GOJIRA (Godzilla, 1954) ** I've read learned-and extraordinarily considered-considerations of this film in terms of a supreme metaphor for nuclear power. I've also seen studies of the Book of Revelations where every single aspect is identified in terms of contemporary geopolitics. Both may be fun, but probably miss the point. Ishirô Honda was no doubt preoccupied with the events of Hiroshima and Nagasaki , and wanted to say something about them in his own unique way. That's different from overt symbolism, Gnosticism, or the delirium of a spiritual sage. The truth is that Godzilla & Co. probably lend themselves as literally to being symbols for the Angel of Death, or the fascinating but self-destructive spirit of the 1960s. The former may have some peripheral relevance, but the latter none at all unless Honda was a clairvoyant. It's a film with constant references to nuclear testing, and a simple message relating to honesty and good will, all launched across a canvas of suffering and self-preservation. I don't necessarily look for anything even that ambitious in my monster movies, and the problem is that it just isn't all that entertaining. Godzilla isn't actually in it much, the human relationships more central to the plot aren't particularly interesting, and even when Godzilla really gets going on his path of destruction…Honda subsequently did it much better. The most impressive part of the film is neither nuclear theory nor recalcitrant beast, but the gutsy and effective use of Akira Ifukube's wonderful classical and oriental music throughout, and particularly during the climactic scene.
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