5.20.2010
5.19.2010
Review: GAMERA - THE GIANT MONSTER
As I listen to August Ragone’s audio commentary for the DVD, I am writing this review for the first legal, legit DVD release of DAIKAIJU GAMERA in the US. I was lucky enough to have the DVD come out right when my family’s pay check arrived, therefore I was most lucky to be treated to a day of going to different stores and while almost getting the first volume of the manga AKIRA (which I should have been a bastard to get), I did go to Best Buy to get this DVD (conveniently taken out of the scifi section and put into horror). Of all the good decisions I have made, waiting to see the first Gamera film as such is one of the best.
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Watching Gamera for the first time, I got to give the film more credit than what I originally considered. The direction by Yuasa is pretty impressive. With a nice black and white format, he really brings some fresh (for the time anyway, and some more me personally) photography choices to the genre. Such as the beginning credits with close ups on Gamera and his body. These are some very good shots, and a good third of the special effects shots are pretty good, maybe enough to say that it is maybe a notch or two below Tsuburaya. The most impressive special effects sequence in the film though is Gamera’s attack at the geothermal plant and everything else leading up to our first experience seeing the process which Gamera goes through to get that flying saucer flying ability he is so well known for.
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However, something which I have to give the film credit for is that it is obvious that this film has had more of an influence in kaiju eiga other than just turning Godzilla for a time into his pop-culture securing role as a hero. DAIKAIJU GAMERA seems to share many parallels with Godzilla’s 1984 film, "The Return of Godzilla". Such is the coming together of the Americans and Soviets in Japan (though the two films have the endings of this triumvirate show very different outcomes - with GAMERA showing Russia and America successfully come together to defeat a common menace while the 1984 Godzilla film shows the two super powers unwilling to work together due to nuclear weapons use disagreements and the Soviet’s mess up with the nuclear weapon which they had prepared before the popular cabinet meeting scene in the 1984 film, as if they were assuming the Japanese would accept the weapon). Also, it is interesting that both films end or almost end with the monster’s being (temporarily) rid of on/in Oshima Island with both films exhibiting a volcanic explosion. More parallels are apparent (such as parallels with "GAMERA: THE BRAVE", but I will go into them later in time.
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The DVD itself is quite a piece of work. Starting with the cover, it is pretty good looking, maybe better looking than the digital image which I have seen on the forums. When opening up the DVD case, it gave me a feeling of no longer disliking translucent DVD cases, with the anatomical pic of Gamera being something as interesting as the booklet given. The booklet, containing an essay also present on the Toshiba/Daiei Video DVD release of the film in 2002, gives in Yuasa’s own words some of his thoughts regarding Gamera. They are good notes, and while I would like to go into detail in one of the things mentioned, I am going to restrain. It is a good booklet and has a smaller, more tangible version of the anatomical pic of Gamera. And we also have a credits list, and it is nice to see Brett mentioned (who is also working on a DVD release of DESTROY ALL PLANETS, the AIP version of GAMERA VS. VIRAS).
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An image of the "GAMERA PRESERVATION LD BOX SET".
.The DVD, once popped in is pretty good. Watching the special features first, the documentary, which is from the rare GAMERA PRESERVATION LASERDISC BOX SET from 1991, is some what of an interesting choice for the sole video special feature. It is a good feature to have, since it clearly makes notice of the other Showa Gamera films (to remind non fans who may buy this disc) and has a lot of good making of anecdotes from a lot of people involved with the production. The best thing about this thirty minute documentary is the "GAMERA VS. GARASHARP" feature, something which I have sparingly watched from SHRINE OF GAMERA and Youtube, is now on DVD in a great looking form which really gets your imagination going (got mine going anyway). I do not know how many special features are on the PRESERVATION yet, but if there is more I hope that they will be spread out through the release. Note, this special feature is not anamorphic, therefore some may want to adjust your TV with the aspect button on your remote to watch it in it’s original format.
