Surprising for a nationalistic era in human history, 2023 saw the release of two World War II films that aren’t particularly complimentary toward their source country’s behavior: “Oppenheimer” in the U.S. and “Godzilla Minus One” in Japan.
The latter, a prequel to 1954’s “Godzilla,” is the better of the two films – less convoluted, less pretentious, with more likable characters while retaining a strong statement about history. It’s not at all cheesy, which might be why it’s getting the most hype since “Top Gun: Maverick.” Be careful to not get overhyped, because “G-1” is simply a good character-driven monster movie, not something groundbreaking.
It is water-breaking, though, as Godzilla rises from the deep for what might be the first time in the 1940s, after the atomic bombs – although there are rumors of a legendary creature like this, which is why his debut appearance comes attached with a name.
“Godzilla Minus One” (2023)
Director: Takashi Yamazaki
Writers: Ishirô Honda, Takeo Murata, Takashi Yamazaki
Stars: Ryunosuke Kamiki, Minami Hamabe, Sakura Ando
After an opening action sequence, “G-1” settles into a historical character drama, somewhat Oscar-baiting but ultimately quite likeable as we follow the creation of a makeshift family that could only exist in the post-war ruins. Shikishima (Ryunosuke Kamiki) can’t turn away Ōishi (Minami Hamabe) or the young girl she has acquired in the chaos, the adorable Akiko. Although they speak of the arrangement as being temporary, we know they are falling for each other. Aww.
“G-1” shows how Japanese culture begins to value human life more after a war described by one official as a “tragedy.” Shikishima’s neighbor in the ruins (Sakura Ando) initially blames him for not carrying out his kamikaze mission, instead choosing to live.
Historical insight
If Japan’s military and government weren’t in shambles, Shikishima would’ve perhaps been executed by the government. But writer-director Takashi Yamazaki (who also oversees the Oscar-winning special effects) casually indicates in the story that it’s up to these now-citizen soldiers to take on Godzilla. They won’t have official military backing other than the donation of two warships.
This makes “G-1” an unusually libertarian major film. When the military leader – teaming with Shikishima’s weapons-engineer friend Noda (Hidetaka Yoshioka) — asks for volunteers, only a few people walk out. Plenty of folks are willing to risk their lives to stop the monster, and in fact, the possibility of survival (as opposed to the guaranteed “honorable” death of kamikaze missions) is refreshing to many.
“G-1” is like a bigger-scale “Jaws” as Noda comes up with a way to stop the monster. And the mission briefings feel like “Star Wars: A New Hope.” But in the end, it’s like Japan’s “Independence Day.” For some reason, it was up to the Americans to stop the aliens in that film, and here it’s a given that the Japanese must stop Godzilla.
Without being overly harsh about it, “G-1” says the atomic bombs – and then Godzilla, who has always been a metaphorical product of the bombs – came about because of Japan’s actions. So now the Japanese people must clean up the mess, and rediscover that human life has value.
Appropriately, “G-1” also reminds us that Japan does “Godzilla” best. I admit to enjoying the gee-wiz Vernean sci-fi of the Hollywood-produced Monsterverse – which gave us TV’s “Monarch: Legacy of Monsters” last year and cinema’s “Godzilla x Kong” this year. But if you want to hold the cheese, go back to Gojira’s roots with “Godzilla Minus One.”