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Re: TALKBACK #17: Godzilla vs. Biollante

PostPosted: Sat Aug 29, 2015 9:20 pm
by MekaGojira3k
Neat, not necessarily something I think the film needed, but neat!

Re: TALKBACK #17: Godzilla vs. Biollante

PostPosted: Mon Aug 31, 2015 1:14 am
by Hybrid Gojira
Really cool Klen - thanks for sharing.

Re: TALKBACK #17: Godzilla vs. Biollante

PostPosted: Sun Nov 15, 2015 12:33 pm
by ebirahsmeg1
For those who are big fans of this movie, you might be happy to hear this following news:

Hobby Japan, which published the recent "Perfection" books (Heisei Perfection Heisei Gamera and Godzilla: Champion Matsuri Perfection1969-1975) is publishing a new book dedicated solely to this film titled Godzilla vs Biollante Completion, with a release date of December 16th:
http://wave.ap.teacup.com/hazawagumi/2513.html

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Re: TALKBACK #17: Godzilla vs. Biollante

PostPosted: Mon Nov 16, 2015 10:48 am
by klen7
Great news!

Re:

PostPosted: Mon Aug 15, 2016 1:45 am
by lhb412
eabaker wrote:Details like this contribute to my believe that Omori, while an uneven writer, was solidly the best Godzilla director of the Heisei era.


^He's right!

... but I wonder just how much of the unevenness is attributable to him or the demands of the committee approach that governed the content of the films.

Re: TALKBACK #17: Godzilla vs. Biollante

PostPosted: Wed Aug 29, 2018 11:48 am
by tbeasley
Recently found this out about Biollante's composer...
The Sad Story of a Japanese Gaming Legend who Pretends War Crimes Never Happened
What Sugiyama and his fellow revisionists (or, to use a more correct term, negationists) are doing is something different. They think the scale of Japanese atrocities is simply a concoction of the West, that the years of testimony and research supporting the use of “comfort women” (something acknowledged by the Japanese government itself in 1993) is actually a collection of “fallacies, distortions, biases and factual errors”. Some of his colleagues in negationist movements like the “Committee for Historical Facts” even believe the Rape of Nanking simply didn’t take place.

These men, all of them politically conservative and many of them of an age to remember the war, can be found lightly scattered amongst Japanese politics. Shinzo Abe, for example, Prime Minister of Japan in 2006-07, held similar views. They are deeply committed to their beliefs, to the extent that on June 14, 2007, they took out a full-page advertisement in the Washington Post, in which they argued that the use of comfort women was “anything but the truth”.

(This report even states Sugiyama initiated the whole thing).


Which reminded me of some of Ifukube's unfortunate beliefs...
Galvan: Continuing on that note, I learned via your site Ifukube was something of a nationalist: he was very much ashamed by Japan’s defeat in World War II and, as you said, saw Godzilla (1954) as a movie in which nature retaliated against technology. Having said that, in the most famous films Ifukube scored, we often see Japan attacked by giant monsters or alien invaders, with the Self Defense Forces promptly swinging into action to combat the menace (even if the intuition of civilians and scientists is ultimately required to save the day). Given how he felt about Japan’s surrender, do you think Ifukube was enamored by the idea of a Japanese military quick to fight off invading forces and who could—with assistance—repel the dangers threatening Japan?

Homenick: Yes, as I mentioned, Ifukube felt that Japan’s cause during the war was just. When the war was over and Japan was crushed, Ifukube became depressed and felt shame, as you mentioned. Of course, the reasons for Japan’s aggressions throughout Asia were many and the situation is too complex to paint with a single broad brush. But one of the reasons for Japan’s colonialism prior to and during the war was due to the Imperial government’s policy and philosophy of Pan-Asianism. This is the idea that Japan had the divine and moral obligation to liberate other Asian countries from their Western captors. Ironically, “liberating” didn’t just mean kicking the Europeans and the Americans out of countries like the Philippines or Burma — it meant kicking the Europeans and the Americans out and then recolonizing under the flag of the Rising Sun. After the war, Japan, “the great liberator,” if you will, itself was invaded and taken over by the very forces that the island nation was seeking to remove from the region. Indeed, an ironic twist of fate and a huge humiliation, at least as far as Ifukube was concerned. I don’t think he ever really got over those feelings of humiliation. For the first year directly after the war, those sentiments were especially strong; his depression was such that he thought that he should give up composing. His inspiration to write music had been completely dissolved, at least for a short period. Thankfully, his lack of will to compose was only a passing phase and he would go on to write some of his best music after the war.

Source

Re: TALKBACK #17: Godzilla vs. Biollante

PostPosted: Wed Aug 29, 2018 12:03 pm
by lhb412
^ I'd read about that guy! They always talk about him from the gaming perspective so I didn't connect him to Biollante.

Ifukube's beliefs (at the time, at least) are very evocative of British and American ideas of the 'white man's burden' and manifest destiny, with a different racial component, of course.