The Perfection Of Godzilla Vs Biollante.
As we gear up for a truly Golden time period for Godzilla Fandom with Godzilla Minus One releasing in Japan November 3rd and then stateside on December 1st, Monarch Legacy of Monsters coming to Apple TV in November, Godzilla X Kong The New Empire coming out in April, and of course G-Force Chronicles coming back in January as well, I would like to take the time to do a full in-depth analysis of what I and others agree is the crown jewel of the franchise (Outside of the original 1954 film of course) 1989's Gojira Tai Biorante/Godzilla Vs Biollante.
When I was about 3 or 4 years old, my family made me aware of this new Godzilla movie coming on tv one night called Godzilla Vs Biollante. Funny enough, by that point the film was actually the same age as myself. For us in the US, it took some time for it to arrive stateside and was the last G-Film to be released in the states on TV/Home Video until 1997 when the rest of the Heisei Era films finally started to pop up on VHS/DVD to celebrate the release of the 98 film. I don't remember too much of the movie in my first viewing other than the fact that I remember being terrified of it because of a scene where these men have a shoot-out in a lab then suddenly get attacked and killed by these giant tentacles and also because of this giant monster that had a giant crocodile face with thousands of teeth that tried to eat Godzilla! It was one of only 2 Godzilla films up to that point that I was too afraid to watch (the other being Godzilla Vs Hedorah).
Little did I know that years later when I finally worked up the nerve to watch that film once again, that it would come to be my all-time favorite out of the franchise. In an ironic twist, my reaction to this film over the years mirrored the fanbase as a whole. Audiences were initially put off by Godzilla Vs Biollante to the point that it was originally considered a financial failure during its theatrical run in Japan. However, as time went on it has been reclaimed by the fandom as one of, if not the GOLD standard for the franchise. And for good reason too; the film not only has some of the best effects work of the entire series, but also sports a stellar cast of memorable characters, impeccable pacing, a unique approach, a story that resonates thematically on multiple levels, and some of, if not THE best creature designs of the whole genre. So, follow along as we dive into why this film is the perfect Godzilla Film.
FROM THE SOILS OF CHANGE, A SAPLING EMERGED...
Stephen King, a Godzilla Fan as well, once said in regard to his book, Pet Semetary,"If you lost a loved one, how far would you go to have that loved one back?" Pet Semetary received a film adaptation in 1989 which carried this question as its core theme. Unbeknownst to movie goers at the time, later that same year that same question would also be used as a core theme for the 17th installment in the Godzilla franchise. It was a somewhat tumultuous time as tensions in the middle east would eventually lead to Iraq's invasion of Kuwait and the first Gulf War the following year. Regan's 9 years as President of the US came to a close with George Bush Sr stepping in to fill his shoes. Japan's economy was booming in such a way that it had not seen in decades. The Cold War was at an end but was still causing ripples in the years that followed.
By that point the Godzilla franchise was going through a tumultuous time as well. The success of Godzilla 1984 had ushered in a new era, the dawn of the Heisei Era to be exact. Filmmakers had returned the character to the serious dark roots that it had not seen since the first two films, 30 years prior. Producer Tomoyuki Tanaka wanted to maintain that largely dark and serious stature throughout the rest of the Heisei Era while also bringing in fresh and stylized ideas that would both draw in new fans and keep old fans hooked. As a result, he and Toho would host a special contest in late 80s where fans would submit ideas for the next Godzilla film. The winner would be Godzilla Vs Biollante, a dark and radical tail that would blend all the relevant events of the time period and weave a beautifully woven story about a man who tries to keep his daughter's spirit alive, the dangers of biotechnology and genetic engineering, the final echoes of the cold war, and the ominous foreshadowing of the 1st Gulf War.
The original script that was submitted by a dentist named Shinichiro Kobayashi, had a lot of differences from the final product. Namely the inclusion of a 3rd creature named Deutalios and there was a lot less focus on Godzilla himself. One thing worth mentioning, was that apparently after defeating Deutalios, Godzilla was supposed to devour part of the monster as well (which would have been a gruesome first for the franchise. Producers Tomoyuki Tanaka and Shogo Tomiyama would work with Writer/Director Kazuki Omori to make adjustments for some time until eventually they landed on the film that we now have. Though apparently the script had gone through multiple drafts before being completed. Despite traditional Godzilla conventions remaining in place and some new ones established in the previous film (Godzilla feeding on nuclear material being the biggest), Omori was also determined to take Godzilla in bold new directions and as a result, the film would have a lot of features in its story and presentation that had not been seen before and some would even become key elements of the franchise going forward...
THE NEXT STAGE IN GODZILLA EVOLUTION...
The first signs of the film's radical and ingenious new approach are put front and center in the opening scene. Set immediately after the events of Godzilla 1984, which ended with the King of the Monsters becoming trapped in the lava pits of Mt Mihara's crater on Oshima Island, multiple salvage and survey teams are going over the rubble and ruins left in the wake of his rampage. Some are in search of Godzilla cell samples from skin fragments. While G-Films of the past would show scientists merely surveying Godzilla's destruction to determine the threat level of the monster's radiation and the effects it had in his wake, this was the first time where there was an active military effort to collect and research the monster's biological samples.