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The picture galleries are pretty good, with the press book and international sales brochures getting their own galleries with film stills and some making of stills. All of these are good, and gives a nice behind the scenes look with the film. Same thing happens when you listen to August Ragone’s audio commentary. It's a very informative audio commentary. And August does have some fun with the commentary it seems, such as what he says when the assumed Commie plane crashes, thus releasing Gamera or the mentioning of a Col. Sanders beard, making August claim he is hungry for chicken. While it may stick out at first, these comments keep the audio commentary fun. A big part of the commentary though is the continuous mini-biographies and resumes for the numerous cast and crew of the film. Not a negative, but I can see some of the more casual viewers thinking "Wow… that’s a lot". But defiantly cool, showing August’s amount of research (August went on to tell me that there was one main helper, "there weren't five people assisting me with translation/research for the commentary script, there was only one: Jason Varney. He and I split the work to reduce production time. The other people, whom I listed in the booklet, contributed to other aspects of this release (some of it major, some of it, minor), including locating materials and information.").
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In the end, DAIKAIJU GAMERA is a DVD which deserves to be recognized. It towers over the Sony DVDs and is in the league of the Classic Media and Media Blasters DVDs (more on the side of Media Blasters). This DVD though represents many things. First, it carries on the tradition it seems that all legal Gamera DVD releases usually get better releases the first time around compared to the Godzilla films. Second, it marks the DVD release of probably the last major kaiju eiga benchmark. Last, it finaly gives August the DVD he deserves. While working on some of the more Henshin-oriented tokusatsu DVD releases, August has been awaited by fans to do a commentary for the Classic Media DVDs - with did not come to pass - and to have a part with the ICONS OF SCI-FI set (none of the affairs I will go into on this review). August seems to have outdone himself with the "Friend of Children" (though he will always be for me the "Guardian of the Universe" personally) and I hope that the future releases will be just as good, if not, better.
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Overall:
9/10
5.17.2010
"Monster's Territory"
Now, for all interested, is a link which has scans of the unedited and untranslated version of a popular original Godzilla manga, "Monster's Territory".
http://gaou1954.hp.infoseek.co.jp/1/1.html
http://gaou1954.hp.infoseek.co.jp/1/1.html
5.16.2010
Preview: Geharha
Un-edited pics which didn't make the cut for my (hopefully) up and comming article in G-FAN reguarding Geharha. Photos will hopefully be in B&W.
5.15.2010
Reflections on GMK
As many people know, I am a big fan of the 2001 film, "Godzilla, Mothra, King Ghidorah: Giant Monsters All Out Attack". The film has – out of all the kaiju films to have been released in the past twenty years, as reasonably gotten the biggest response from people – become apraised by both fan and non fan alike on both sides of the Pacific. Some have reported that at the American Film Market (AFM), that one of the female viewers of the film cried while watching the film. The Japanese magazine Hyper Hobby released a special issue once it’s editors decided that the film was awesome enough to warrant a separate issue devoted to GMK. A similar thing happened to the rarely published JAPANESE GIANTS fanzine, which after over ten years of lack of an issue published, came back with an all GMK issue filled to the brim with internationally unseen material. The film also was subject to a large amount of accolades, including winning the Silver Award in Japan for "Best Grossing Film" and nominated for the Chlotrudis Award for "Best Cast". Yet, after all of this – especially in America – the film is said to be just the best film since "Godzilla vs. Biollante" or the latter Showa films. Why is this? I will try to confront these issues that people have had for GMK and try to make logic of how at least to me, they are not flaws, rather, positives which just adds to GMK’s inventiveness.
The first thing that comes to mind which has ruffled many a fan’s feathers is Godzilla’s stance in the film. He is in GMK, an embodiment of the souls of all of the soldiers who died in the Pacific Conflict Theatre of WWII. This is a topic which has ruffled many American fan’s feathers. The biggest contributor to American fans not taking this quality of Godzilla to their liking is that many people think that it takes away from Godzilla’s original nuclear allegory. Fact is that the allegory Godzilla had in 1954 is still prevalent, from a newly filmed flashback to the events of the 1954 film, to the mentioning of radio activity (like Tachibana claiming that he may have become radioactive once being inside Godzilla at the end or that the nuclear sub off Guam’s energy was totally absorbed).
