Talkback Thread #16: The Return of Godzilla

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Re: Talkback Thread #16: The Return of Godzilla

Post by MechaGoji Bro7503 »

Missingno. wrote:After watching this movie again, something came to me as a bother that I never thought of before. The scene where the Soviet and American ambassadors visit the prime minister to work out an attack plan against Godzilla is where this occurs for me. On top of none of the Japanese cabinet mentioning the fact that atomic weapons created Godzilla and radiation powers him, something that has always bothered me, the recent flaw I noticed is that both of the foreign ambassadors insist that their leaders want to use nuclear weapons against Godzilla; though both the United States and Soviet Union respectively had Ronald Reagan and Mikhail Gorbachev in power at the time; both being leaders that were against nuclear weapon production/possession, and actually sought policies that would actually reduce the stock of each nation's nuclear weapon count through agreements such as the START treaties. All of this was beginning to occur around the time the movie was made as well, so why a blind eye was turned to these facts, I don't know. I guess to have that threat of the possible use of nuclear weapons at any time? Beats me. Just a pet peeve of mine, though.
To me, there are a few odd things they left out, such as what you mentioned. Also, if this Godzilla is a new individual, or the original somehow coming back.( i know this is cleared up in vs. King Ghidorah, but still). I guess the producers maybe just wanted to get to the point? When Godzilla finally attacks, all the built up story and tensions with the prime minister and the other countries kinda disappears. I guess it was just time to give the other characters the spotlight.
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Re: Talkback Thread #16: The Return of Godzilla

Post by Goji »

Missingno. wrote: I guess to have that threat of the possible use of nuclear weapons at any time?
Bingo. Also, it's fictional. It's a much more dramatic scenario to have nuclear weapons be something that everyone struggles with the idea of using.
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Re: Talkback Thread #16: The Return of Godzilla

Post by Kaltes-Herzeleid »

Re-watched this film on Thursday and I can still say it's my favorite, just beating out Shin Godzilla for me.
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Re: Talkback Thread #16: The Return of Godzilla

Post by Mechagigan »

Gave this one a rewatch after not seeing it for quite some time... sadly, I like it less and less each go-around.

I never like being totally blunt, but there's hardly a more accurate way to sum up this movie than "boring". A boring movie loaded full of good ideas, appropriate atmosphere, and some obviously competent intentions - but, regardless, an unbearably boring one. And I don't refer to boring in the childish, "more Godziller" sense. The issue is the lack of any draw, from niether the cast, nor the monster.

The characters all do little but stare blankly, discuss numbers and fiddle with offscreen machines. Drama between them is consistently blunt and quickly forgotten; even the possible love subplot really makes no sense, our biggest interaction between the two contenders being a cold manipulation. I hate using this as an actual critical point, but frankly - they had no chemistry, neither with themselves, nor with the audience. Attempts are constantly made to guide us deeper into their personalities and intentions, but never are these routs given enough time nor content to actually matter.

And there we have our source issue. The pacing is just terrible. The film has so many prolonged, unnecessary and often even pointless scenes, it's amazing how much could be cut to create a streamlined version. Even Godzilla himself seems to do more standing and posing than any actual 'Gojira'-esque destruction. Some sequences are so abrupt and out-of-the-blue, one must wonder why they were included at all. I can't help but imagine how desperately this film needed to have a Shin Godzilla or Gamera-AoL style of storytelling. Little to no main characters, thus no time devoted to character development, thus much more time to focus on the real heart of this movie specifically - monsters, morals and tech.

None of these drawbacks in any way alleviate the noticeably aged and poor special effects; a simple eyeball in place of a Gamera-style moving slide would've totally saved the suit, but sadly, this Zilla seems to be more of a zombie than GMK.

I'll give it credit; again, it knows really well how to create atmosphere, treats everything with a nice seriousness, and actually manages to throw in great concepts. As a direct sequel to Gojira, it has some appropriate goals. I really wish I could praise them further, as many do have a depth to their concepts that ought to be more appreciated, but the rest of the movie is simply so drearily unimpressive that it's hard to stay enthusiastic for more than a few seconds.