In an unfortunate twist, it's revealed that Japan's Military are not the only ones interested in the samples as two other factions jump into the fray, the first being the fictional American-based company known as Bio-Major. This bio-company hired Mercenaries to retrieve samples of G-Cells of their own and succeed before being discovered by the Japanese. The scene plays out as both an homage and at the same time a spoof of American Action films of the 80s where hordes of Japanese Self-Defense Force grunts are annihilated by only 3 American Mercs that come out of the conflict untouched. The film even tricks us into not only routing for them for their violent and action-filled get away but also throws a curveball when these 3 badasses suddenly get wiped out in less than a couple seconds once they're in the clear by the arrival of the other major faction and main antagonist; the fictional Middle-Eastern country of Saradia. This major antagonist is represented by the assassin credited as SSS9. SSS9 serves as yet another archetype of the 80s action films as his character shares many similarities with the silent but unstoppable characters of the time like the Terminator; complete with few lines, a mostly cold expressionless face, and a shadowy menacing presence that strikes at random moments throughout the plot.
As SSS9 says in a mocking manner to the now dead American Mercs, "Kiss, you guys." He vanishes into the mist and makes his way back to Saradia where we are introduced to the first major protagonist of the film Dr. Shiragami and his daughter Erika; Japanese scientists employed by the Saradian Government to provide the country with another major export outside of their oil wells. Through the efforts of SSS9's recovery of the G-Cells and Shiragami's aid, it is hoped that the country can find a way to crossbreed various species of cactus and wheat with some modifications from Godzilla's DNA to create a new species of wheat that can be grown and thrive in the middle-easts harsh dessert environment; effectively making them a new superpower in the market of grain exports. Before their dreams can make any progress, Bio Major retaliates by blowing up their research facilities. This was another major relevant moment for Real-World events as superpowers of the world were eyeing the Middle-East for some time by then for its vast supplies of oil. NATO itself was even criticized on multiple occasions for their involvement in Middle-Eastern conflicts as some believe to this day that it was a subtle effort to gain control over their oil exports.
In the wake of Bio-Major's attack, it is revealed that Erika was caught in the blast. Devastated, Dr Shiragami returns to Japan. Over the next 5 years he remains in solitude while still conducting research on Genetics. He eventually develops a bond with members of an ESP Research institute; Erika's former friend Asuka Okouchi and young psychic Miki Saegusa.
Miki, played by actress Megumi Odaka, would not only play a crucial role in this film but also plays a key reoccurring role through-out the rest of Heisei Era films. She was another sign of the Godzilla franchise's evolution as she has the record for most consecutive film appearances for a single character. She also is the first character in the franchise that has been granted special abilities that put her at a level of power and importance that few other female roles in the franchise have only come vaguely close to. This is put front and center in one very memorable scene later in the film. The first big part she has to play however is when Dr Shiragami makes the interesting and mysterious request to see if she can make any kind of contact psychically with a rose garden that he has grown separately in its own personal greenhouse. The reason for such is cleverly foreshadowed by a photograph picked up by Asuka. Another hint as to what Shiragami's intentions were arises when the pair go to leave and Miki suddenly hears a voice calling out for Asuka.
During the past 5 years, the Japanese Self Defense Force (JSDF) have maintained a close watchful eye over Mt Mihara, the volcano that Godzilla has been imprisoned in. Another major first for the franchise saw the JSDF play a very big role throughout the whole film and are also largely portrayed as a strategic and competent force. Past films would show them conduct operations in feeble attempts to deflect Godzilla and other kaiju attacks only to have their plans fail and then would either turn tail and run or just be absent from the course of the remainder of the film. The capabilities and strategic methods of the JSDF are put realistically front and center at multiple moments, with one of the key factors being a new alert system put in place whenever it appears Godzilla may escape his prison and/or attack Japan. This realistic approach not only demonstrates the systematic process of which the military operates and likely would operate in real life, but also inadvertently raises the threat level of Godzilla himself. It's not just "Godzilla suddenly appears! Everyone run!" instead it builds up to that fateful moment. For Americans it actually has a real-life counterpart in post 9/11 America with the United States Homeland Security Advisory System; even having 4 raised threat levels like the film's alert system has, indicating the possibility of a Homeland attack with military alertness and activities increasing at every successive level.
The JSDF starts receiving ominous warnings of Godzilla's escape from his prison in the form of rumblings from the ESP Research Institute that Miki and Asuka work for. Children are having dreams of Godzilla setting fire to a major city. Even Miki confesses that she has also been experiencing the same dream as well. When the JSDF conduct a survey with Miki using her ESP over the volcano, she announces that Godzilla "is awake." This sets off the first alert in the alarm system. What's truly interesting about this aspect of Godzilla in this film is that it's the first time that the kaiju is granted abilities of the mind that he previously never had or was only alluded to having. Heightening his level of, for lack of a better word, God-Like presence. One can even deduce that its possible that the dreams that Miki and the other ESP students had were actually purposefully caused by his essence of hatred for humanity that he constantly projects and that he somehow knew that coming events would lead to his return.
