Godzilla Minus One: The Most Personal Godzilla Movie Yet

We are here with a review of Godzilla Minus One. How does the first Oscar-winning film in kaiju cinema stand out from its predecessors?

Surprising Success and International Acclaim

Godzilla Minus One surprised everyone by making a remarkable debut among Japanese Godzilla films. Initially planned to be shown in limited theaters in the US for a week, it stayed in theaters nationwide for over a month due to high demand. TOHO released the film in several other countries, earning multiple times its budget.

The surprises didn't end there. The visual effects, created by a small VFX team, earned the film an Oscar. A large audience, whether kaiju fans or not, embraced Godzilla Minus One. Some even hinted at the return of the "real Godzilla," taking a jab at the Monsterverse Godzilla.

Godzilla Minus One: A Good Film That Doesn't Feel Like Godzilla

As a Godzilla movie, Godzilla Minus One feels like a fan creation. The plot focuses on everyone's fate being tied to one man's nightmare. The dramatic ups and downs, storyline, and execution are reminiscent of the shounen genre, filled with themes of "friendship, perseverance, and victory." Godzilla transforms into a dragon that a brave knight can defeat.

These qualities can be found in old Godzilla movies, though usually limited to one or two aspects. Godzilla (or Gojira) wasn't a monster of personal issues. Whether representing nuclear power or defending Japan against the foreign powers symbolized by alien invasions, Godzilla had a collective significance. The choices in Godzilla Minus One serve one man's moral redemption.

Inspired by Jaws

The film borrows many elements from Jaws. Adapted to post-WWII Japan, the shark transforms into Godzilla. While not identical, there are many similarities. The local council's cover-up parallels the government’s cover-up in the film. The desperate plan to hunt the monster with limited resources is similar. The situation becomes deeply personal for the protagonist, much like in Jaws. The original Godzilla (1954) was also inspired by the 1953 film Beast From 20,000 Fathoms. Japanese artists excel at creating innovations when they draw from Western sources. Minus One successfully reinterprets Jaws.

A Personal Monster Threatening a Nation

In Jaws, the shark needed to be destroyed for the safety of the community and the sheriff's peace of mind. Steven Spielberg turned a monster-threatening scenario into a father's quest for peace. Godzilla Minus One follows a similar template. Post-war Japan is threatened by a giant monster. Former pilot Koichi Shikishima struggles with the guilt of failing his duty during the war and allowing the monster to cause more deaths. He feels unworthy of happiness because of this. Although Godzilla threatens Japan, it’s really Shikishima's personal monster, making his life unbearable. Destroying the monster at any cost is the only way Shikishima can find peace.

This narrative choice doesn't align with the traditional Godzilla spirit. Godzilla typically represents a collective threat. It could symbolize nuclear devastation (Godzilla, 1954), colonialist capitalist exploitation (Godzilla vs. Kong, 1962), or nature's retaliation against human disruption (Son of Godzilla, 1967). In Minus One, the threat to Japan is part of Shikishima's personal journey. Godzilla is not Japan's monster, but Shikishima's.

The theme of defeating one's monster to save humanity also recalls Reign of Fire (2002). Though different in tone, both films share this mythology.

Shounen Adventure

The film has the potential to transform Godzilla from a personal to a collective metaphorical monster: fighting not out of duty but from a sense of responsibility. Former soldiers who once embarked on suicidal missions for the empire now need to battle the monster to protect their people. For them, stopping Godzilla is the opposite of the war, fighting the right way for the right reasons. Godzilla Minus One misses this layer. Everything serves Shikishima's journey, making the monster metaphorically his. It's not the only reason. The narrative choices highlight Shikishima.

The shounen-like spirit of the story pulls the film even more into personal territory. Shounen, often used in anime, involves a young protagonist proving himself and achieving victory with friends' support. Shikishima is surrounded by friends or those who will become friends.

For example, a former soldier angry at the government's secrecy doesn't resent his comrade for keeping secrets until they reach their goal. He's a friend aware of priorities. A woman who blames Shikishima for her family's loss soon supports him as her new family. Everyone has found a way to move on except Shikishima. Despite improved living standards, he feels unworthy of life. The monster attacks provoke him to confront his fears. The presence, absence, and support of those around him prepare Shikishima for this confrontation.

What Do These Characters Serve?

The focus on the protagonist introduces a misperception about old Godzilla films. In those films, people comment on the monster's actions, reflecting the impact on humanity. For example, the journalist narrating Godzilla's destruction in the 1954 film enhances the horror. "Someone is witnessing unimaginable terror," and the audience feels it.

Godzilla Minus One has a similar sequence but lacks the same horror. The characters merely affirm the monster's enormity. The portrayal of Godzilla is so cool that it diminishes the tragedy's weight, reminiscent of Roland Emmerich’s Godzilla (1998).

Conclusion

Emmerich's Godzilla was a kaiju film that entertained despite its flaws but didn't feel like Godzilla. Takashi Yamazaki, driven by passion, has created a film closer to a fan creation, deviating from the Godzilla spirit. Compared to Emmerich, Yamazaki's film stands out with its unique identity and trauma confrontation story.

Ultimately, Godzilla Minus One differs from the series' other films. While it doesn't fully capture Godzilla's collective spirit, it offers a deeply personal cinematic experience.