Today’s film is the ill-conceived and ill-executed American re-imagining of a Japanese cinematic ground-breaker: 1998’s Godzilla.
The plot of Godzilla is summarized on IMDb as follows:
A giant, reptilian monster surfaces, leaving destruction in its wake. To stop the monster (and its babies), an earthworm scientist, his reporter ex-girlfriend, and other unlikely heroes team up to save their city.
Godzilla had four credited writers: the screenplay is credited to director Roland Emmerich and Dean Devlin (Universal Soldier, Stargate, Independence Day), and story credits were given to Ted Elliott (Small Soldiers, The Lone Ranger) and Terry Rossio (Legend of Zorro, Deja Vu).
As mentioned, the film was directed by Roland Emmerich, who has made a name for himself by repeatedly destroying prominent metropolises in films like 2012, Independence Day, The Day After Tomorrow, White House Down, and Independence Day: Resurgence.
The cast of Godzilla is led by Matthew Broderick (The Producers, Ferris Bueller’s Day Off), Jean Reno (Leon, The Professional), Maria Pitillo (Chaplin), and Hank Azaria (Mystery Men).
The cinematographer for the film was Ueli Steiger, who also shot 10,000 BC, Bowfinger, House Arrest, The Black Knight, Stealing Harvard, and Austin Powers: The Spy Who Shagged Me.
Two editors received credit for working on Godzilla: Peter Amundson, who has worked on films like Pacific Rim, Gamer, Shoot Em Up, Hellboy, Blade II, and DragonHeart, and David Siegel, who cut Eight Legged Freaks.
The musical score for Godzilla was composed by two people: David Arnold, who has provided music for the BBC series Sherlock and Jekyll & Hyde, as well as films like The Stepford Wives and Hot Fuzz, and Michael Lloyd, who composed scores for Ghoulies Go To College and The Garbage Pail Kids Movie.
Godzilla wound up spawning an animated series that continued with the plot laid out by the film. The series ran for two seasons on Fox Kids, and was actually somewhat better acclaimed than the film itself.
A potential sequel was already in the works when Godzilla was released into theaters: it was to take place in Australia, and feature some sort of large insect (perhaps inspired by Mothra) as an adversary. However, the critical and fan reactions quickly put an end to these plans.
Godzilla wound up nominated for six Golden Raspberry Awards, which are given out each year to films deemed to be the worst in any given category. It wound up winning two: Worst Remake or Sequel, and Worst Supporting Actress for Maria Pitillo.
The 1998 American design of Godzilla was parodied years later in Godzilla: Final Wars, which has created some confusion on how the American Godzilla is classified. It is officially part of the Japanese Godzilla mythos because of its inclusion in that film, but it isn’t always considered a proper Godzilla, often being classified as “Zilla” instead. Likewise, most fans of the series discount the inferior American rendition, often referring to it as G.I.N.O. (Godzilla In Name Only).
The promotional materials for Godzilla bore the tagline “Size Does Matter,” which was intended to be a slight towards Jurassic Park. The tagline was (and still is) frequently mocked in parodies and other film trailers.
A number of notable directors, including James Cameron, Tim Burton, and Paul Verhoeven, all ultimately passed on the project of re-imagining Godzilla. Then, a version got well into the conceptual phase with Stan Winston providing creature designs and effects and Jan De Bont directing, though it eventually fell apart just before Emmerich took the reigns.
Another American take on Godzilla released in 2014, directed by Gareth Edwards. While better received than the 1998 incarnation, audiences were still divided on it. However, a combined franchise is being build around that film, which will be continued with the upcoming Kong: Skull Island.
The year after the release of Godzilla, Godzilla 2000 hit theaters in Japan. The plan had initially been to hold off on releasing a Japanese Godzilla feature until the 50th anniversary in 2004, which allowed plenty of time for American sequels to be produced. The scrapped sequel plans, in conjunction with fan outrage, pushed up the production of Godzilla 2000, which was seen as a direct response to the lackluster American outing.
Godzilla was made on a production budget of $130 million, on which it took in a lifetime worldwide theatrical gross of $379 million. While this was profitable, the negative reaction from fans and critics was substantial. Currently, the film holds an IMDb user rating of 5.3/10, along with Rotten Tomatoes scores of 16% from critics and 28% from audiences.
Something I have never been able to wrap my head around in regards to this film is why there was so much attempted humor injected into the screenplay. The original Godzilla, as well as the themes that surround it, are all very bleak. Humor just doesn’t match what these movies are about, unless it was written in a very grim and dark way. Godzilla, however, isn’t darkly-minded in its humor: it is cartoon-y and slapstick, which creates an effect of tonal whiplash. What is even weirder is that the humor clearly wasn’t added after some bad test screening: it was unquestionably designed that way. The comedy background of most of the cast makes it really hard to argue against this idea. Worse yet, the humor just isn’t funny. Despite the presence of some talented comedic actors, they all seem to struggle to make their material funny, which boils down to an issue of either direction or writing. In the case of Emmerich, it was almost certainly both.
Another issue that I have with the film were the general designs of the monsters: they just aren’t terribly interesting. Their appearances aren’t particularly imposing or intimidating, and it is hard to nail down exactly why. Apparently, Emmerich wanted his monster to be sleek and fast, which aren’t ways one would describe Godzilla. That focus on agility makes the beast seem a bit too toned and athletic, which just doesn’t fit for a creature that is supposed to be frightening. The color and texture doesn’t seem right either: the original Godzilla was designed to look burned, and was patterned after documented radiation burns from Hiroshima. That lack of scarring and texture robs the monster of a crucial tangibility, as well as further erases a subliminal aspect of the message of the original film. Replacing that texture and charred coloration just further drives home how much this film misses the point.
Personally, I think the very concept of an American production re-imagining Godzilla is basically unacceptable. Godzilla is a film that is about Japan and the Japanese. It deals with the nation’s grief, pain, and politics in the wake of horrific war, and a subsequent conflict of identity that came about as a result. An American perspective just doesn’t add anything: at worse, it takes away.
That said, Godzilla is not a movie that can’t be remade well. In fact, I absolutely loved the updated themes and concepts addressed in Shin Godzilla, and I think it is a shame more folks haven’t seen it. While I can’t recommend the Godzilla from 1998, I can definitely recommend that people check out Shin Godzilla.
Overall, Godzilla was an ill-conceived and ill-executed cash grab intended to capitalize on the dinosaur craze in the wake of Jurassic Park. It is a wholly soulless endeavor. Every time I re-watch it, I forget why I did. If you have positive nostalgic feelings about it, I wouldn’t recommend casting your gaze backwards. However, if you are a bit of a movie trivia buff, the story behind this film’s production is pretty interesting, and might justify a re-watch to daydream of what might have been.
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