In response to the first alert being given, the two main faces of the JSDF in the film, Lieutenant Gondo and Major Kuroki, begin researching counter measures they have to combat the monster should it return. The main focus of their efforts is that of a special bio-weapon called Anti-Nuclear Energy Bacteria (ANEB). ANEB is one of the results of research into G-Cells. Godzilla's ability to absorb and actually digest Nuclear Energy led to the discovering of a genetically engineered bacteria that could do the same and as a result, it could both neutralize nuclear weapons and poison Godzilla to the brink of death as nuclear material is part of his biology. Gondo and Kuroki enlist the aid of Dr. Kirishima (who also happens to be Asuka's love interest) and seek the aid of Shiragami as well. Kirishima is on board with the project, though throughout the film he expresses great caution over it as it could, in his words, "Create a monster far worse than Godzilla." Providing a good strong ethical argument, he is the voice of reason saying that though there is a legitimate need for the bacteria, that they must be mindful about the consequences that can arise. Shiragami seeing that he would have to work with G-Cells, refuses the position as he vowed to never to work with them again following Erika's death.
Fate unfortunately forces the good Doctor to do so when Godzilla's increased activity causes an eruption at Mt Mihara so powerful that it sends out an immense shockwave as far away as Tokyo. The quake shatters the green house that contained the roses which Shiragami previously hoped Miki could communicate with. It is as he salvages the pieces of the cherished plants that its revealed that the plant is both dying and is in fact his daughter Erika. Eventually its revealed that Shiragami had managed to somehow splice Erika's DNA with that of the Roses he had been growing as a way to keep her alive, or at least her soul alive. This is where the movie truly gets deep in the aforementioned question of "How far would you go to get that loved one back?" and even plays with the notion of reincarnation as Erika was portrayed as having a beautiful soul but also had a deep fondness for Botany especially when it came to flowers; as a result, she is reborn as a rose. As mentioned before, it's even cleverly foreshadowed with Asuka holding the picture of Erika which depicts her holding a rose plant and mentions how Erika once dreamed of the desert coming alive one day with all sorts of flowers. As mentioned before, Kirishima talks periodically throughout the first 30 mins of the movie about how the team must be mindful about how they use this new power, blatantly voicing the dangers of Genetic Engineering and men playing God with it. This idea is one of the core messages of the movie and would also be the driving theme behind Jurassic Park which was published that following year. The Jurassic World films themselves would even have its own variation of Erika's tragic story in the form of Maisie, the clone of Sir Benjamin Lockwood's deceased daughter.
Shiragami, desperate to not lose his daughter, decides to accept the position to help make the ANEB but as a way to also splice some of Godzilla's Cells with Erika's rose hoping to provide her the same durability and healing factors as the King of the Monsters himself. This is where that aforementioned question behind Stephen King's Pet Semetary comes into play, "If you lost a loved one how far would you go to have that loved one back?" Shiragami, so stricken with grief and guilt over his daughter's fate essentially goes to a morally dark route with answering that question. This is a very deep theme of what fear, grief, and guilt can drive someone with great power to do. It's something that we've seen in later years with the aforementioned stories and films of Pet Semetary and Jurassic World, along with others like Star Wars Episode 3 with Anakin turning to the dark side to save Padme. It's a deep, dark, and at the same time powerful concept.
The terrifying variation on Frankenstein's Monster first reveals itself when agents of Bio-Major and SSS9 break into Shiragami's lab to steal his work on ANEB. As mentioned at the beginning of this article, this scene terrified me as a child and I supposed if one were watching this film for the first time it would have similar effects. As we focus on Bio-Major's agents and SSS9 shooting it out in Shiragami's Lab, an unexpected 3rd participant crashes the party. Giant vine-like tendrils suddenly lash out from an unknown source in a nice light jump-scare moment and kill one of the men through either strangulation or breaking his neck. SSS9 and the remaining agent are forced to flee the scene as a result; the latter of whom, risks his life and severe injury by jumping through a glass window into a ravine.
One can enjoy this scene for its obvious 80s action and even 80s horror look and feel. Its nicely shot with a mysterious and eerie silence that escalates into violence. The music doesn't even kick in until the tendrils suddenly jump into the fray. Furthermore, Director Kazuki Omori does something clever, by not fully revealing the monster in this scene which heightens the threat level and horror of it by emphasizing on what it could do. A technique utilized in films like Alien and Jaws and even in the original 1954 Godzilla and the previous film as well.