Even after that, some fans still do not like the idea. This is because most people think that Godzilla needs to stay in the realm of science fiction. This is an opinion which I do not share. I share Kaneko’s thoughts when it comes to Godzilla and kaiju eiga in this century. Kaiju were science fiction in the 1950’s when there was talk in culture about nuclear energy and the possibility of there being giant monsters. Now that it is well known that something like that isn’t ever going to happen, it is no longer science fiction since science cannot vouch for the likely hood of such a happening as a kaiju. Therefore, Godzilla’s films needs to be fantasy.
However, there was an interesting comment made on a review on Stomp Tokyo. To quote, "Godzilla's true nature… is never really resolved." The reason for this is also a reason why Godzilla become the embodiment of the souls that were lost. Let’s look back at Godzilla from 1954. While an allegory for the nuclear bomb, he was a "warning" of the consequences. However, man kind can only be warned so many times before punishment needs to be laid down. So, Godzilla is the embodiment for more than one reason - both because Japan wants to forget about the past and because mankind hasn’t learned. And it is because of this that Godzilla’s immortal. His problem is never resolved because mankind will never truly resolve it’s problems. So Godzilla will keep coming back, and though it may not be the same Godzilla, it does keep Godzilla in a sense, "immortal".
However, some people seem to think of that as a bad thing. Some people ask as to "how shall the audience sympathise with Godzilla now that he isn’t a victim anymore". Godzilla is still a victim of the modern nuclear age. If he wasn’t the first time, then Godzilla wouldn’t even be the vessel that the souls would have chosen since he wouldn’t have even existed.
Now, we go to the Guadian Monsters. This is a harder one to debate since there are more things to think about when trying to stand up for the kaiju. Originally, it was not Baragon, Mothra, and Ghidorah. It was Baragon, Angruirus, and Varan. However, since Toho didn’t think that the kaiju were profitable enough, they chose the kaiju out of the big "4" while keeping Baragon for good taste. Many people seem to take primary offense with the mismatched qualities that the kaiju have. Such as Mothra’s larvae living in the water and Ghidorah burrowing.
The first thing people need to think about is things in past films which could help validate these actions by the kaiju. For example, GMK isn’t the first example in which Mothra has lived under water. Mothra actually showed this trait back in the 1961 debut film "Mothra". After the fire bombings put on her while she was swimming to the Japanese main land, Mothra actually swam underwater till she made it to the dam on the mainland. The same ability is attributed to GMK’s Mothra. Ghidorah also has a problem with people say that it makes no sense of him burrowing. Sure, it makes no sense. But then we get to the fact which excuses in my mind all of those "flaws": these kaiju are deities.
The fact that these kaiju are deities brings a lot in mind. Such as that "God works in mysterious ways". That has been a saying which usually has been associated with happenings in which people do not know the divine creator’s intentions (for those who believe in such an entity such as myself). However, this could also be used for explaining the hidden abilities and powers of the kaiju that have these seemingly illogical powers. So it doesn’t make any common sense that Ghidorah can burrow. Does it make any sense that a man named Jesus can call himself the son of God and bring people back to life? Plus, Ghidorah as a god makes more sense than Varan, since Ghidorah is basically not just a god, but a tribute to a creature in Japanese mythology, Yamato-No-Orochi, with the film revealing that Ghidorah, when fully grown, is to have eight heads, just as the mythic Orochi.
But some people still have a hard time seeing through the little details, like where in Japanese mythology does a giant moth fits in (I think Stomp Tokyo said it better when it said, "GMK must gloss over a few details to explain how Mothra could have anything to do with Japanese mythology.") Except for the fact that in Japanese lore there is the belief that butterflies and moths can act like omens for people and their love life or the creature SUKUNA-BIKO, known to have feathers. This is really a stretch and can seem to be a flaw to some people.