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Re: Talkback Thread #16: The Return of Godzilla

Post by Goji »

Mechagigan wrote: The film has so many prolonged, unnecessary and often even pointless scenes, it's amazing how much could be cut to create a streamlined version.
Such a thing more or less exists. It's called Godzilla 1985.
Last edited by Goji on Wed Dec 14, 2016 10:16 am, edited 1 time in total.
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Re: Talkback Thread #16: The Return of Godzilla

Post by Mechagigan »

Goji wrote:
Mechagigan wrote: The film has so many prolonged, unnecessary and often even pointless scenes, it's amazing how much could be cut to create a streamlined version.
Such a thing exists more or less exists. It's called Godzilla 1985.
That's true, I only didn't mention it because it's been even longer since I've seen that version… I don't especially remember how much better, or worse it was. Absolutely had much better 'flow', though.

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Re: Talkback Thread #16: The Return of Godzilla

Post by Mr_Goji_and_Watch »

Does anybody have the picture of the movie's crew where in the back some dude is flipping the bird?
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Re: Talkback Thread #16: The Return of Godzilla

Post by AbudJasemAlBaldawi »

Missingno. wrote:After watching this movie again, something came to me as a bother that I never thought of before. The scene where the Soviet and American ambassadors visit the prime minister to work out an attack plan against Godzilla is where this occurs for me. On top of none of the Japanese cabinet mentioning the fact that atomic weapons created Godzilla and radiation powers him, something that has always bothered me, the recent flaw I noticed is that both of the foreign ambassadors insist that their leaders want to use nuclear weapons against Godzilla; though both the United States and Soviet Union respectively had Ronald Reagan and Mikhail Gorbachev in power at the time; both being leaders that were against nuclear weapon production/possession, and actually sought policies that would actually reduce the stock of each nation's nuclear weapon count through agreements such as the START treaties. All of this was beginning to occur around the time the movie was made as well, so why a blind eye was turned to these facts, I don't know. I guess to have that threat of the possible use of nuclear weapons at any time? Beats me. Just a pet peeve of mine, though.
I mean, Japan's prime minister is fictional so I guess logically the same would apply to Russia and America.
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Re: Talkback Thread #16: The Return of Godzilla

Post by edgaguirus »

If you have a weapon, there can always be someone crazy or desperate enough to use it. War is always possible, but cooler heads prevailed when it came to nuclear war.
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Re: Talkback Thread #16: The Return of Godzilla

Post by Zarm »

Maybe this has already been discussed, but... what are we to infer is the homeless man's fate? Did he die from a brain hemorrage or something? A very strange scene...
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Re: Talkback Thread #16: The Return of Godzilla

Post by Zarm »

It's been mentioned before how tonally-strange the end credit song is. For such a grim, destructive Godzilla, it seems strange refer to him as an 'old friend' and wish him well. But what if that's not the Godzilla this song is referring to? What if this is Return of Godzilla, establishing a new continuity and will eventually become known as the Heisei series, giving a fond and affectionate farewell to the Showa Godzilla whose series is now definitively over? 'Goodbye,' the song is saying, 'And thanks for all the memories. Wherever you are now, Showa Godzilla, we wish you well.'
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Re: Talkback Thread #16: The Return of Godzilla

Post by JAGzilla »

And so, roughly eighteen years of waiting have finally come to an end. The last time I watched Godzilla 1985 was in either '97 or '98, shortly after I got into the series. It was probably the fifth or sixth G-movie I saw. I'd forgotten almost everything about it apart from the shot of Godzilla falling into the volcano (which made me bawl when I saw it for the first time) and a handful of other vague images, and I'd managed to only pick up bits and pieces of the story during my time online. So I bought the RoG DVD the other day, and went in relatively blind.

My initial impression is that I can definitely see where the criticism comes from; it was kind of slow and plodding, and the whole movie sort of builds up to nothing, since Godzilla hardly does anything once entering Tokyo. The characters, with the exception of the weary old scientist that managed to see Godzilla as both unstoppable force of nature and controllable animal, were also very bland and mostly felt like they were just there because the movie needed characters.

But that buildup was somewhat exciting, and it was a cool change of pace to see America and the USSR take prominent roles in dealing with a monster that has the potential to become a global threat, with neither side portrayed as any more good or evil than the other, even if it was the Soviets that made the mistake and the Americans that fixed it.

