Terasawa wrote:Angilasman wrote:I used to not be so hot on this one, but I've warmed up to it considerably. I think the domestic drama trappings make it a bit too dull for most, but it has some subtle charms , and I absolutely love the finale on the glacier.
Exactly how I feel. It took a lot of time to come around on it.
I especially like the sense of dreadful anticipation that permeates most of the movie. I think the movie is very much inviting comparisons to the US’s bombing of Japan in the later years of WWII. The civilian perspective only enhances this.
Of course there are poor aspects of it: Tsuburaya’s FX aren’t nearly as refined as they’d eventually be, and Sato’s score frankly sucks. The screenplay’s structure is a bit awkward too, especially with the return to business as usual after Osaka is destroyed. All of these things would be ironed out by the time the series returned in the 60s, but I don’t think it’s fair to compare GRA to the later Godzillas. It’s the Godzilla movie most like the typical non-sfx programmers Toho was producing during this period.
It's a movie with some serious structural problems, but figuring out a structure with which to sequelize Godzilla was inherently going to present some challenges, and require some trial and error. The fact that they succeeded so well by movie three, and more-or-less perfect a formula by movie four (and then had the wisdom to immediately vary it) is pretty stunning.
Where GRA most succeeds is in its atmosphere. The tension really is palpable, even during many of the more mundane stretches (until the ending becomes a little too drawn out).