
<h2 class="wp-block-heading">A human drama in the postwar world</h2>



<p class="wp-block-paragraph">Since this film is directed by Takashi Yamazaki, a top-runner in making VFX films in Japan, about Godzilla, a global brand and a milestone in special effects movies, you would expect a monster action film (that is what I thought before watching the film). (That&#8217;s what I thought before I saw the movie.)</p>



<p class="wp-block-paragraph">However, this film focuses on a human drama directed by Takashi Yamazaki, famous for &#8220;ALWAYS: Sunset on Third Street.</p>



<p class="wp-block-paragraph">The main character, Shikishima (played by Ryunosuke Kamiki), escaped from a suicide mission because of his strong desire to live during the Second World War. Even after the war ended, the ghosts of those who died during the war appeared in his dreams, and he was unable to realize that he was still alive. Noriko (played by Minami Hamabe) and Akiko come to live with Shikishima by chance. Shikishima finds temporary comfort in his pseudo-family but is overcome with despair when Godzilla lands in Tokyo, and Noriko is lost.</p>



<p class="wp-block-paragraph">He turns his despair into anger and tries to fight Gojira in exchange for his life. This action is not to live but to die. The people he meets after the war urge him to live.</p>



<p class="wp-block-paragraph">This film is centered on the human drama of Shikishima&#8217;s struggle to live and his time with his friends and neighbors. Sumiko (played by Sakura Ando) and Akitsu (played by Ryunosuke Sasaki) bring out the best in this&nbsp;</p>


<div class="wp-block-image">
<figure class="aligncenter size-full"><img decoding="async" width="1024" height="1024" src="https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d.webp" alt="" class="wp-image-1787" srcset="https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d.webp 1024w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d-300x300.webp 300w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d-150x150.webp 150w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d-768x768.webp 768w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d-512x512.webp 512w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d-900x900.webp 900w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Image of the work</figcaption></figure>
</div>


<h2 class="wp-block-heading">Godzilla is the most fearsome Godzilla series to date.</h2>



<p class="wp-block-paragraph">The Godzilla series since 2010 includes the Monsterverse series that started in 2014 and Shin Godzilla. Of these, this one is the best subject that genuinely strikes fear and despair into the hearts of humanity!</p>



<p class="wp-block-paragraph">The Monsterverse series was a monster wrestling and dark hero feel, a movie that enjoys rampaging through the city on an overwhelming scale. Shin Godzilla, directed by Anno, which will be compared to Godzilla-1.0, is a film that focuses on how we as a nation face and deal with the colossal disaster that is Godzilla.</p>



<p class="wp-block-paragraph">Godzilla in this film is genuinely terrifying. The horror and despair of confronting a colossal monster that is not a disaster. I thought of giant sharks Jones and Megalodon as what the author envisioned as only giant monsters. The words &#8220;giant, terrifying monster&#8221; might be close enough. However, Godzilla in this film is entirely different. It has a strong symbolism as a monster of fear and despair. That&#8217;s how realistic it is. That&#8217;s how real it is.</p>



<p class="wp-block-paragraph">In particular, the sea chase scene between the wooden ship Shinsei Maru and Godzilla and the subsequent sinking of the heavy cruiser Takao by radiation is robust and one of the best scenes in this film.</p>


<div class="wp-block-image">
<figure class="aligncenter size-full"><img decoding="async" width="720" height="410" src="https://cms.katsumascore.blog/wp-content/uploads/2023/11/natalie.mu_eiga_gallery_column_548024_2171526-1.webp" alt="" class="wp-image-1791" srcset="https://cms.katsumascore.blog/wp-content/uploads/2023/11/natalie.mu_eiga_gallery_column_548024_2171526-1.webp 720w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/natalie.mu_eiga_gallery_column_548024_2171526-1-300x171.webp 300w" sizes="(max-width: 720px) 100vw, 720px" /><figcaption class="wp-element-caption">Scenes from &#8220;Godzilla-1.0&#8221; ©2023 TOHO CO.</figcaption></figure>
</div>


<p class="wp-block-paragraph">And let&#8217;s remember Godzilla&#8217;s radiant heat rays. This time, the radiating heat rays are directed from the tail to the tail fin on the back, and the closest to this is Godzilla King of Monsters of the Monsterverse.<br>However, the sense of despair and the weight of the air before the radiation and the way it conveys the destructive power are the best in this film.</p>