I'll post my thoughts on the more action-y side of things later. I'm too tired to brain good at the moment. :lol:
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Re: Talkback Thread #16: The Return of Godzilla

Post by AbudJasemAlBaldawi »

Zarm wrote:It's been mentioned before how tonally-strange the end credit song is. For such a grim, destructive Godzilla, it seems strange refer to him as an 'old friend' and wish him well. But what if that's not the Godzilla this song is referring to? What if this is Return of Godzilla, establishing a new continuity and will eventually become known as the Heisei series, giving a fond and affectionate farewell to the Showa Godzilla whose series is now definitively over? 'Goodbye,' the song is saying, 'And thanks for all the memories. Wherever you are now, Showa Godzilla, we wish you well.'
That's how I saw it, as a kinda meta reference to the "good ol days" of when Godzilla was a good guy. In fact I think the credits song and the prime minister crying are more of a nod to the audience who'd grown attached to hero Godzilla, and are the only ones with any reason to find his death bittersweet since in universe he's supposed to have always been a bad guy.
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Re: Talkback Thread #16: The Return of Godzilla

Post by Goji »

Zarm wrote:It's been mentioned before how tonally-strange the end credit song is. For such a grim, destructive Godzilla, it seems strange refer to him as an 'old friend' and wish him well. But what if that's not the Godzilla this song is referring to? What if this is Return of Godzilla, establishing a new continuity and will eventually become known as the Heisei series, giving a fond and affectionate farewell to the Showa Godzilla whose series is now definitively over? 'Goodbye,' the song is saying, 'And thanks for all the memories. Wherever you are now, Showa Godzilla, we wish you well.'
I...think that's quite the stretch. No offense.
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Re: Talkback Thread #16: The Return of Godzilla

Post by Zarm »

The song itself seemed quite the stretch. I was just trying to consider any rationale in which that oddity actually made sense. :)

Added in 22 hours 24 minutes 41 seconds:
Updated review:

The phrase that I keep coming back to for Return of Godzilla is ‘Big-budget Boredom.’ It is an interesting stylistic shift- I would argue that it's a shift visible throughout the film, in fact- between the Showa era and the Heisei era to come. But the plot itself, while maintaining some strong tension in the first half, really bogs down about the time that Godzilla actually appears and our main protagonist become the primary focus of the film. The film is much better at building anticipation than it is at paying it off, unfortunately, because there are a lot of things they tried to do really well. They just didn't always succeed.

The mysterious teaser, the introduction of Goro Maki on his boat, and the scenes with the professor and Naoko really feel as if they could be completely out of a Showa era film- except, perhaps, for the quality of film stock. Whereas by the time the Super-X comes barreling in and breaking up the serious ‘Godzilla in the real world’ tone with a piece of sci-fi that’s strangely jarring and mood-breaking for a movie that already has a giant radioactive reptile and a platoon of maser cannons- it is firmly in the tone and style of the Heisei era to come. It's as if, within those 30 minutes of film, the entire film makes a subtle narrative transition bridging where we last left off to where we're going. That's impressive.

Unfortunately, the script is not.

Goro Maki (the second of three, named after the character from Son of Godzilla) is a bit of a heel and an opportunist, it seems- yet he's also genuinely brave, and seems to care about Naoko, even if he lets his self-interest get in the way of that when he uses her to get photos of her reunion with her brother. His characterization is strong enough that this reads like a true mistake- a momentary failing in his character that sabotages a relationship he genuinely cares about, and not a revelation of the kind of guy that he ‘truly’ is deep down. His decency is well-enough established that this stumble comes off as what it is- a moment of weakness, giving in to the temptations of his worst nature… and when one of the first true character moments that you get for your character can be written off as an aberration rather than setting the tone for how you think of him for the rest of the film, that's the indication of a well-written character.
Unfortunately, he doesn't have a lot of traits beyond of that- but that's probably because the film doesn't really give him much to do to demonstrate anything, other than an occasional resourcefulness in a tight spot, and being a caring, mostly-decent guy that sometimes lets his ambition override what he knows to be right. It's a well-established but very thin character, excellently portrayed and well-rooted with a character trait that comes through strongly… but it’s seemingly the only one (or two, if you count ‘resourcefulness’ separately) he has, and that’s not enough to make a fully rounded character. Or at least, not a very interesting one, as his entire character is monolithically defined by those two traits