If one looks at this scene from a metaphorical standpoint it plays out very similarly to how Arms Races tend to play out. For starters you have these two power hungry factions resorting to espionage and violence to get their hands on this power shifting superweapon, which is what tends to happen when some new superweapon, or even just its concept, gets introduced in real life. It's actually mentioned by the character of Kirishima that ANEB would render all nuclear power redundant overnight and fears that once they produce the bacteria, the balance of power would plunge into chaos. Given how impactful Nuclear Weapons have been on the balance of power of the world throughout history and remain impactful on world events today, if something were thrown into the mix that would eliminate them that swiftly, one could definitely see similar events play out as they do in this film. Governments and War Profiteering agencies from across the world, especially those who still have stockpiles of nuclear weapons would resort to similar tactics to steal it for themselves or prevent it from happening.
the aftermath of the lab scene, sees the Doctor coming to the realization that he may have gone too far. Once again, we don't see this new creature, but we are given hints of it in the form of a hole in Shiragami's lab and then shortly after, a picture that Miki is drawing depicting what looks like a giant flower in the middle of a lake. In the meantime, the JSDF spots Godzilla in the lava pit of Mt Mihara. Though it's unclear of what he's up to, the physical sighting of him on their equipment is enough for the government to raise the alert level again. In real life this would be the equivalent of the National Security Awareness going from Green to Yellow. Upon raising the alert status, the JSDF steps up its armament by readying the Super X-2. A stronger unmanned version of the Super X Aircraft from Godzilla 84. One interesting thing to note about the Super-X line is that while they appear to be purely fictitious vehicles, they could very well become a reality if given the proper funding. The first one was piloted by a crew of four men and had multiple rotary engines on its underside that gave it the ability to hover in place when needed like a Harrier Jet or a US Navy Ospery. It was also protected by a titanium alloy armor covering which granted it a strong resistance to Godzilla's heat ray. The super X-2 takes a more relevant spin on the aircraft by effectively turning it into a drone which is something prevalently used in today's modernized military.
Things take an unfortunate turn for the JSDF and the scientists, when Bio-Major delivers an ultimatum; hand over the ANEB or a time bomb will go off on Mt Mihara which will destroy the volcano and free Godzilla. As Shiragami and Kirishima argue over the circumstances they have been forced into, Asuka interrupts with the argument with the announcement of something appearing in Lake Ashi. Once again, we have a moment where the clashing of men's ideals is interrupted with the appearance of a kaiju. The theme prevails that men's politics or struggles will never trump the enormity and dominance that nature has over us. This time around, we finally get a full reveal of the monster that Shiragami created; the towering Rose-like kaiju, Biollante. With Miki already on site, as she had been sensing something strange about the creature since its escape from the lab, Shiragami, Kirishima, and Asuka are astonished to see the enormous kaiju. Should be noted that the reveal shot for Biollante is done incredibly well, even by today's standard,s through a near perfect matt-shot. This technique uses two different film shots overlapped to give the illusion of a single shot.
Though Yggdrasil was not given a direct spirit or lifeforce it is often portrayed or speculated to have a soul or life of its own. Furthermore it is revealed that Biollante also has a human spirit to which Asuka quickly deduces that its Erika's spirit. Once again, its not directly tied to any one mythology but the idea of mythical plants with female spirits appears in multiple sources from around the globe and throughout history. For example you have Flora from roman mythology who was the goddess of flowering plants and forest nymphs from Greek mythology which were small female spirits directly associated with the plants that grew in the woods and grasslands of the world.
Even in modern religions such as Wicca, you have references to female spirits responsible for flowers or are in themselves plant spirits. This all, again, ties Shiragami's story to that of Prometheus in the idea that he had taken the GOD aspect of Godzilla and given it to his daughter's spirit, effectively turning her into the same level of being as Godzilla itself.
Shiragami is scolded and ridiculed for his meddling with genetic power, but all this becomes mute in the face of the fact that the Kirishima and the JSDF have to deliver the ANEB to Bio-Major before the bomb goes off at Mt Mihara. The surviving agent from the lab shoot-out, meets up with Kirishima and Gondo. The ANEB is successfully handed over. However, before they can make it into his truck to remotely switch off the bomb, SSS9 plunges everything into chaos by sniping at them from a nearby construction tower. The case containing the bacteria is shot out of the Bio-Major agent's hand and when the agent attempts to pursue his attacker, SSS9 kills him and causes his truck to roll over. With his prime target dead, SSS9 jumps into his car and races over to successfully retrieve the bacteria. Kirishima and Gondo scramble to get the truck open and stop the bomb as SSS9 gets away in a tense and well shot moment. With every passing second as the countdown gets closer to zero, the scene quickly cuts back and forth between the mens desperate scrambles to find the switch with the music ramping up and the cuts becoming more chaotic and faster. As it reaches the final 10 seconds, alarms start going off, and Gondo, who in turn cleverly reflects what the audience feels in that moment of both excitement and hopelessness gives up. With the final three seconds he smirks, and sarcastically says "AMEN."
The countdown hits zero and the scene cuts to Mt Mihara as the bomb goes off in a series of large explosions. In a moment that still induces chills every time I watch it (and I assume the same can be said for other fans), we see the rim of what remains of the volcano. The top of Godzilla's head breaks the horizon as he triumphantly marches out of his prison with Akira Ifukube's classic theme playing. He walks through the explosions of the erupting lava pit towards freedom; roaring powerfully as if to make everyone in the world aware of his return.
