Roger Ebert bashes original GODZILLA

[Brother Ragnarok]

The 50th Anniversary run is on right now.  Check Rialto Pictures' website to see if it's playing near you.  I caught it up in Minneapolis, and it absolutely rocks.

[Flangepart]

Ebert can have his opinion.
In this case, wher its dark and smelly.
Yeesh. Film Critics are just people with an opinion, a place to vent it, and a bit of skill and glibness in saying it.
So, Rog....bite me.
Meanwhile, I hope Godzilla crushes Michael Moore under a wharehouse, and toasts his fat butt.
Go,Go,Godzilla!

[Kory]

Not to mention that in his review for the 2nd Harry Potter he said that the girl playing Hermione was "... on the verge of babehood"


PEDOPHILE!!!!!!!!!!!!!!!!!!!

[Chris K.]

My dad and I decided to go down to the Music Box theatre-a beautifuly designed theatre, by the way-and see GODZILLA as it was intedned to be seen on the big screen. And I must say, it was quite a treat. Having been so adjusted to the U.S. version, when seeing the original version it was as if the whole film was new all over again.

GODZILLA still works and it's early 1950's Atomic Age message gives the film a classic nostalgic look. Eiji Tsuburaya's effects work still looks good, but even better on the big screen. While their are a few instances where the effects could have been improved (i.e., the destroyed heilicopter on Odo Island easly looks like a toy), the rest of the effects are still top-noch in their display and look better on the big screen. And yes, Akira Ifukube's score is more rousing, somber and energetic than it was before (the title score still sticks in my mind). But credit goes to Ishiro Honda, whose direction keeps the films pace moving at a brisk level and does the right thing by focusing not only on the monster, but also on characters and political ideals-both satrical and serious levels. I will admit that I was even shedding a few tears during the final reel of Dr. Serizawa and Godzilla's death: it's downbeat and somber, with Ifukbue's score making it even more so. But I was upset by the audience's reaction of Serizawa's invention Oxygen Destroyer, which set the viewers with quick laughter by the name (my dad and I just looked at each other with the expression of "What's so funny about that?" look). Guess my sense of humor is different!

In the long run, seeing the original Japanese version was a big revelation. It's quite different than the U.S. verison, in terms of editing, sound, and presentation. The Japanese version is somber, heavy-handled in story, and treats it's subject matter with both serious and humorous situations. The U.S. version, while not bad, removes the then controversial subject matter of nuclear testing, political satire, and it's important-for-the-times message that just resulted in a U.S. re-edit film about a monster and Raymond Burr. The original version is more than that and is required viewing for Godzilla fans and non-Godzilla fans. It is a great film, both on an artistic and entertaining level.

In the end, I say: Long Live Godzilla, a Monster That Not Even Roger Ebert Could Destroy!

[Brother Ragnarok]

I had some jackasses in the theater laughing at every FX shot and some of the serious dramatic moments too, Chris.  I wanted to take the straw out of my soda cup and stab their goddamn eyes out.
This was, coincidentally, the first movie since Hellboy that I've bought concessions for.  I only do that for very special movies since they're so bloody expensive.

[daveblackeye15]

Brother Ragnarok:

That's the spirit Ragnarok! Make them pay for laughing at a classic like that!

[Fearless Freep]

I had some jackasses in the theater laughing at every FX shot and some of the serious dramatic moments too, Chris

Ahh, a MST3K treatment!  Cool :)

[Bubba Ho-Tep]

I was thinking about Ebert's review, and...maybe he's right. C'mon, a 400 foot monster used as symbolism for death? Yeah, real subtle.

Okay, everyone. You can all hate me now.

[Chris K.]

Bubba Ho-Tep wrote:

> I was thinking about Ebert's review, and...maybe he's right.
> C'mon, a 400 foot monster used as symbolism for death? Yeah,
> real subtle.
>
> Okay, everyone. You can all hate me now.

Well, I sure as hell won't hate you, but I have to say what a different change of pace you made after your first comment towards Ebert's review. Either your just pulling our legs, or possibly convinced by the review. Either way, to-each-is-own.