<div class="wp-block-image">
<figure class="aligncenter size-full"><img decoding="async" width="1024" height="1024" src="https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a.webp" alt="" class="wp-image-1792" srcset="https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a.webp 1024w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a-300x300.webp 300w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a-150x150.webp 150w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a-768x768.webp 768w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a-512x512.webp 512w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a-900x900.webp 900w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Image of the work</figcaption></figure>
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<h2 class="wp-block-heading">For better or worse, it has the feel of the world in the 1940s</h2>



<p class="wp-block-paragraph">This film, Godzilla-1.0, is a thoroughly realistic recreation of Japan immediately after the war&#8217;s end. This work is the director Yamazaki&#8217;s commitment to this film. I believe this is because, after all, he used VFX to create Showa-era townscapes and wartime Japanese fighter planes and battleships, such as in &#8220;Always: Sunset on Third Street,&#8221; &#8220;The Eternal Zero,&#8221; and &#8220;Archimedes&#8217; War.</p>



<p class="wp-block-paragraph">However, as for the characters, there were not a few people and situations with stereotypical 1940s values. This movie is natural because the worldview of this film is the 1940s, and it is only natural to reproduce the Showa era world. However, there were some questionable depictions of women, especially in the way they were portrayed in the film, which made me wonder if this film would be shown now to a 2025 audience.</p>


Action

Drama

Finding Hope for Life, Godzilla-1.0


<h2 class="wp-block-heading">戦後の世界に生きる人間ドラマ</h2>



<p class="wp-block-paragraph">今作はゴジラという特撮映画の金字塔であり世界的ブランドである怪獣を日本でVFXを駆使した映画を作るトップランナーの山崎貴監督が手掛けているので、怪獣アクション映画を想像すると思います。（筆者も鑑賞する前はそう考えておりました。）</p>



<p class="wp-block-paragraph">ただ今作は<strong>「ALWAYS 三丁目の夕日」</strong>でも有名な山崎貴監督のヒューマンドラマに重点をおいていました。</p>



<p class="wp-block-paragraph">第2次世界対戦中で生きたいと強く願うあまり、特攻から逃げてしまった主人公敷島（演：神木隆之介さん）。生きるためとはいえ逃げたという行為がトラウマとなり重荷になり戦争が終わったあとでも戦時中戦死した亡霊が夢に現れ、生きていることが実感できないでいます。そんな敷島のもとにひょんなことから同居することとなった典子（演：浜辺美波さん）とあきこ。疑似家族から一時の安らぎをえてた敷島だが、ゴジラが東京に上陸し典子を失ってしまったと絶望に打ちひしがれる。</p>



<p class="wp-block-paragraph">そんな絶望を怒りに変え命と引き換えにゴジラと戦おうとします。この行動は<strong>生きる</strong>のではなく逆の<strong>死のう</strong>とします。これを戦後に出会った人々が<strong>生きろ</strong>とくいとめます。</p>



<p class="wp-block-paragraph">本作はこの敷島の<strong>生きる</strong>ことへの葛藤と共に過ごす仲間と隣人とのヒューマンドラマが中心だと思います。澄子さん（演：安藤サクラさん）と秋津さん（演：佐々木隆之介さん）が本当に良い味を出していました。</p>


<div class="wp-block-image">
<figure class="aligncenter size-full"><img decoding="async" width="1024" height="1024" src="https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d.webp" alt="" class="wp-image-1787" srcset="https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d.webp 1024w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d-300x300.webp 300w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d-150x150.webp 150w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d-768x768.webp 768w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d-512x512.webp 512w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/784dc637-5160-44af-9698-12e3fe5e389d-900x900.webp 900w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Image of the work</figcaption></figure>
</div>


<h2 class="wp-block-heading">いままでのシリーズで最恐のゴジラ</h2>



<p class="wp-block-paragraph">2010年以降のゴジラシリーズは、2014年から始まったモンスターバースシリーズとシン・ゴジラがあります。この中で今回は本当に<strong>恐怖と絶望</strong>を人類に与える対象として一番だと思います！</p>



<p class="wp-block-paragraph">モンスターバースシリーズは怪獣プロレスでありダークヒーロー感があり、圧倒的スケールで街の中を大暴れすることを楽しむ映画だと思いました。おそらくゴジラ-1.0と比較されるであろう庵野監督番シン・ゴジラはゴジラという<strong>巨大な災害に国家</strong>としてどのように向きあい対策するかに重点をおいた作品だと思いました。</p>



