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GODZILLA VS. MEGAGUIRUS

In fact, if it wasn't a landmark in Japanese scoring, the distinction really shouldn't even be noted. British and American composers like Shirley Walker, Anne Dudley, Rachel Portman, Wendy Carlos, Cynthia Millar, and others have demonstrated over the last decade that female composers are just as capable as male composers, even in gender-conscious Hollywood. Ohshima proves that a feminine touch is equally at home amid the thundering cacophony of Godzilla music.

Ohshima as scored a number of anime series, movies, and original video productions, including THE LEGEND OF CRYSTANIA (1995), QUEEN EMERALDAS (1998), and the video game LEGEND OF LEGAIA, in addition to being involved in stage and film music in Japan since the mid-1990s. Contrasted with the dark, low-end rumblings and martial cadences of Akira Ifukube's original GODZILLA scores and even that of Takayuki Hattori's lively but textural-based score for the previous film, GODZILLA 2000, Ohshima's score has proven to be highly melodic, classically symphonic oriented, and theme-dominated. Ohshima has composed a new theme for Godzilla, and also several new motifs for such elements as the Meganula insect-esque monsters that ultimately metamorphose into the toothy, winged Megaguirus and Japan's defense forces.

Ohshima demonstrates an appreciable control over large orchestra, as her score is often massive in approach and dynamic in its energy. "The Ultimate Battle Appearance," for example, proffers up a sturdy rhythm pulsating with piping winds against rumbling strings and percussion. The same motif segues into the next two tracks, developing a furious and stalwart action motif with plenty of forward motion.

The CD opens in an appropriately Ifukube-esque style in "Fateful Confrontation" low pounding drums and a low, repetitious cello melody, opening into a martial-styles percussive riff. Low-end brass intones an almost MISSION: IMPOSSIBLE-like phrasing, creating a strong sense of activity and import, culminating in a cacophonic flurry of orchestration. But Ohshima soon dispenses with this traditional Godzilla music as if she wanted to open with a nod to the man who defined Godzilla (not to mention most all Toho monster) music, just to create a musical link with the past before charging ahead into her own musical territory.

"Main Title" introduces Ohshima's first new theme, an ascending melody for strings that ends almost as quickly as it starts. "Operation Area," introduces the score's main theme, a powerful and adventurous ascending/descending motif that imparts a terrific feel of heroism, patriotism, and teamwork. It's almost like a heroic theme from a war movie John Wayne (or Toshiro Mifune, I suppose) saving the world from some dastardly evil, but it works splendidly to enliven the film's heroic scenes and add a sense of valiant import to the film's texture. It reminds me a little bit of Robert Cobert's warm Presidential theme from THE WINDS OF WAR, in fact, and carries the same sense of gentle nationalism. Ohshima's music, in fact, embraces Western influences even more than Ifukube's scores did, making the film's musical style even more universal. This theme will recur throughout the score, often in opposition to the darker monster themes, and is one of the prettiest heroic themes the Godzilla series has yet achieved. The theme also lends itself to variation and development, such as the mighty reprise, punctuated by drum beats, in "Griffon Sallies Forth," wherein the theme becomes an energetic military march, embellished by glorious swirlings of violins and rolling snare drums.

Ohshima's music for the Meganulas consists of repeated, descending violin glissandi (like weeping bird cries in a variation of Herrmann's stabbing PSYCHO bird shrieks) amongst harp, triangle, and other percussion. It's an effective ostinato for these insect monsters. The motif will metamorphose into the recurring brash violin chords that are associated with Megaguirus, an effective and almost subliminal association, since Megaguirus is, in fact, a metamorphosis of the Meganula.

Another contrasting cue, "Kiriko and the Little Boy," is a sweet and tender woodwind melody over strings and harp, a poignant little respite from the monsters-versus-military music that's abounding elsewhere.

The CD includes liner notes from David Hirsch, with a fine bit of background on the film and its composer, presented in a nicely illustrated CD booklet. The CD also includes six sound effects tracks (Godzilla and Megaguirus roars and footsteps) and a pair of alternate ending themes featuring Ifukube's original Godzilla themes.