And what's wrong with a 400 foot monster being used as a symbolism for death? It actually is more in-depth than one would think and is a little subtle. But, to-each-is-own.

[Bubba Ho-Tep]

"Godzilla" movies are great entertainment, and the original one does have some interesting things to say about the atom age. I just that it is, above all, an exploitation film (really, how many people are coming in to see the giant monster, and how many people are coming in to see the subtext?), and the idea of using a giant monster as sybolism is like hitting a wallnut with a sledgehammer.

[Chris K.]

Bubba Ho-Tep wrote:

> "Godzilla" movies are great entertainment, and the original one
> does have some interesting things to say about the atom age. It
> just that it is, above all, an exploitation film (really, how
> many people are coming in to see the giant monster, and how
> many people are coming in to see the subtext?), and the idea of
> using a giant monster as sybolism is like hitting a wallnut
> with a sledgehammer.

Well, I really have to disagree about the explotation film issue when it comes to the original GODZILLA. However, it is true that the American release version GODZILLA-KING OF THE MONSTERS was released as an exploitation film, but that was U.S. distributor Joseph E. Levine's doing, not Toho's. And it was the American release version that would create a whole slew of sci-fi exploitation films in the late 1950's (i.e., THE GIANT CLAW, THE BLACK SCORPION, etc.) of giant monsters on the loose, but again this was not Toho's doing but the crass exploitation masterwork of Levine who saw an "artsy" (and yes, the original does have some artsy undertones) sci-fi flick and turned it into an average B-movie. But to implicate that subtext is non-existant in the original version is hard to press. If you watch the original Japanese version, their are a few bits of small subtext that can be found if you are REALLY getting into the film. The subtext and the political satire were removed from the U.S. version, thus making it harder for American audiences to realize the subtext and satrical moments that are evident in the Japanese version. But you are right on one thing Bubba Ho-Tep: How many people watch movies for subtext? Not many, sadly.

And yes, I too, like other audiences, want to see the monster destroy all the well detailed set pieces, but with the original version while it's entertaining it certainly does take a few items to the next level and becomes a little bit uncomfortable (i.e., Such as the scene of the mother with her two daughters against the wall of a building, about to be killed in the fire caused by Godzilla's fire. A sad scene and a bit uncomfortable to watch.). And personally, I feel that Godzilla works as an impressive symbolistic message in that fantasy film format. If you want to see symbolisim used like hitting a wallnut with a sledgehammer, take a good look at the scene of Jesus Christ stepping on a snake in THE PASSION OF THE CHRIST: now that's hitting a wallnut with a sledgehammer with full force!

The original GODZILLA is entertaining on one level, but in my opinion is also a good film, in terms of artistic and creative aesthetics on another level. As for the sequels, we all know that while they are entertaining, they are fluff and not like the first film. But like I said earlier, when it comes to viewing the original Japanese version, their is so much more you can get out of it, entertainment or otherwise.

Oh and Bubba Ho-Tep, if you think I hate you after all this, no I don't hate you. In fact, your opinion is taken into consideration and I admire it.

[Bubba Ho-Tep]

You put up a good argument - I suppose I was wrong.

[StatCat]

Didn't the Beast from 20,000 Fathoms help inspire Godzilla? I think that's really the movie that started the giant monster trend of the 50's.

I just got The Black Scorpion on dvd, haven't seen it in ages.

[Brother Ragnarok]

No, Freep.  An MST treatment involves impeccable comic timing and a sharp, intelligent wit.  Snickering at a movie and irritating the other theater patrons doesn't include either of those things.

[Chris K.]

While THE BEAST FROM 20,000 FATHOMS (1953) was an inspirational tool towards Tomoyuki Tanaka for the genesis of GODZILLA, let us not forget THEM! (1954) and KING KONG (1933) as well. And I must thank you for pointing this out StatCat.

And while THE BEAST FROM 20,000 FATHOMS and THEM! marked the beginning of the 50's giant monster films, the trend didn't really become quite explosive until late 1955 when the Americanized cut of GODZILLA reared its head. But to be fair, three of the films were the genesis of the 50's style monster pics and each one deserves credit.