Your Favorite Classic Godzilla Movie

So, Godzilla 2000 Millennium is one of my favorite G-films. It's high on the list. I don't know exactly where. But, it's up there. There are defintely entries in the Series that are better made, but I like this one more than some of them. It's hard to explain. I'm at home with it. Godzilla 2000 Millennium is a kind of 'comfort film' for me, like being with a friend. The mixed reaction it's received has made it even more beloved to me. I have a lot of history with it, from the earliest days of it's preproduction. I downloaded and printed a lot of material about the film as it was developing.

Besides the gradually released design, concept and set photos, and with the exception of the Internet feed of a SPFX scene being shot, the highlight of the production was probably the live talk show on June 9, 1999, held at Shinjuku Loft Plus One. A transcript of the show appeared on Aaron Smith's Monster Zero site. Even with all of the photos, plot summaries and snippets of information that preceded this event, it was this talk show that really made me feel that the film was going to be something that was not only special, but longed for, awaited, even.

This poster, for me, said it all:

It was pointed out to site manager/owner Aaron Smith, by, I think, 'Hico' of the 'Don't Be Defeated, Japanese Godzilla!' site, that the islands of Japan on Godzilla's skin were to show that this was a Godzilla movie being made in Japan! The light is the UFO in the Japan Trench. The design, the basis for what would be the Mire-Goji, was wild, millennium-looking, if you would. It had that "weirdness" that Producer Shogo Tomiyama mentioned during the show. And all this was even before we saw Orga.

It would seem that Katagiri was committing some form of Japanese ritual suicide in this scene:

One reviewer, J.D. Lees in G-Fan #47, says about Katagiri's transformation that led to this moment:

"As his plans fail, Katagiri is forced to rely more and more on Miyasaka, his supposed subordinate, for direction and expertise. His wild-eyed expression tells all; Katagiri is a man who's perspective on life has been totally shattered. He imagined himself to be in total control, but ultimately, he was revealed as a mere pawn to forces far greater than himself. It's no wonder that Katagiri welcomes death at the hands of Godzilla; he has failed to kill Godzilla, failed to contain the UFO, failed to save Tokyo. What other penalty would be more appropriate, particularly to a Japanese?" (G-Fan, #47, Sept./Oct. 2000, p. 13)

Incidentally, the review of Godzilla 2000 Millennium by J.D. Lees is one of the best I've read.

In the same review. J.D. Lees talks about one of the major themes of Godzilla 2000 Millennium:

"In fact, one of the themes Godzilla 2000 promotes is the inability to control events. Miyasaka cannot control the direction of his career path, Shinoda cannot control Yuki, the army cannot control either Godzilla or the UFO, and ultimately, the Millennium aliens cannot control the effects of Organizer G-1. Katagiri acts as the personification of this trend. He assumes his forces will be able to defeat Godzilla, he revels in his control over Miyasaka, and suggests that he should have forced Shinoda to come to work foro him at CCI. Gradually, he begins to realize the truth. His trap for Godzilla i sspoiled by the appearance of the UFO, then he tries and fails to contain the UFO itself. His computer network is taken over by the aliens despite anything he can do, and then Godzilla marches into Tokyo, which Katagiri is theoretically in charge of protecting." (G-Fan #47, Sept./Oct. 2000, p. 13)

And we know it all turns out. There are several themes in Godzilla 2000 Millennium that bare scrutiny, and enrich its narrative and story. Loss of control over events and the real inability to control them is just one of them.

One of my favorite films of the Series is Godzilla 2000 Millennium.

And this is one of the reasons why:

Here is a video of behind the scenes/making of footage of Godzilla 2000 Millennium:

https://www.youtube.com/watch?v=7B_5lFBnysI

The best part is, perhaps, at the 6:55 mark, with the applause being given to the film after its screening at the Tokyo International Film Festival. As the credits rolled and the film was getting a well-deserved ovation, Special Effects Director Kenji Suzuki was beaming. Because this screening, this was the test. And the audience loved it.

I love this film.

The footage also displays the hands on, hand made nature of tokusatsu effects. This is what give them their soul. Perhaps this is a great part of their appeal to fans of this art form. The way the effects are made, the way they're realized makes them look like they're in reach of anyone who's willing to put in the work. And work it is. The artists and crewmembers are shown with their titles and ages (in parentheses). This gives a human face to the film by showing an aspect of the production that most people don't see.

This kind of footage only enhances my appreciation for the film, the series and the genre. 

Another thing I liked about this scene is that Godzilla went after only Kataghiri, his arch-nemisis, displaying a great deal of intelligence, while acting with purpose:

I was watching the Making of Godzilla 2000 Millennium disc from the Region 2 Toho set, and I notice that the staff and extras really seemed to want to be photographed with the actor who played the soldier on the tank. I thought he must be some celebrity in Japan, but I couldn't find out who he was. Now I know. He is Masahiko Nishimura, an award winning actor.

Mr. Nishimura was at the center of the group photos and it was obvious that he was somebody, if you know what I mean.

http://asianwiki.com/images/2/2b/Masahiko_Nishimura-p2.jpg

Speaking of great entrances:

Godzilla 2014 is not too bad imho.

Godzilla vs the Smog Monster is my favorite and always will be ! 

GMK. It was so cool to see Godzilla take on three different monsters in one film. I also loved the design of Godzilla and Ghidorah.

I still have to go with the original. I am a fan of science fiction films that do social commentary, and the original has the best. Probably the same reason Hedorah is one of my favorites as well.