That's honestly better than Professor Hayashida or Naoko, though, as neither of them has much of a character to speak of- and certainly no semblance of a compelling arc or noteworthy trait. They are simply there to fill the role of ‘a professor to invent a thing to stop Godzilla,’ and ‘a love interest,’ respectively. In many ways, they mirror Emico and Serizawa from the original film, but without any of the depth or dimension that fleshed those characters out. Likewise, for Naoko’s brother Hiroshi, and the government officials throughout the film. Even the Russian operative, with his dedication to try and stop a nuclear disaster, doesn't really get any deep characterization… and what little he does have seems to trump most of the main cast. Unfortunately, the overall situation, and Godzilla himself, get a lot more of the focus than the actual characters do- and with the Godzilla segments being lackluster and entirely lacking in character as well, we are simply left with a film that comes off more like a documentary. We see a lot of crowd scenes, b-roll footage, snippets of people reacting… but not enough of any characters with definable personalities acting or reacting to actually give an emotional core to the film. It's pretty much on Goro and the vagrant to provide us with an audience connection, and they are unfortunately rationed into too-few scenes to truly be effective that way. In many ways, too much screen time is devoted to shots in which no one with any discernible personality or charisma is making us care. We do have a few good characters in the film, they just don't get enough screen time to carry the movie.

As mentioned above, this lack of personality sadly extends even to the king of the monsters himself. It’s frustrating, because the tone of anticipation builds extremely well during this unfocused, overview first half of the movie, with even the first attack against the reactor bringing an ominous tone that the Showa era seldom managed. However, the drama and tension in the movie seems to die with the Russian agent aboard his ship; once the film finds a focus, on both Godzilla and the main characters, the film dies. Our ‘heroes’ arrive at the professor's building and get trapped in a stairwell- a condition in which it takes 13 minutes to extract one character in total from, and a total of 25 minutes to leave behind entirely, at which point it's time to move to the climax of the film.

Meanwhile, Godzilla wanders around in a sluggish and confused manor, apparently lacking even a single shred of savagery, urgency, or anger- he looks more like a mildly curious King Kong, bewildered by the big city around him. He even picks up a train car with Kong-like curiosity. The most violence that he demonstrates to something that isn’t attacking him is shooting down a couple of helicopters that are right in his face, as you or I might swat an irritating mosquito; beyond that, he seems to only react in self-defense. Oft-missing masers seem to do more damage than Godzilla does (including prompting his reflexive tail-swing to cause our heroes’ difficulty), and all of the damaged or destroyed skyscrapers come from his battle with Super-X.

At least earlier entries’ kaiju rampages make it seem as if the menacing creature stomping through the street is really out for destruction, truly in pain or rage and out to terrorize, a force to be reckoned with. Here, Godzilla just seems bewildered- only damaging human constructions when he stumbles onto them by accident. I daresay it's the most harmless that Godzilla has appeared since Son of Godzilla. And the most wooden he’s ever been; despite the much-vaunted ‘snarl’ built into the lip, he simply has no personality. He has no motivation, no character; he doesn’t emote, or seem to have any purpose, other than as a walking plot device. Godzilla never does anything to cause emotions of any kind (hence why the emotional denouement falls flat; we feel nothing for him because he seems to feel nothing).

The appearance of the Super-X appears to be intended to inject some excitement, but the design seems so outlandishly ‘science fiction’ in comparison to the rest of the film- despite even the maser's- that it breaks the grim, realistic tone, jarring the film into a sudden high-fantast piece with a monster-vs-mech fight that is strongly at odds with everything grounded in politics and reality that the film was trying to accomplish previously. It’s a sharp tonal left-turn that breaks the previous buildup and doesn’t form enough of an identity for the last act to actually create a new one.

Worse, Godzilla’s menace is terribly undercut when he’s easily defeated with a few cadmium missiles to the easily-provoked-to-open mouth, then revived by a deus ex machina whose resolution is dealt with extremely slowly, and with fairly unimpressive model shots of missiles that are always over the exact same background of Earth despite their supposedly-decreasing height, entering the atmosphere and homing in on Japan. (The effects fail to convey this, thus the missiles never seem to be getting any closer).

