Much like Madonna, Matthew McConaughey and Miley Cyrus, Godzilla illustrates a time-honored showbiz dictum: The best way to sustain your superstardom is to repeatedly reinvent yourself.
During six decades of Japanese-produced low-tech monster mashes and made-in-America CGI-stuffed spectacles, Big G has remained au courant through the miracle of image makeovers. From nuclear-age nightmare to doting single parent, from freelance global defender to butt-kicking tag-team wrestler, he has evolved and developed, evincing a versatility that might make Meryl Streep turn green — or, perhaps more appropriately, charcoal gray — with envy.
In “Godzilla,” slated to open this weekend at theaters and drive-ins everywhere, The Original Gangsta Lizard has a bit less spring to his step, and a tad more spread to his waistline. But never mind: Even as he approaches eligibility for Social Security, Big G remains ever ready to rumble, and authoritatively defends his title as King of the Monsters in this terrifically exciting flick.
Of course, it helps that he has in his corner Gareth Edwards, a filmmaker who, suitably enough, first attracted attention with a 2010 movie titled “Monsters.” Edwards’ latest creature feature benefits greatly from the director’s ability to pull off a tricky balancing act: While ingeniously reimagining the legend, he also respectfully acknowledges the tradition. In short, he lets Godzilla be Godzilla.
The mythos began in 1954, when the Toho Company of Japan introduced Big G as “Gojira,” a rudely reawakened dinosaur who developed toxic halitosis and an extremely bad attitude after exposure to H-bomb testing in the South Pacific. (The plot device of mutation through radiation was profoundly impactful on Japanese moviegoers less than a decade after the nuking of Hiroshima and Nagasaki.) Growling and grouchy, the fire-breathing behemoth sauntered though Tokyo with a sumo-wrestler shamble while burning buildings, gobbling trains, stomping bit players, and generally making an epic nuisance of himself.
Two years later, legendary producer Joseph E. Levine and a group of associates renamed the movie and its eponymous star when they released “Godzilla, King of the Monsters,” a redubbed and re-edited version of picture designed for English-speaking audiences. Some of the Toho-produced footage was trimmed to allow for new scenes featuring Raymond Burr as a gravely serious journalist – named, no kidding, Steve Martin — who provided the creature-feature equivalent of play-by-play commentary. (“A prehistoric monster just walked out of Tokyo Bay!” Geez, ya think?)
But none of these alterations dulled the movie’s surprising power as a cautionary Cold War fable about the threat of nuclear annihilation. Keep messing with the forces of nature, “Godzilla” warned, and this could happen to you.
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