In quick response the JSDF sends a small force of Navy Cruisers and Destroyers to intercept Godzilla. Despite the JSDF using naval forces to combat the monster in past films, this was the first full blown sea battle we've seen on screen and it is done extremely well through a combination of quick cuts between the impressive miniature FX shots and actual footage of naval ordinance being fired. Godzilla takes a real pummeling (as it would considering the firepower that actual navy vessels possess) but once again his power is on full display as it does nothing but annoy him to the point of using his heat ray to annihilate the defense line.
In response, Major Kuroki launches the Super X-2 to reinforce the line. The Super X-2 actually puts up a good fight thanks to the use of its main weapon, the Fire Mirror. As the name suggests it's a specially designed mirror built into the aircraft made of synthetic diamonds, which it uses to reflect Godzilla's heat ray in a more concentrated form back at the monster. Should be noted that this is the second weapon in the film that uses one of Godzilla's strengths against him.
Meanwhile, Biollante is exhibiting strange behaviors as it nearly kills Shiragami while he berates a news crew on a nearby dock. Miki informs him that it seems like Erika's spirit is no longer in control and that the Kaiju side of it has taken over. Considering this happens shortly after Godzilla escapes back out into the world, one can deduce that his resurgence somehow triggered this. This is further confirmed when Miki suddenly senses that Biollante was calling out to Godzilla. The JSDF, still engaging the monster out at sea takes note of the monster shifting its course from Tokyo to Lake Ashi and ramps up Super X-2's assault. Just as it seems to have Godzilla halted, the King of the Monsters' heat ray starts doing the unthinkable; it begins melting the synthetic diamond make-up of the fire mirror. The tide of the battle shifts back to Godzilla's favor as it successfully downs the Super X-2.
Two things worth noting about this battle are as follows, first being that the animatronics used to portray the close-up shots of Godzilla's head are probably the best that we've ever seen in any of the films before or after. The design of this version of Godzilla (dubbed the Bio-Goji design) is considered by many to be THE look that comes to mind when fans picture Godzilla first. It has a unique blend of feline and saurian features in the head that give the kaiju a perfect mix of power, menace, and fierceness. This is especially highlighted in the close ups of this scene where we see Godzilla scan the water looking for the SX2, the way it reels its jowls back in an angry snarl when it resurfaces, and then finally the shot of him watching the aircraft go down has an aura of both evil and delight; a perfect way of showing the monster's emotions without actual facial expressions.
The next thing worth noting is that this scene also is a nice callback to a scene from the showa film Mothra Vs Godzilla (1964) and the previous film as well. In Mothra Vs Godzilla a similar scene plays out where the JSDF gets the upper hand for a while on Godzilla through the use of the Artificial Lightning Towers. When they arrogantly get reliant on the weapons on the edge of victory, they fail and Godzilla regains the upper hand. In the previous film, the first Super-X actually downs the monster for a short while until the Russian nuke revives it. It's always been a core theme of the franchise that humanity's arrogance and reliance on superior power ultimately are the reason why Godzilla prevails. The JSDF's over reliance on the Super X-2 & its fire mirror getting the upper hand but failing is another prime example of this theme.
Godzilla continues to follow the "call" of Biollante to Lake Ashi. By this time Biollante has grown considerably. The giant rosebud blossomed to reveal a Venus Flytrap-like maw at the center. Tendrils, some with maws of their own at the ends, have spread out across the lake. The monster's Rose form is one of the most visually stunning and unique designs of any kaiju in history and poetic in that it takes the saying "Every rose has its thorns" to a whole new and frightening level.
Godzilla enters its opponent's domain and Biollante immediately ambushes him with its tendrils from underwater. Another highlight of this film are the kaiju battles that take place. Up to this point we've grown accustomed to seeing two or more suit actors wrestling with each other or one wrestling with a Mothra/Kumonga/Kamacurus marionette. Godzilla's battles with Biollante are one of a kind as it resorts heavily to a more ranged approach and the fact Biollante's tendrils have a more amorphous method of engaging with Godzilla; they don't just bash or punch the King, but resort to ensnaring and constricting him. When the mouthed tendrils enter the fray, they add an extra punch by clamping down on him and spraying/secreting acidic sap. In addition to the method of which Biollante physically battles, the sheer number of tendrils it employs also add an overwhelming aspect to the battle as well by forcing Godzilla to fend off multiple attacks at once and from multiple angles. Its just overall a fantastic and unique spin on the Kaiju battle formula.
While the battle goes on, Shiragami speculates aloud that Godzilla might have answered Biollante's call because it could sense what Biollante actually was; a manmade and composited reflection of itself. This is another way that the film elevates the character of the monster. Though Godzilla in the past has been portrayed with a manner of (at times cartoonish) intelligence, he has been largely portrayed as a single-minded force. This is one of multiple times throughout the film that its revealed that he truly has a higher order of intelligence.
Godzilla's heat-ray proves to be too much for Biollante to handle and he comes out victorious in their first engagement. However, as the cast watch the giant rose go up in flames its observed that the kaiju is not dead. Instead a glittering cloud of spores briefly provide a vague glimpse of its next form before floating up into the sky. Shiragami comes to the realization that he had succeeded in creating an "immortal" plant species. This was a clever attribute given to the monster and demonstrates the smart writing employed into its creation.