It Is, tragically, the beginning of the Heisei era’s unfortunate tendency to give Godzilla a far-too-potent vulnerability to human weaponry and technologies- one which will be repeated with ANEB, time travel, blood coagulant, and numerous weapons of the week- especially mechs- throughout this and the Millennium series. It's an extreme detriment to the metaphor of Godzilla as nuclear weaponry and its horrific consequences; even within the story, it has the unfortunate side effect of making Godzilla seem fragile, and the human characters incompetent, as the only thing between the protagonist and an ending to the menace of Godzilla for all time is frequently their incompetence in actually following through (often simply in hitting a target the size of a skyscraper with their one-shot-kill weapon).

To me, this is a major miscalculation in the Godzilla series. Godzilla should be unstoppable, and anything capable of harming him- like the Oxygen Destroyer in the original film- should be rare and unique, and the culmination of a great sacrifice or effort. Simply having a bullet full of blood coagulant, or in this case, cadmium shells, raises the Wile E. Coyote Dilemma- which is, quite simply, “It didn't work this week due to a fluke, so why not just try the same thing again without that one variable in the way?” Fortunately, at least the power boost coming up in vs. King Ghidorah renders Godzilla a little less vulnerable to these chemical warfare attacks, but it's a frustrating element that persistently remains (with rare exceptions) all the way up to Shin Godzilla. Men's helplessness against Godzilla has always been a key component of the series, and it's an unfortunate choice here, right at the beginning of the Heisei era, to discard that element. Perhaps it is a shift in mankind's attitudes from the Cold War fears following the introduction of the atomic bomb, and the helplessness of a post-Hiroshima Japan, to a more humanist, pioneering spirit (the idea that we can accomplish anything if we put our minds to it)- that makes having a menace that is truly unstoppable, that renders humanity truly helpless, so distasteful to filmmakers from the 1980s-onward. Perhaps it even has something to do with the end of the Cold War itself, and the easing of those feelings of fear and helplessness, related to nuclear weaponry, that ran throughout the entire Showa period. Or perhaps, if Godzilla hadn’t become a hero, he would always have become this instead. Who knows?

Whatever the psychological causes, all of this has the unfortunate effect of cutting this film off the legs. After a first hour of tense anticipation at the arrival of Godzilla, the world-destroying menace, and the absolute terror that a renewed rampage across Japan provokes in those that remember the first one, his actual appearance can't live up to the hype. He just wanders, failing to act like Godzilla; he isn’t angry or threatening, or… anything. I can’t emphasize how jarring it is to see a Godzilla with a complete lack of personality, moreso than people accuse even Shin of- he is a total cipher (save, perhaps, for a curious, bewildered naivete that doesn't work for Godzilla). Just as few of the human character have any character, Godzilla just lacks any spark that marks him out as an intelligent being, or even an animal with instincts. He walks, he roars- but his vengeful pushing of a skyscraper down onto the downed Super-X is probably the closest we get to an actual moment of character in the entire film. It jumps out precisely because it is a sparkling moment of the personality we expect to get from Godzilla- but sadly, it’s only an aberration. Even in the bizarre sequence where the vagrant maybe-dies, we can’t tell if Godzilla is truly pursuing him, or even notices him (how could he, with those scowling eyes constantly directed skyward?)- he just walks, without any reaction, betraying no hint of what he’s doing or thinking or even that he realizes he’s in a city at all. Just one foot in front of the other… that’s this Godzilla. All of his scenes are entirely without urgency or pathos, and he fails the basic criteria necessary for a good Godzilla plot in nearly every respect.

(Incidentally, only this homeless character, who is entertainingly-oblivious and mixed up in his priorities, enlivens the proceedings- even gaining some relevance when he intersects paths with our heroes and help them escape that interminable stairwell at last… and he injects some mystery into the proceedings as he trips, yells at Godzilla, then apparently lays down and dies for no reason. Frankly, while it made no sense, it was the most interesting thing that had happened to any character in the entire latter half of the movie. I daresay Tetsuya Takeda as ‘Bum’ represents the film's true protagonist, at least with the function of audience-identification, even if that wasn't the role the filmmakers intended for him!)