Onto the human characters. We seem to have a good variety of emotion and qualities with these characters, melancholy, comedic, ect. But some people think that the human characters aren’t that intertwined with the kaiju action. That beside explaining the ties to Japanese mythology, they simply watch, and that Yuri just simply maturing into the role of journalist from being part of a fictional documentary production company. However, it is more intertwined than what some viewers think. Mike Russo’s review of GMK gives this justice, saying, "Among these scenes, the interaction between the characters is one of the key driving forces. Yuri and Taizo's separate stories, one of maturity and the other of duty, begin to cross... and in this regard, the two characters start to gain mutual understanding of the nature and purpose which they each possess. The distance that existed between the two characters early on begins to close, and respect begins to flourish. Unlike previous Godzilla movies, where it appears as though the human story runs strictly parallel to the monster drama, this one instead finds a way to meld these aspects together. For example, Yuri's artifact revives Ghidorah, and her spirit encourages Taizo to keep fighting. Taizo uses his intellect and resources to utilize the wound Ghidorah inflicted on Godzilla to ultimately defeat him. It all comes together, and while some may cry foul, due to the fact that it wasn't the monster's who in fact defeated Godzilla, it must be remembered that the whole story of Godzilla is strictly a human story... a story of recklessness, consequence, maturity, and redemption. We created him; it is up to us to destroy him. Also remember that King Ghidorah opens the initial wound, which really is half of the fatal blow. When you see how all of the pieces to the puzzle are introduced in the first half of the film, and then how they all interweave as the plot progresses into the latter half, it is clear that this story is among the best-planned works in recent Godzilla history."
Now, some people think I am unable to talk about the flaws of this film. I do admit it is not perfect. So, here are the problems I see with the film: 1. The CG when KG is rising and when we get a shot of two Satsumas dive down to Ghidorah and Godzilla (the artifacting of the CG, eh). Then we get to the Baragon battle scene. While it looks cool to me, some may consider it a flaw seeing model RC helicopters in the wide shot of Godzilla whipping his tail against a climbing Baragon.
So, there. If I find any other critisism, I will evaluate it and see if I need to talk about it or add it to the paragraph above as a genuine complaint. But to end this two page piece of work, I would like to say that this essay of sorts is just my critical opinion. Is GMK perfect? No. But it is my favorite Godzilla film. That being said, let readers acknowledge that flaw is not fact and that anyone’s assessment of any film is not fact, just opinion, weather critical or personal. Keep that in mind. GMK rules.
The first thing that comes to mind which has ruffled many a fan’s feathers is Godzilla’s stance in the film. He is in GMK, an embodiment of the souls of all of the soldiers who died in the Pacific Conflict Theatre of WWII. This is a topic which has ruffled many American fan’s feathers. The biggest contributor to American fans not taking this quality of Godzilla to their liking is that many people think that it takes away from Godzilla’s original nuclear allegory. Fact is that the allegory Godzilla had in 1954 is still prevalent, from a newly filmed flashback to the events of the 1954 film, to the mentioning of radio activity (like Tachibana claiming that he may have become radioactive once being inside Godzilla at the end or that the nuclear sub off Guam’s energy was totally absorbed).
Even after that, some fans still do not like the idea. This is because most people think that Godzilla needs to stay in the realm of science fiction. This is an opinion which I do not share. I share Kaneko’s thoughts when it comes to Godzilla and kaiju eiga in this century. Kaiju were science fiction in the 1950’s when there was talk in culture about nuclear energy and the possibility of there being giant monsters. Now that it is well known that something like that isn’t ever going to happen, it is no longer science fiction since science cannot vouch for the likely hood of such a happening as a kaiju. Therefore, Godzilla’s films needs to be fantasy.
However, there was an interesting comment made on a review on Stomp Tokyo. To quote, "Godzilla's true nature… is never really resolved." The reason for this is also a reason why Godzilla become the embodiment of the souls that were lost. Let’s look back at Godzilla from 1954. While an allegory for the nuclear bomb, he was a "warning" of the consequences. However, man kind can only be warned so many times before punishment needs to be laid down. So, Godzilla is the embodiment for more than one reason - both because Japan wants to forget about the past and because mankind hasn’t learned. And it is because of this that Godzilla’s immortal. His problem is never resolved because mankind will never truly resolve it’s problems. So Godzilla will keep coming back, and though it may not be the same Godzilla, it does keep Godzilla in a sense, "immortal".
However, some people seem to think of that as a bad thing. Some people ask as to "how shall the audience sympathise with Godzilla now that he isn’t a victim anymore". Godzilla is still a victim of the modern nuclear age. If he wasn’t the first time, then Godzilla wouldn’t even be the vessel that the souls would have chosen since he wouldn’t have even existed.
