by jamaal7 » Sun May 16, 2004 4:47 am
Godzilla vs. Mothra has some very effective and colorful visuals. Godzilla coming out of the volcano, after being detected on a thermograph, is simply spectacular. The underwater fight with Battra is another visually striking scene. Mothra's emergence from the cocoon against Ifukube's Mothra theme is almost landmark. The sea battle between Godzilla, the Mothra larva and Battra would have been better at night, or at least in the early evening. It just doesn't look that convincing in terms of scale and life-like texture (in terms of the kaiju, especially Godzilla) in the unforgiving light of day. Perhaps that is one reason why the underwater battle works as well as it does. The sight of Mothra on the tarmack at the airfield convinces; she looks huge, just the way a real monster would. I liked Battra's rampages in Nagoya and the shots of Mothra swimming with the setting sun in the background. Speaking of Battra, its transformation into its flying form is one of the highlights of the Heisei Godzilla films.
As for the human characters/story, the film is a little heavy handed with its environment centered theme; it's kind of preachy, especially the female lead, Masako Tezuka, played by Satomi Kobayashi. But like the film itself, she has her moments. There's a scene where she's shown looking at her estranged husband, the almost child-like Takuya Fujita (played very well by Tetsuya Bessho), as he is reading a letter from their daughter, Midori (Shiori Yonezawa). That she still has feelings for him comes across very naturally, as her face glows in the light of the camp fire. You sense that she is able to put aside her anger and exasperation, even if only occasionally, or for a few moments at a time.
So I guess there's a story of development of sorts. In fact, it's alluded to in the scene at the cafe in the Phillipines, you know the line about people having to come out of their eggs, or something like that. I thought the chemistry between Kobayashi (Masako) and Bessho (Takuya) was great. They really came across as a former married couple with more than a child between them.
Another SFX note: the Mothra prop is much too 'fluffy' and toy-like. I like the Bato-Goji suit and loved the three-way battle in Yokohama at the end. Battra and Mothra 'talking' to each other was bit much, as well as the cheering of them on done by Masako, Takuya and Midori. And another thing: are there cameras all over Japan, allowing people, especially government officals, to observe everything all over the country?
Other SFX highlights: Godzilla's march with the railroad tracks in the foreground and his walking through a building. It does look like they got the camera speed wrong as he walks a little too fast to the final confrontation at the docks, but, I kind of liked it, as if he can't wait to get to the fight. There are times when the suits and props look a little too plastic (e.g., the ocean battle scene). I can remember wishing after seeing Gamera, Guardian of the Universe, that the suits/props in GvsM had the texture used for the kaiju in Kaneko's first giant monster movie.
So, I find Godzilla vs. Mothra to be pretty entertaining. I would have liked to have seen some things done differently and more attention given to how the suits/props look, especially during daylight scenes.
Also, Ifukube's Mothra theme, as the full ending credits roll, is simply beautiful.