Everyone else, from Goro to Godzilla, are just bland avatars of the script, doing things to move the story along, but not doing them in such a way to demonstrate any interesting traits in order to connect them to the audience. Godzilla doesn't act like Godzilla- neither not angry nor threatening nor heroic- and the human characters do not act like people, with emotional reactions to things. They just robotically fill the roles the script has for them, without doing anything to exceed that.

Regardless, the sets are well-realized, the nuclear reactor looks great, several of the low-angle shots of Godzilla are really successful (even if the tilt-up that reveals him initially at that reactor is very poorly-synced to the camera move on the live-action actor). The maser beams, while an uncharacteristic red, inject some nice color into proceedings. Godzilla’s breath- including the unique pulse to take down the helicopter- is well, realized, especially when he blasts a hole in the skyscraper to get at the Super-X. The rampage may lack energy, but the effects used to pull it off are entirely aboveboard. There are some nice set pieces, with the ship at sea looking great, the red sky being suitably ethereal and haunting (the music goes a long way toward making that moment), an excellent helicopter rescue, and some great pyrotechnics (the one that kills the Russian operative truly looks fatal!). Some nice opening and ending volcano shots that are a definite highlight of model work, and even Shockirus’ design isn't bad, even if its actual puppeteering and flying are fairly laughable.

While the Godzilla suit design is not as refined as the follow-up in the next film, with his eyes rolled up in his head and his slightly more Showa-esque proportions married to the wider Heisei thighs (feeling very much like a transitionary stage between the two styles), it is nonetheless still a technological Improvement and aesthetic Improvement over the 70s Showa Godzilla suit (at least, to this reviewer; I know that Godzilla design preferences vary). The new mechanical snarl built into the muzzle is clearly something the filmmakers were proud of, and really kind of overuse in this film to show it off, but it is an impressive achievement. The dorsal spines look really good. And Godzilla does have more of the appearance of an animal than a guy in a suit, now, which can only be a good thing for the character. This will be improved in the next film, but meanwhile, the suit here is a definite step in the right direction. (Steps in the wrong direction, meanwhile, are taken by the giant foot prop, which has painfully-artificial, papier-mache hard-edged corners and moves with agonizing slowness while looking very little like the costume’s feet. It’s a great idea, to have interaction with a practical foot prop, but it really doesn’t work.)

Miniatures look fairly good, although shots of people superimposed within them are seldom successful- especially the horrific use of rear screen projection to represent our three main characters through a skyscraper window when the helicopter is coming in- which has absolutely no perspective shift and reveals itself to be a flat, 2-dimensional image on a screen in the most painful way possible. And let's not even get started on the atrocious little black silhouettes painted on the windows of the model train that Godzilla picks up, which scream ‘small toy!’ more loudly than any other miniature since the melting tanks in Godzilla vs. King Kong. Thankfully, these issues are the exception rather than the rule- and for all that its ‘spaceship’ design is a tonal jar with the movie’s realism, the Super-X is well-designed and executed as well, even if it never really looks as big as it’s supposed to be.

The music is decent, though not particularly memorable. The most interesting parts are the ethereal music when the radiation cloud forms over the city, the melancholy music as Godzilla is lured away to his anti-climactic demise, and the song over the end credits- all of which have a wonder-filled, mystery-tinged, solid-slice-of-80s vibe that give the last act of the film a strong and unique aural identity.

Overall, The Return of Godzilla is a five-star effort that achieves three-star results. It's clear that they were trying to do something great… they were only let down in execution, by a script that fails to give the characters something truly interesting to do, and fails to give Godzilla any of the intensity or threat that he's meant to have. All the energy goes out of the film, from the rampage to the stairwell run-around to the slow, plodding walk and fall into Mt. Mihara- but everything that precedes that section of the film is top-notch. And even the production values used throughout that lackluster latter half are still incredibly strong. In service of a better script, or some tenser editing and choreography for Godzilla in the city (if he'd seemed truly angry, or truly destructive and out to intentionally destroy, and thus, truly threatening), this could have been a phenomenal picture.