In real life there are in fact countless plants that can survive harsh circumstances by spreading their spores/seeds to escape rough environments or to simply find new turf in which to grow and thrive. Some even regrow from their own decomposing dead remains. And because plants by default have a far longer life span than any known animal, they can be perceived as being immortal as well. This film takes those notions and expands upon it in the sense that this plant-monster has the same level of durability and regenerative properties as Godzilla, so could therefore actually become an immortal life-form.
With Biollante retreating into space, Godzilla ventures back out to sea to rest for a short while. Kuroki correctly deduces that by fighting Super-X and Biollante back-to-back, it must have lost a lot of energy and that instead of marching on Tokyo it will next attack the nearest nuclear plant at Nagoya to replenish itself. Anticipating this action, he proposes a combined massive naval, land, and air strike with Super X-2 leading the charge in Ise Bay. The way the JSDF is able to actually understand Godzilla's nature and coordinate advanced plans base off the knowledge given to them is another smart aspect of the script which take the defense forces from beyond the commonly ineffective and even sometime bumbling status in kaiju films to a fully capable and smart fighting force.
The way Kuroki, a junior officer compared to his associates and superiors comes in confident and cunning is the embodiment of this as he is portrayed as more capable and understanding of his enemy than his superiors who come off as stern yet naive and stuck in their old ways. They even go so far as to subtly poke fun at his "new" status when he first enters the HQ in the film. In addition, throughout the film he is often questioned for taking radical and at times outlandish approaches to situations from the same superiors. Out of all the films, no other human character would have such a presence quite like his, and in many ways Kuroki stands as the only truly worthy human adversary that Godzilla has ever had. One could even call him this film's version of Quint, from Jaws.
As things ramp up for another epic clash between the military and Godzilla, the film once again demonstrates just how cunning and intelligent monster can be. As Gondo and Kirishima are on their way to head off SSS9 in Osaka before the ANEB can be smuggled out to sea, he speculates out loud that Godzilla is just as likely to appear in Wakasa Bay as he is in Ise Bay. To everyone's shock, his theory proves true. As the military build up stands by in Ise bay, Godzilla is sited moving to Osaka through Wakasa Bay instead. Once more Godzilla proves more intelligent than normal for two reasons. He avoided the military clash and secondly, upon a recent rewatch, it suddenly occurred to me that Osaka is also where the ANEB was taken. One cannot help but wonder if that was another part of the reason why he chose to attack Osaka.
With his forces unable to reach Wakasa bay in time, Kuroki determines that the only thing that can be done is to delay Godzilla's advance to at least give Osaka's population time to evacuate. The best way he can think of doing this is by having Miki use her ESP abilities to somehow stall the monster. This is the defining moment for Miki's character. On a lone helicopter pad in the middle of the bay, the young woman stands defiantly against the king of the monsters and uses her psychic abilities to confront him. Godzilla himself even looks quizzical at this lone human standing strong before him as she lures him in with her ESP call.
We don't know what transpires mentally between the two, only speculate as they mentally clash with one another until finally it proves too much for her to handle and she collapses. And although she loses the battle, Omori does something interesting to give the audiences clues as to what transpired, the monster actually pauses for a moment and clenches his fists. It's as if Miki had actually reached him somehow and caused him to rethink his actions for a few seconds. Even more interestingly is that where Godzilla would normally decimate the thing or person that got in his way, he actually diverts his course around it as if he had some semblance of respect for Miki for standing up to him and spared her. Overall, it's a powerful scene.
Though successfully stalled, Godzilla continues his march to Osaka. His immanent landfall in a densely populated area sets off the final alarm. With Osaka given the red alert, the city begins evacuations. Amidst the chaos, Kirishima and Gondo catch the Saradians off guard and snatch the ANEB back from their oil company's headquarters. It's then revealed that the true mastermind behind SSS9's actions is in fact the same man that Shiragami was helping at the beginning of the film. Though upset with the ANEB being swiped back by the Japanese he orders SSS9 to ensure that they don't produce any more and noting ominously that "Doctor Shirigami is the one."
By nightfall, Godzilla reaches the city, and his rampage is actually one of the best ones. The special effects and miniatures used are top notch. The mostly black backdrop with the red glare of the flames perfectly depict the feeling of doom that has befallen the city and the menace of which is heightened by the classic Ifukube theme. A lot of good mat shots and low angles add to that effect as well. Though the previous film was centered on his attack on Tokyo it was done in such a way that didn't really feel as though there was any kind of malice until the super-x battle. Godzilla was portrayed with more sympathetic touches for most of that film as well. The way he is portrayed in this movie feels more malevolent. The angles in which he's shot combined with the music and imagery show him at his darkest since 1964's Mothra Vs Godzilla.
Despite the grim fate that Osaka suffers, the JSDF are able to use it to their advantage. In the few hours since their retrieval of the ANEB they were able to weaponize it. Lieutenant Gondo takes charge as he leads a specially equipped bazooka team into Osaka's business district to ambush Godzilla from the skyscrapers there. With the Super X-2 creating a diversion with its remaining functioning weapon systems, they successfully lead the kaiju into position; though at the cost of the aircraft itself. After Godzilla destroys the Super X, Gondo's team successfully shoot him with specially designed rockets that inject 2 doses of ANEB into him. This, in turn, leads to one of the darkest moments of the franchise.
