 23 April 2018.
Sacks, Ethan. The new 'Godzilla' reflects our
current fears of nuclear and natural disasters. 11 May 2014. 24 April
2018.
Schwartzman, Victor. "How Gojira Became
Godzilla." Canadian Dimension 2007: 44-45.
Vohlidka, John. "Atomic Reaction: Godzilla as a
metaphore for generational attitude towards the United States and the
bomb." Edwards, Matthew. The Atomic Bomb in Jaoanese Cinema.
Jefferson: McFarland and company, inc, 2015. 56-65.
Zakarin, Jordan. Political Monster: The Secret
Messages in Godzilla Movies. 11 October 2016. 23 April 2018.
Back to Germany, they must really love giant ape names. They have both King Kong and Konga.