Now, we go to the Guadian Monsters. This is a harder one to debate since there are more things to think about when trying to stand up for the kaiju. Originally, it was not Baragon, Mothra, and Ghidorah. It was Baragon, Angruirus, and Varan. However, since Toho didn’t think that the kaiju were profitable enough, they chose the kaiju out of the big "4" while keeping Baragon for good taste. Many people seem to take primary offense with the mismatched qualities that the kaiju have. Such as Mothra’s larvae living in the water and Ghidorah burrowing.
The first thing people need to think about is things in past films which could help validate these actions by the kaiju. For example, GMK isn’t the first example in which Mothra has lived under water. Mothra actually showed this trait back in the 1961 debut film "Mothra". After the fire bombings put on her while she was swimming to the Japanese main land, Mothra actually swam underwater till she made it to the dam on the mainland. The same ability is attributed to GMK’s Mothra. Ghidorah also has a problem with people say that it makes no sense of him burrowing. Sure, it makes no sense. But then we get to the fact which excuses in my mind all of those "flaws": these kaiju are deities.
The fact that these kaiju are deities brings a lot in mind. Such as that "God works in mysterious ways". That has been a saying which usually has been associated with happenings in which people do not know the divine creator’s intentions (for those who believe in such an entity such as myself). However, this could also be used for explaining the hidden abilities and powers of the kaiju that have these seemingly illogical powers. So it doesn’t make any common sense that Ghidorah can burrow. Does it make any sense that a man named Jesus can call himself the son of God and bring people back to life? Plus, Ghidorah as a god makes more sense than Varan, since Ghidorah is basically not just a god, but a tribute to a creature in Japanese mythology, Yamato-No-Orochi, with the film revealing that Ghidorah, when fully grown, is to have eight heads, just as the mythic Orochi.
But some people still have a hard time seeing through the little details, like where in Japanese mythology does a giant moth fits in (I think Stomp Tokyo said it better when it said, "GMK must gloss over a few details to explain how Mothra could have anything to do with Japanese mythology.") Except for the fact that in Japanese lore there is the belief that butterflies and moths can act like omens for people and their love life or the creature SUKUNA-BIKO, known to have feathers. This is really a stretch and can seem to be a flaw to some people.
Onto the human characters. We seem to have a good variety of emotion and qualities with these characters, melancholy, comedic, ect. But some people think that the human characters aren’t that intertwined with the kaiju action. That beside explaining the ties to Japanese mythology, they simply watch, and that Yuri just simply maturing into the role of journalist from being part of a fictional documentary production company. However, it is more intertwined than what some viewers think. Mike Russo’s review of GMK gives this justice, saying, "Among these scenes, the interaction between the characters is one of the key driving forces. Yuri and Taizo's separate stories, one of maturity and the other of duty, begin to cross... and in this regard, the two characters start to gain mutual understanding of the nature and purpose which they each possess. The distance that existed between the two characters early on begins to close, and respect begins to flourish. Unlike previous Godzilla movies, where it appears as though the human story runs strictly parallel to the monster drama, this one instead finds a way to meld these aspects together. For example, Yuri's artifact revives Ghidorah, and her spirit encourages Taizo to keep fighting. Taizo uses his intellect and resources to utilize the wound Ghidorah inflicted on Godzilla to ultimately defeat him. It all comes together, and while some may cry foul, due to the fact that it wasn't the monster's who in fact defeated Godzilla, it must be remembered that the whole story of Godzilla is strictly a human story... a story of recklessness, consequence, maturity, and redemption. We created him; it is up to us to destroy him. Also remember that King Ghidorah opens the initial wound, which really is half of the fatal blow. When you see how all of the pieces to the puzzle are introduced in the first half of the film, and then how they all interweave as the plot progresses into the latter half, it is clear that this story is among the best-planned works in recent Godzilla history."
Now, some people think I am unable to talk about the flaws of this film. I do admit it is not perfect. So, here are the problems I see with the film: 1. The CG when KG is rising and when we get a shot of two Satsumas dive down to Ghidorah and Godzilla (the artifacting of the CG, eh). Then we get to the Baragon battle scene. While it looks cool to me, some may consider it a flaw seeing model RC helicopters in the wide shot of Godzilla whipping his tail against a climbing Baragon.
