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Thursday, October 13th, 2016

Time Event
8:37p
Shin Godzilla...
I am completely comfortable now to attend a film screening or concert by myself. My taste (and often dedication to) is often such that if I didn't allow myself to go unaccompanied, I'd miss out on a quality event. Friends of mine simply aren't interested, or as interested, in many of the things I am. Next year, I may travel to parts of Europe alone: Chernobyl, certainly, but depending on line-up announcements, possibly a music festival or two as well.

Tonight I'm drinking Mexican cider alone in an unfortunately brightly lit bar before I'll attend the premiere of Shin Godzilla. I have surprised myself withe the level of excitement that I have experienced for this film. I usually try not to be too enthusiastic about things, but I haven't been able to surpress it in this instance. I hope I won't be disappointed.

On an unrelated note, why do people seem to feel foolish when doing foolish things that other people witness, but only when they realise they've been spotted by more people than they first thought?
11:58p
Review...
I was not disappointed. Shin Godzilla was, admittedly, pandering to both Evangalion and Godzilla fans, but was unafraid of bucking the conventions of each. That said, it played kind of like a mash-up reMix of both - even musically: Akira Ifukube's original Godzilla score gave way to Evangelion's drum-heavy strategy plan theme. They were even played over boardroom montages. The addition of guitar fuzz over the familiar bass and drums gave me hope that the fabled live action Evangelion film could one day be a great thing.

The caption on the poster in the lobby - 'A god incarnate. A city doomed.' - suggested a return of Gozilla the villain, rather than the hero of the multitudinous Godzilla vs. Evil Monster type of movie. The name of Hideoaki Anno with the title of director hinted that we might see a blend of action and drama to match his previous creation of television's finest series. The bold design prepared us for something devestating.

Once seated, the film lauched into action immediately, an explosion in Tokyo Bay. The first appearance of the god incarnate is less than godly - this new Godzilla starts as a weird salamander-like creature, and evolves throughout. The tactic is intially jarring but puts the audience firmly in the same position as patrons must have been in 1954 when they first saw Godzilla: expecting a giant monster romp, predicting what is to happen next, only to be shocked a new ability to push the devestation forward.

The film does, however, take some getting used to, particularly for those who don't speak or read Japanese. Like Anno's Evangelion, scenes, titles, tactics, timeframes, vehicles and almost everything else are labelled largely on-screen. For Shin Godzilla, he has surpassed the number of labels in Eva, plastering almost everything other than our antihero. For the western audience following the dialogue via subtitles, it took a while to realise where we needed to look, but once we could, we could sit back and enjoy watching the futility of the military efforts.

It was strange to go back to the beginning, to a present where Godzilla has never been known, but also an amazing experience, with the monster looking better than ever, reviving the ominous tone of the original film and playing the terror of the creature - even in its early, ridiculous forms - completely straight, whilst not being without the humour of the human condition. Evangelion met Godzilla, and it really worked.

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