<p class="wp-block-paragraph">本作のゴジラは本当に恐ろしいです。災害とは違う巨大な怪獣と対峙した時の恐怖と絶望。巨大な怪獣だけだと筆者が思い描くものとして巨大なサメのジョーンズやメガロドンを思い描きました。巨大で恐怖のモンスターという言葉だけだと近いかもしれません。が、今作のゴジラは全く違い恐怖プラス絶望の怪獣として象徴が強いです。それぐらいリアリティ。それくらい入り込める作品でした。</p>



<p class="wp-block-paragraph">とくに木造船の新生丸とゴジラとの海上チェイスシーンとそのあとに続く、重巡洋艦「高雄」を放射線で撃沈させるのはど迫力であり今作の名シーンだと思います。</p>


<div class="wp-block-image">
<figure class="aligncenter size-full"><img decoding="async" width="720" height="410" src="https://cms.katsumascore.blog/wp-content/uploads/2023/11/natalie.mu_eiga_gallery_column_548024_2171526-1.webp" alt="" class="wp-image-1791" srcset="https://cms.katsumascore.blog/wp-content/uploads/2023/11/natalie.mu_eiga_gallery_column_548024_2171526-1.webp 720w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/natalie.mu_eiga_gallery_column_548024_2171526-1-300x171.webp 300w" sizes="(max-width: 720px) 100vw, 720px" /><figcaption class="wp-element-caption"><em>「ゴジラ-1.0」場面写真 ©2023 TOHO CO., LTD.</em></figcaption></figure>
</div>


<p class="wp-block-paragraph">そして忘れてはいけないのがゴジラの放射熱線。今回の放射熱線は尻尾から背中の尾ひれにむかう演出で、一番近いのはモンスターヴァースのゴジラ キング・オブ・モンスターズと思いました。</p>



<p class="wp-block-paragraph">ただ演出として放射するまでの絶望感と空気の重み、破壊力の伝え方は確実に今作が一番です。</p>


<div class="wp-block-image">
<figure class="aligncenter size-full"><img decoding="async" width="1024" height="1024" src="https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a.webp" alt="" class="wp-image-1792" srcset="https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a.webp 1024w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a-300x300.webp 300w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a-150x150.webp 150w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a-768x768.webp 768w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a-512x512.webp 512w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/b7e9c229-2e89-4bbc-a031-6fa561243d8a-900x900.webp 900w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">作品をイメージしたものです。</figcaption></figure>
</div>


<h2 class="wp-block-heading">良くも悪くも昭和の世界感</h2>



<p class="wp-block-paragraph">今作<strong>ゴジラ-1.0</strong>は、徹底的にリアルな終戦直後の日本を再現している作品であります。これは今作の山崎監督のこだわりを感じます。これはやはり「ALWAYS 三丁目の夕日」や「永遠の0」と「アルキメデスの大戦」といった昭和の町並みや戦時中の日本の戦闘機と戦艦をVFXで作成していたのだからと思います。</p>



<p class="wp-block-paragraph">ただ登場人物については、ステレオタイプ的な昭和の価値観を持つ人たちやシチュエーションも少なくくありませんでした。今作の世界観が昭和の世界であるため当然と思い、<strong>昭和</strong>の世界を再現するためにはいたしかたないです。ただ特に劇中の女性の描き方に関しては、令和の観客に対して今これを見せるのかと疑問に感じるものがいくつかあり、正直海外でこれだとポリコレ活動家が騒ぎそうで心配になってしまいました。</p>


<div class="wp-block-image">
<figure class="aligncenter size-full"><img decoding="async" width="1024" height="1024" src="https://cms.katsumascore.blog/wp-content/uploads/2023/11/5fe75264-80ed-48dd-84df-916d89c47efb.webp" alt="" class="wp-image-1796" srcset="https://cms.katsumascore.blog/wp-content/uploads/2023/11/5fe75264-80ed-48dd-84df-916d89c47efb.webp 1024w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/5fe75264-80ed-48dd-84df-916d89c47efb-300x300.webp 300w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/5fe75264-80ed-48dd-84df-916d89c47efb-150x150.webp 150w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/5fe75264-80ed-48dd-84df-916d89c47efb-768x768.webp 768w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/5fe75264-80ed-48dd-84df-916d89c47efb-512x512.webp 512w, https://cms.katsumascore.blog/wp-content/uploads/2023/11/5fe75264-80ed-48dd-84df-916d89c47efb-900x900.webp 900w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>
</div>

ゴジラ GODZILLA

作品一覧

映画

Finding Hope for Life, Godzilla-1.0

ゴジラ-1.0