So, there. If I find any other critisism, I will evaluate it and see if I need to talk about it or add it to the paragraph above as a genuine complaint. But to end this two page piece of work, I would like to say that this essay of sorts is just my critical opinion. Is GMK perfect? No. But it is my favorite Godzilla film. That being said, let readers acknowledge that flaw is not fact and that anyone’s assessment of any film is not fact, just opinion, weather critical or personal. Keep that in mind. GMK rules.
5.14.2010
Second Batch of Pics - GMMG
These are photos of the GMMG soundtrack, the most interesting of the releases. It houses stuff not only for GMMG, but also GMK and GFW. Well, be it as cluttered as it is, it seems to be a solid release all the same.
5.12.2010
GPSCBS6 Photos
On a daily basis, for as long as it will last, JournalismG2KM is going to post a set of picks of one of the CDs of the newest CD Box Set from Toho for the Godzilla series with photos comming from KG member Matti. First photos will be of the CD for 2001's "Godzilla, Mothra, King Ghidorah: Giant Monsters All Out Attack". Do not forget to actualy click on the photos themselves for larger, higher quality varriations! Who know, you who know Japanese can do some translation service!5.11.2010
Help Take Part In An Academic Study!
A most interesting happening has gone on in the fandom, more specifically on an academic level. Currently, a pair of college professors are in Japan and doing a study in the field of tokusatsu eiga. To be more specific, kaiju eiga. To be even more precise, Godzilla. The main point of their study is actually the locations in which Godzilla has leveled through out his film career. One of the two professors are Dr Craig Norris. Their activities have not been untold, just not as heard as what it could and should be. Craig has been going under the pseudonym "Craigzilla" on Tohokingdom forums. He has create two of the most interesting topics on Tohokingdom as of late, one regarding what Godzilla films would be most effective in pointing out Japan’s infrastructure and the newest one: a topic with a link to a survey in which will help with a further academic study of Godzilla and how tourism is effected by the King of the Monsters.
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Helping with this task is the newest published book on Godzilla, "The Monster Movie Fan’s Guide To Godzilla", written by Armand Vaquer. The book has been acclaimed left and right as of yet, with such quotes ranging from "It’s brilliant" from Dr. Craig himself to the book being, "Kaiju Awesome" by David Nunez, along with other accolades. Armand has seem to have created a masterful manifesto when it comes to creating a guide to Japan with each site being documented of it’s cinematic importance to tokusatsu eiga.
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I would like for all interested to check out the links below to get a full idea of what’s going on and to hopefully take part in this activity. Remembr, you are helping an academic study. This might as well be a once in a life time deal for some.
Armand Vaquer’s blog:
http://armandsrancho.blogspot.com/search?q=monster+movie+fan%27s+guide+to+japan
http://armandsrancho.blogspot.com/2010/04/monster-movie-fans-guide-to-japan-in.html
http://armandsrancho.blogspot.com/2010/04/godzilla-locations-interview.html
http://armandsrancho.blogspot.com/2010/04/monster-movie-fans-guide-to-japan-made.html
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Tohokingdom Forum Links:
http://www.tohokingdom.com/forums/viewtopic.php?t=24741
http://www.tohokingdom.com/forums/viewtopic.php?t=24518&start=0
5.10.2010
Review: SPCBS Godzilla vs. Megaguirus
Movie: Godzilla vs. Megaguirus
Music By: Miciru Oshima
Record Label: Toho Music
Runing Time: 66:37
Discs: 1
Year of release: 2010
Review: ****/*****
The fist disc in the sixth 50th anniversary Godzilla Soundtrack Perfect Collection box set contains the score of GODZILLA VS. MEGAGUIRUS, composed by Michiro Oshima, the first and (so far) only female composer in the series. While this isn’t her best work, it is still a very well done and enjoyable soundtrack.