Gondo orders his team to pull out but stops to load his weapon with another ANEB Rocket. In a well-executed jump moment, as we watch the Lieutenant from outside the window, Godzilla's head suddenly appears in the frame. In a quick cut we see that he has his sights set on Gondo; knowing that he was one of the men who just shot him. Despite Kuroki trying desperately warning him, the King of the Monster approaches him from behind; the flames of the burning city coupled with the nighttime setting truly give him a look of impending doom. Still to this day stands as one of the few truly frightening Godzilla moments of all time.
Just before he reaches the building, Gondo sees him approaching just as he finishes loading his weapon and shoots Godzilla in the mouth; giving him a third dose of ANEB. Godzilla appears annoyed by the shot and Gondo, staying true to his smart-ass persona that he's had throughout the movie, chooses to mock the monster. Godzilla levels the building, killing Gondo. This was another big moment for the franchise as this was the first time a main protagonist died at the hands of Godzilla since Kobayashi's death in Godzilla Raids Again (1955) really cementing the dark nature of the monster in this film. He's most certainly not the hero of this film and he's not looking to draw sympathy as he did in the previous film. This is further hammered home as there is a dark and eerie silence that befalls the scene with only his thunderous footsteps to be heard as he marches on.
Though having received 3 doses of ANEB, the monster remains unaffected for some reason. In another way to show how smart the script is, its revealed that Godzilla's natural body temperature is too low for the bacteria to have any kind of effect on him. When one thinks about how smart of a move this is, its actually brilliant that the writers came up with this idea. For a monster that is later revealed to have a natural internal nuclear reactor and is able to fire a ray of atomic power from his mouth (that according to some sources, is just as, if not, hotter than the Sun) it makes sense that he has a naturally low body temperature to counteract the heat generated from those two factors.
Kuroki decides the best way to get his temperature up enough for the bacteria to work would be to employee a new weapon system called the N6000 TC System, which can generate powerful lightning storms. With his forces rallied and time on their side, they head Godzilla off just outside of the Nuclear reactor that he's heading for. The TC System is set up with the hopeful and powerful sound of Ifukube's Kaiju Daisenso theme playing in the background for the first time since the movie that the theme is named for.
Shiragami and Kirishima fly out to the HQ for the operation with Kuroki with Shirigami noting that he feels that the older generation of this film should step aside and let the younger generation handle things; a subtle yet direct metaphor as the older generation of Godzilla film makers were starting to move aside for the new one. This film was in-fact largely made by the new generation with only a few veterans from the franchise and producer Tomoyuki Tanaka being the only key players from past films.
As the operation gets underway, Miki, recovering from her psychic clash with Godzilla, is shown drawing a picture of another vision; a rose in space. As we are left with the notion that Biollante is about to come back into the fray somehow, the scene cuts to a powerful rainstorm that has come over the valley where the JSDF moves into their positions. Godzilla soon enters the battlefield, and the attack begins. The moment the first volleys of maser fire impact him, Ifukube's original theme kicks in. This battle is without a doubt one of the best of the franchise and the original theme makes it feel all the more impactful. It's also yet another first for the franchise as it takes place during a heavy thunderstorm. The TC System is finally thrown into action and repeatedly hits the King of the Monsters with artificial lightning. As the battle rages on, Miki and Asuka show up and notify Kirishima that Biollante is coming. At the same time, Godzilla's movements start to slow down as well, hinting that the ANEB is starting to spread throughout his body. A helicopter strike is then ordered when it appears that Godzilla is weak enough for conventional weapons to have an effect. However, the monster proves quickly that he's not out of the fight yet and wipes out the helicopters with its heat ray.
Before the battle can continue however, Miki runs out of the HQ with Kirishima and Asuka following after and up a nearby hill. Others follow them out just as the clouds begin to flash. Shortly after, the glittering and graceful spores of Biollante soon rain down across the battlefield; providing a beautiful and calming pause in the action. The serene and enchanting moment is then broken by Biollante's tendrils erupting from the ground; splitting the earth open in some areas and knocking Godzilla off his feet. The main body, resembling a Crocodile mounted on a plant body then emerges from the earth as well. Biollante's new form is also massive in size, even when compared to Godzilla.
The battle that ensues between the two is nothing short of spectacular and brutal. Godzilla blasts Biollante's tendrils apart with his heat ray. Biollante actually skewers Godzilla's hand and shoulder at one point with its tendrils. Godzilla displays his first new ability in years in the form of his Nuclear Pulse attack. Biollante also reveals a new attack in the form of a massive Radioactive Spray from her mouth before attempting to devour him.
Godzilla manages to break free from Biollante's massive jaws and fires a heat ray blast into her throat. What then follows appears to be a psychic clash between the two, similar to the one Miki had with Godzilla earlier in the film. This is evident by the fact that Miki seems to sense it happening. Then Godzilla suddenly retreats and collapses into the water of a nearby beach; signaling that the ANEB did its work at last.