As it is, it's merely mediocre. It’s not even slow-paced; it's just that the paces the script goes through are rendered so charismatically and without energy by the on-screen portrayals that they don't strike any of the emotional beats that they're meant to. The film keeps moving, but the territory it’s moving through is languid and lacks its intended impact. It's a true shame, as this film has the seeds of greatness- the first half is well worth a watch, and the filmmaking is beyond reproach. A little more focus on the fundamentals of storytelling in the latter half, and the judgment would be far different. And since the American ‘Godzilla 1985’ does have a bit of a different script, it will be interesting to see if that, combined with some judicious editing, can re-insert the menace and interest that this film lost once Godzilla actually returned.
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Gojira9310
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Re: Talkback Thread #16: The Return of Godzilla

Post by Gojira9310 »

Didn't know where else to put this question, but I've been looking for a certain music track of G84's that has eluded me for some years, as I think every video of the music itself has been deleted due to copyright on YouTube. I think it's from the Perfect Collection OST, but I'm not sure. I know it's not in the film itself. I used to love listening to the track back in my high school years and back when YouTube was young and rampant with piracy.

Part of the track can be heard in Gojira2012's review of the Neca 84 figure, right at the beginning (I already asked him if he knew, and never got a reply):


Obviously it's a synth-y remix of the main title, but like I said, I've never heard any information regarding the track since I last listened to it years ago.

So, to anyone who has the Perfect Collection OST...is this track in there? What track # is it? What's the song actually called?

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Re: Talkback Thread #16: The Return of Godzilla

Post by UltramanGoji »

Gojira9310 wrote:Didn't know where else to put this question, but I've been looking for a certain music track of G84's that has eluded me for some years, as I think every video of the music itself has been deleted due to copyright on YouTube. I think it's from the Perfect Collection OST, but I'm not sure. I know it's not in the film itself. I used to love listening to the track back in my high school years and back when YouTube was young and rampant with piracy.

Part of the track can be heard in Gojira2012's review of the Neca 84 figure, right at the beginning (I already asked him if he knew, and never got a reply):

Obviously it's a synth-y remix of the main title, but like I said, I've never heard any information regarding the track since I last listened to it years ago.

So, to anyone who has the Perfect Collection OST...is this track in there? What track # is it? What's the song actually called?
Skimmed through my copy and I didn't find it anywhere, so my guess is that its a custom track.
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Re: Talkback Thread #16: The Return of Godzilla

Post by Goji »

It is absolutely not a "custom track". It sounds like he just changed the pitched to avoid copyright notice. The synth theme is heard all throughout the Japanese and international trailers, but didn't appear on the Perfect Collection. I'd love to know where it's sourced from, because I'd really like a mp3 of it myself.
Last edited by Goji on Mon Oct 16, 2017 6:04 am, edited 1 time in total.
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Re: Talkback Thread #16: The Return of Godzilla

Post by BigAssLizard »

Hi there, been lurking around and saw this question.
Gojira9310 wrote:Didn't know where else to put this question, but I've been looking for a certain music track of G84's that has eluded me for some years, as I think every video of the music itself has been deleted due to copyright on YouTube.[/i]
This damn song. I heard this song in a trailer a long ass time ago, and thought it was pretty cool. I looked for it everywhere and couldn't find it or anything even close. Not if my life depended on it.

One day I was listening to the heisei music for some reason, and I heard this song near the end of the Mothra OST.

https://www.youtube.com/watch?v=W-XVyUh2_Lg

Not my video.

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Re: Talkback Thread #16: The Return of Godzilla

Post by GigaBowserG »

BigAssLizard wrote:Hi there, been lurking around and saw this question.
Gojira9310 wrote:Didn't know where else to put this question, but I've been looking for a certain music track of G84's that has eluded me for some years, as I think every video of the music itself has been deleted due to copyright on YouTube.[/i]
This damn song. I heard this song in a trailer a long ass time ago, and thought it was pretty cool. I looked for it everywhere and couldn't find it or anything even close. Not if my life depended on it.

One day I was listening to the heisei music for some reason, and I heard this song near the end of the Mothra OST.

https://www.youtube.com/watch?v=W-XVyUh2_Lg

Not my video.
Can confirm, it's track #06 "Godzilla's Theme" from 1992 Godzilla vs. Mothra Disc 2, from Godzilla Soundtrack Perfect Collection - Box 4 (disc 6 in the set). Never really listened to the GvM OST, so never heard this one before... Eerie!
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