by Hiranmoy Lahiri
The article contains spoilers
Godzilla (Gojira), the beloved fictional movie monster, is a favorite among viewers. Since 1954, Godzilla has been wreaking havoc on screens, terrifying and delighting audiences. The genesis of this creature can be traced back to something profoundly serious and devastating: thermonuclear weapons and the tangible threats they pose to humanity.
The first instalment in the series was “Godzilla” (1954), directed by Ishirō Honda and produced by Toho Studios. Going beyond a simple horror/monster movie, it drew inspiration from a real-life event involving the ‘Lucky Dragon No. 5′ (Daigo Fukuryū Maru) tuna fishing boat. This vessel was navigating in waters near the Bikini Atoll in the Marshall Islands, not far from the area where the American military had chosen to conduct a test of a hydrogen bomb (a thermonuclear device). The United States government had predicted that the area would be safe, but the power of the tested weapon exceeded all predictions made by the U.S. government. “Castle Bravo” was the name of the test. All 23 crew members on the boat experienced the effects of radiation. Severe radiation poisoning caused the death of Kuboyama Aikichi, the chief radio operator. Although the others survived, they were all diagnosed with Acute Radiation Syndrome (ARS), a condition that would affect them for the rest of their lives in one way or another. The “Lucky Dragon incident” sparked renewed fear and distress among the Japanese population, resulting in the creation of Godzilla.
“Godzilla” was released in America under the name “Godzilla, King of the Monsters!” in 1956. The movie was heavily altered and censored to cater to Western viewers’ preferences. Approximately twenty minutes of the original film, which included any symbolic reference to the atomic bombings of Hiroshima and Nagasaki and the devastation it caused, were removed. The Japanese population, burdened by guilt from World War II, found solace in this movie to indirectly convey the horror and trauma caused by nuclear weapons. However, for the international audience, it was perceived as a campy horror film for the whole family.
Over the years, the Godzilla franchise has produced over 30 kaiju (strange creature/monster) films. Hollywood also recognised the potential of this franchise and began making its own Godzilla movies. The first one, “Godzilla” (1998), was directed by Roland Emmerich. Legendary Pictures studios started their own version of Godzilla and Godzilla-related lore, naming it ‘MonsterVerse,’ featuring several movies and a TV series by Apple TV+.
Western kaiju movies, while popular, primarily focus on monsters and their extraordinary abilities. In contrast, Japanese films such as “Shin Godzilla” (2016) and “Godzilla Minus One” (2023) rely heavily on symbolism and story-building. It focuses on the impact of nature’s devastation and the ever-looming threat of nuclear incidents. “Shin Godzilla”, directed by Hideaki Anno, cleverly incorporated allusions to the 2011 Tohoku earthquake, tsunami, and the resulting Fukushima Daiichi nuclear power plant accident. In doing so, Anno seemed to suggest the limitations of the government and perhaps humanity in general in the face of overwhelming natural disasters.
In 2023, “Godzilla Minus One”, directed by Takashi Yamazaki, was released in Japanese theatres. Japanese viewers absolutely adored it. North America welcomed it with the same warmth when it was released one month later. This film has been winning the hearts of audiences worldwide. At the 96th Academy Awards in 2024, “Godzilla Minus One” won the Academy Award for Best Visual Effects. This win is historic, marking the first time a Godzilla film has ever received an Academy Award.
The movie begins in 1945, near the end of World War II. Koichi Shikishima (Ryunosuke Kamiki) is the main protagonist, a young kamikaze pilot. He cannot complete his mission of executing a suicidal attack on an American warship because of his fear of dying. Arriving at an island air force base, he pretends to encounter a technical problem with his fighter plane. Most of the aeroplane mechanics on the island die a gruesome death while trying to fight the monster. Shikishima fails yet again to carry out an order, this time to fire at Godzilla during its attack on the Japanese airbase. Only two people survive: Koichi and Sosaku Tachibana (Munetaka Aoki), who is the head mechanic. Tachibana blames Koichi for the deaths of the other Japanese mechanics on the island.