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As the movie begins, we are soon introduced to Oshima’s new Godzilla theme, which is, without a doubt, one of the best themes of the monster outside Ifukube’s work. It starts out foreboding before finally moving to the action-oriented part. Among other repeated themes in the score are the G-Grasper march, the best rendition of which is heard in "The Griffon Mobilizes" (according to the booklet, director Masaaki Tezuka thinks it sounds reminiscent of the theme from the classic 60’s TV series "Thunderbirds", and I kind of agree), the Meganula egg theme (heard in tracks 13, 14, and 25 for example), the Dimension Tide theme, and the exotic-sounding battle music that’s heard throughout the final fight between Godzilla and Megaguirus. There’s also a theme for the Meganula swarm, which fit’s the insect kaiju really well. Akira Ifukube’s Godzilla theme is also used in the movie twice (tracks 2 and 37).
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As for the disc itself, it is by far the best way to experience this soundtrack. There’s not so much new content, since one of the previous CD release that was included as part of the now OOP DVD set of the movie already contained (nearly) the full score. However, there are two thing that make this CD triumph over that one. First, and most importantly, the "Nichiei News (m1)" cue finally gets its release on CD, and there are a couple of alternate versions of it in the bonus tracks too. Second, the two aforementioned Ifukube tracks are put back in after being omitted from the previous disc from Toho Music. The bonus tracks also include an alternate take of the M3 cue and all the unused cues, which are quite short.
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As always, the booklet features a picture of Godzilla’s face on the front cover and pictures of Misato Tanaka and Yuriko Hoshi on the back. The booklet contains all the usual stuff: information about the movie and the music, track notes, ect. There’s also an interview with director Masaaki Tezuka.
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All in all, Michiru Oshima’s first soundtrack in the Godzilla series is a very good one, and it’s given an excellent presentation on this disc. If you don’t have this soundtrack yet, this box set offers you the chance to get it.
-Matti
Music By: Miciru Oshima
Record Label: Toho Music
Runing Time: 66:37
Discs: 1
Year of release: 2010
Review: ****/*****
The fist disc in the sixth 50th anniversary Godzilla Soundtrack Perfect Collection box set contains the score of GODZILLA VS. MEGAGUIRUS, composed by Michiro Oshima, the first and (so far) only female composer in the series. While this isn’t her best work, it is still a very well done and enjoyable soundtrack.
.
As the movie begins, we are soon introduced to Oshima’s new Godzilla theme, which is, without a doubt, one of the best themes of the monster outside Ifukube’s work. It starts out foreboding before finally moving to the action-oriented part. Among other repeated themes in the score are the G-Grasper march, the best rendition of which is heard in "The Griffon Mobilizes" (according to the booklet, director Masaaki Tezuka thinks it sounds reminiscent of the theme from the classic 60’s TV series "Thunderbirds", and I kind of agree), the Meganula egg theme (heard in tracks 13, 14, and 25 for example), the Dimension Tide theme, and the exotic-sounding battle music that’s heard throughout the final fight between Godzilla and Megaguirus. There’s also a theme for the Meganula swarm, which fit’s the insect kaiju really well. Akira Ifukube’s Godzilla theme is also used in the movie twice (tracks 2 and 37).
.
As for the disc itself, it is by far the best way to experience this soundtrack. There’s not so much new content, since one of the previous CD release that was included as part of the now OOP DVD set of the movie already contained (nearly) the full score. However, there are two thing that make this CD triumph over that one. First, and most importantly, the "Nichiei News (m1)" cue finally gets its release on CD, and there are a couple of alternate versions of it in the bonus tracks too. Second, the two aforementioned Ifukube tracks are put back in after being omitted from the previous disc from Toho Music. The bonus tracks also include an alternate take of the M3 cue and all the unused cues, which are quite short.
.
As always, the booklet features a picture of Godzilla’s face on the front cover and pictures of Misato Tanaka and Yuriko Hoshi on the back. The booklet contains all the usual stuff: information about the movie and the music, track notes, ect. There’s also an interview with director Masaaki Tezuka.
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All in all, Michiru Oshima’s first soundtrack in the Godzilla series is a very good one, and it’s given an excellent presentation on this disc. If you don’t have this soundtrack yet, this box set offers you the chance to get it.
-Matti
Further pictures of this Soundtrack release can be found here:
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