GODZILLA X MEGAGUIRUS at the Tokyo International Film Festival

By: By Norman England
Date: Thursday, November 09, 2000

Japanese people do things to great extreme. In an everyday sense, they work hard and play hard with little given to the in-between. This cultural point can be seen in Godzilla movies as well. Bounding between weighty social critiques and childish, action-oriented romps, Godzilla films that take the middle road are a rare breed. Perhaps no better example of this flip-flop ability is the latest effort, Godzilla X Megaguirus; the film is in every way the antithesis of last year's Godzilla 2000: Millennium (released this past summer in the US under the abbreviated title Godzilla 2000).

A heavy piece of work, G-2000 sought to put the meat back in the franchise. For this film Toho went with a story that was glum and, as if responding to the course set by Tri-Star's Godzilla, rather pedantic in its touting of what a 'correct' Godzilla film should be. However, when all was said and done, ticket sales were only half that of Toho's previous entry, Godzilla vs. Destroyer and far below the Japanese box-office return of the Tri-Star film. While officially not admitting to any failure in the direction taken by G-2000, Toho in a sense has eaten crow by making the radical direction change seen in GXM.

Basically, whereas G-2000sought to put the fear back in Godzilla, GXMseeks to put the fun back in the series. Gone are the weighty dissertations of Godzilla in relation to life on Earth. As a story, GXMcould not care less about such metaphysical ramblings; instead, its aim is to connect with the youngster in all of us by giving a story with the simple aim to entertain. The result is a film that is on all counts more fun than G-2000 but which suffers from unbelievable and overwrought performances made to appeal to small children.

GXM tells the story of Kiriko Tsujimori (Misato Tanaka), a soldier in a special branch of Godzilla research known as 'G-grasper'. With a heavy bone to pick, she is earnest in her desire to see Godzilla dead. Enlisting the aid of Hajime Kudo (Shosuke Tanihara), an expert in the art of miniaturization, she sets him to work with Yoshino Yoshizawa (Yuriko Hoshi) to perfect the 'Dimension Tide,' a powerful weapon that creates mini-black holes that can literally suck Godzilla out of this world. An early test of the machine releases a prehistoric insect, Meganuron. Passing through several transformations, it eventually arrives at its final shape, Megaguirus, and poises itself against both Japan and Godzilla.


GXM starts out sharp. The filmmakers know what the audience wants: Godzilla. Ingeniously recreating black-and-white shots from the original Godzilla, the slicker looking 'millennium' version is used in these scenes in place of the somewhat lumbering original. Several shots from the 1954 classic, such as the famous scene of Godzilla with a train clasped in its jaws, are enjoyably recreated.

Set in an alternative universe, the film explains that, because of constant attacks on Tokyo by Godzilla, Japan's capital had been moved to Osaka. Interestingly, the audience at the Tokyo International Film Festival, where the film premiered last Friday, found this point rather difficult to swallow. They had no problem accepting imaginary creatures like Godzilla and Megaguirusbut buy the idea that Tokyo's rival city of Osaka could be the capitol of Japan? No, this was too deep in the realm of fantasy and whenever it was mentioned they roared with laughter.

Jumping closer in time, 1996 to be exact, we are shown Osaka being raided by Godzilla. On hand to put the beast down is a team of Godzilla counter-attack soldiers. It is during this battle that Tsujimori's team leader is killed. The scene is climaxed by the main title of the film blasting on the screenan exciting and well executed moment that left the initial audience of the film breathless and in wild applause.

After this rather brilliant opening, it soon becomes evident that the film is geared towards tots. Performances develop in an overly broad manor, and the dialogue doesn't concern itself with anything put pushing the simplistic plot along. We are even given a 1950s throwback scientist character, an expert in prehistoric creatures, who tells us every step of the way what to expect of Megaguirus and its development. This almost non-attention to substance in the dialogue reveals early on that the filmmakers aim is simply to get quickly to the final showdown between Godzilla and Megaguirus.

Humor plays heavy in GXM. There are several tongue-in-cheek nods to the audience, such as the placement of certain billboards atop some of the film's miniatures. The inclusion of two local comedians as a pair of bumbling municipal electricians is evidence that Toho wants the film to be taken as light entertainment. Likewise, the use of the currently popular greeting 'O-ha', seen on a TV during a scene in GXM, is an unabashed attempt to win over the youth audience.

Oddly, despite trying to endear its self to those under ten, there are a few brutal scenes. In one, Megaguirus, during its initial stage attacks a young man waiting on his girlfriend. The scene, reminiscent of early '80s SF-slasher films such as Galaxy of Terror is one of the bloodiest in any Godzilla film. While effective, it seems out of place considering the market the filmmakers are trying to net.

Perhaps the biggest improvement can be found in the film's musical score. G-2000's soundtrack took a heavy drubbingand deservedly so. However, GXM features some rather moving pieces. While the performances by the film's human characters are rather shallow, the score of Michiru Ohshima lends mood and adds much needed dimension. While lacking an easily recognizable theme such as those created by original series composer Akira Ifukube, the music set to the monster battles is strong, stirring, and completely satisfying.

Marking his second go as SFX supervisor is Kenji Suzuki. In G-2000 he displayed an uneven talent by giving the audience both brilliant and not so brilliant effects. While his work in GXMis often patchy, it is more consistent and thus more satisfying. One truly amazing shot shows the arrival of Godzilla in Tokyo Bay. The camera floats above the megalopolis until settling on Godzilla cutting through the water. It is just this kind of realistic SFX work that can help win over the more jaded members of the modern audience.

However, many effects are downright embarrassing. In what is sure to be a controversial moment, Godzilla engages Megaguirus with a full flying body slam. Not as outrageous as when Godzilla tucked in its tail and flew after Hedora in Godzilla vs. the Smog Monster, this scene is nevertheless sure to not sit well with more serious fans. Also, Suzuki has processed several shots of Godzilla with a jittering, strobe effect. While kind of cool, it ultimately reminds the viewer that they are watching a film and detracts rather than enhances.

Returning to the role of Godzilla is Tsutomu Kitagawa. More confident, Kitagawa imbues the Millennium Godzilla with both a nasty and a heroic quality. His Godzilla moves like a lizard when laying waste to Osaka and different Japanese locals. It moves indifferently against mankind as it searches out sources of power to drain. Yet, strangely enough, when battling Megaguirus at the end, the style nearly switches to that of the hero Godzilla of the 1970s. (In fact, for one shot, Kitagawa employs the mannerisms of original Godzilla actor Haruo Nakajima as a wink to these days of Godzilla yore.)

Although GXMis in almost everyway a superior film, newcomer director Masaaki Tezuka is unable to create as smooth a tale as that of G-2000's veteran director Takao Okawara. As a result, the current film feels slightly jerky and in the end amounts to little more than an amusing romp through the 'what if' world of giant monsters. In the final analyses, however, Toho has probably gone the correct route in order to save the forty-six year old franchise. The mood following the screening was one of absolute elation. The crowd that milled about in the lobby and out front of Orchard Hall was comprised of nothing but smiling and triumphant faces. 'Godzilla is back' was the battle cry, and everyone felt that GXM signaled the beginning of many more Godzilla films to come.