Koichi returns to Tokyo and finds a city devastated by the American bombings. His parents have died, and his house is in ruins. Most of the film is set against the backdrop of post-war Japan. People are fighting to survive and searching for someone to blame for their misfortunes. Koichi faces the wrath of his neighbour, who squarely tells him that cowardly people like him are the reason for his parents’ and her children’s deaths. Koichi finds himself overwhelmed with survivor’s guilt as he comes across Noriko Oishi (Minami Hamabe), a young woman struggling to keep herself and a child named Akiko alive by resorting to stealing food. Surprisingly, it is revealed that Akiko is not even Noriko’s own child. She has taken on the responsibility of looking after Akiko after her parents are killed in an air raid. This is the beginning of a makeshift family, where they support and look after each other during the difficult post-war period in Japan. Koichi takes on the job of clearing the mines that float in the ocean in a mine-sweeping wooden boat. It’s a risky job which he doesn’t mind taking on – he’s looking to atone for his past cowardice and regain his honour.
Highlighting the importance of ordinary citizens helping each other in times of need, the film depicts the Japanese government in an unflattering light, as it is barely involved in allaying people’s concerns. The American occupying force, concerned about the growing threat of the Soviet Union, is oblivious to Japan’s plight as Godzilla threatens to destroy Tokyo.
The movie presents Godzilla as a malicious force of nature, deviating entirely from the typical Hollywood portrayal in recent times. Unlike the conventional Western depiction, this creature is not shown as one that is out to restore the delicate equilibrium of nature. It is an almost unstoppable force of evil. In an interview with the Letterboxd website, the director of the film, Yamazaki, mentions that the Japanese version of Godzilla is like a “god.” He goes on to clarify, “Not necessarily a religious god, but more like a Japanese god, a vicious and destructive one. He’s a metaphor for nuclear weapons, war – you could view [him as] Covid in this film – the nuclear power plant in “Shin Godzilla”, and that metaphor for these incidents is important to a Japanese Godzilla like this.”
In “Godzilla Minus One”, Godzilla initially posed a significant threat but did not become the massive, self-healing monster that ultimately attacked Tokyo. The movie suggests that Godzilla’s transformation into a nearly invincible threat is a result of the nuclear tests conducted by the United States. Godzilla in this movie, much like in “Shin Godzilla”, serves as a symbol for real-world concerns. “Godzilla Minus One” successfully captures the raw essence of the original uncensored Japanese film, portraying a nation’s collective trauma and its remarkable resilience in rebuilding. The film’s title has a profound meaning: Japan, already on the brink of collapse after World War II, finds itself plunged even deeper into despair as Godzilla rampages through its streets, pushing the country to a point lower than “zero”, a point of despair even beyond its lowest ebb. Hence ‘Minus One’.
Koichi’s character development is both believable and captivating. Every day, his past relentlessly haunts him, even in his nightmares. Holding himself responsible for the deaths of the mechanics on the island, he desperately looks for a way to redeem himself. But he seems to be faced with failure yet again when he seemingly loses his sweetheart Noriko to a Godzilla attack on the city. Joining forces with volunteers, ex-Navy veterans, civilians, and a scientist, he joins a private group dedicated to eliminating the Godzilla threat. Once more, Godzilla wreaks havoc and causes many casualties. In the end, their plan works out when Koichi flies a reassembled experimental fighter plane to ultimately kill Godzilla in spectacular fashion.
“Godzilla Minus One” is a film that truly excels in every aspect of filmmaking. The sound design is brilliant, matched by the incredible musical score by Naoki Sato. The editing is impressively tight, while the camerawork skillfully captures both wonder and terror. All the actors do a remarkable job of making the audience believe and root for them. The special effects are perhaps the crowning glory of this highly entertaining film. Despite having only an overall 15-million-dollar budget, it achieves what many recent Hollywood blockbusters fail to do with budgets ranging from 100 to 300 million dollars or more. The seamless combination of CGI and practical effects adds a great deal of credibility to the action and destruction scenes.
Despite having a limited budget, a small VFX team worked closely together to create partial sets and then enhance the shots with CGI. The attention to detail in color grading and the thoughtful planning of each shot result in scenes that genuinely stand out, in a good way. The narrative is engaging and emotionally impactful, with only a few instances where it comes close to melodrama without fully crossing that line. In a time where movies often prioritize visuals over substance, this film stands apart by offering a compelling story that delves into the complexities of the human experience. Although some may initially approach this movie as yet another run-of-the-mill “monster movie,” they will undoubtedly be pleasantly surprised by the meticulous craftsmanship and profound themes that interweave elements of alternative history and real-world issues.
