The Themes of Godzilla

             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.