Shiragami, despite encouragement to continue on with his work, he declares that he is giving up his work on genetics; realizing that it only breeds terrible things much like Godzilla and Biollante. He even makes it a point to note out loud that the two Kaiju are not Monsters but the scientists that created them are. This plays as a nice echo of an Ishiro Honda quote "I wanted to express my views about scientists, they might invent something wonderful but they also must be responsible for how its used." Shirigami, much like Dr. Serizawa before him, experimented with forces beyond the scope of man's imagination and as a result he discovered something that initially was created with good intentions, ultimately created a nightmare of an abomination. For Serizawa it was the Oxygen Destroyer, for Shiragami it was Biollante.
In a nice follow-up scene immediately after Shiragami renounces his work, Biollante takes her leave. However as the massive abomination deforms back down into a cloud of glowing spores and ascends into the atmosphere, a brief image of Erika forms.
Miki suddenly hears Biollante say, "Thank you." Which she informs the others. This is a nicely done follow-up. It's as if Erika heard her father giving up his pursuit and felt she could leave knowing that he had made the right decision in the end. Realizing that it was his daughter, attempts to call out to her. Once again though, the film's wild card rears his sunglass-wearing head and cuts the tender moment tragically short. SSS9 shoots and kills Shiragami from a nearby hilltop and attempts to escape. Having had enough, Kirishima hops into a jeep and chases after him.
Kirishima, finally taking an active stand against this shadowy menace, succeeds in cornering SSS9. Although it looks like SSS9 has the upper hand, the agent's carelessness in focusing on his next kill causes him to accidently stand on a M6000 unit. And much like how the man took shots from a far at random moments throughout the film, someone else uses the same tactic by pressing a button that activates the platform and disintegrates him with a bolt of lightning. That someone turns out to be Kuroki.
It's a nice redemptive moment for both characters. Kirishima, taking a stand to stop the enemy after failing to do so when SSS9 first struck during the hand-off with bio-major and getting retribution for his colleague, and Kuroki stopping one of the major threats of the film after being unable to stop Godzilla.
Asuka catches up to Kirishima, calling him "Batman," in a playful tone for his heroic actions (A subtle wink and nod to the audience as Tim Burton's Batman had just released earlier that summer). When Kirishima asks about Shiragami, she confirms silently that he's gone. Just as the two start to have a moment of silence for their friend, a loud noise comes from the beach behind them; Godzilla explosively rises from the water. Kirishima quickly deduces that the cold sea water must have brought his temperature down enough to taper off the bacteria's spread. Quite unexpectedly though, instead of attacking or continuing his march to the nuclear reactor, Godzilla instead turns around and peacefully returns to the sea.
The SDF also takes no action as they merely standby and watch him take his leave. This is a curious way to end the film as it leaves us with questions but also finishes it on a harmonious note. We are left wondering, why Godzilla is just returning to the sea. Is he just tired from his battles with the military and Biollante? Did the bacteria have too much of an effect on him for him to continue with his rampage? Given how he's had a bit of an omni-presence and even possibly a mental awareness of the events that occurred throughout the film, it could even be speculated that he realized both the threat of Saradia, Shiragami's work, and Biollante were gone and therefore he no longer needed to have an active presence in the world. It very likely may be a combination of all those elements.
A nice touch that they throw in as well is a shot of Kuroki watching his enemy leave but with a look of disappointment as if he failed his mission, until one of his superiors hands him his cover and he puts it on proudly. A clever way of saying, without actually saying that he did a good job but the job is not over. Even as he takes one more look back at Godzilla before taking his leave as well, it seems his determination is restored and knowing that his job is not over. The film then cuts to a shot of Asuka's father, who was head of the project to create the ANEB, taking one last respectful moment of silence before leaving Dr Shiragami in the tent where they had moved his body. The camera then pans around the deceased Dr with Erika's voice giving some sentimental words. The combination of her words and the shot of Shiragami looking as though he's resting peacefully despite meeting a violent end, suggests that he has indeed found peace in his passing after the tragedy he had experienced.
The film finally closes on a shot of Godzilla returning to his home, and as the credits roll the shot gradually zooms out to a view of the earth where a rose (Biollante) blooms just outside the atmosphere. Ironically this could now be interpreted as foreshadowing. Though it symbolizes that Erika, like her father is now at peace, given the course of the Heisei saga, one can now see it foreshadowing the coming of Space-Godzilla in a later film as it is suggested that a fragment of Biollante caused the birth of that particular kaiju.
And thus, we have reached the end. Though I, like many fans, concur that this franchise we love so much has many great films (the original being such a landmark that stands alone and to measure it against the rest of the franchise is almost blasphemous), that few come close to the perfection of this film. In the end, it's not just another popcorn flick despite having many action-packed and dazzling displays of top-notch special effects, but also beautifully woven story that is just as durable and complex as the King of the Monsters himself. Sure, you can watch and enjoy it for the sheer spectacle but what ultimately makes it the quintessential Godzilla film is that it is MORE than just spectacle. There are other such great films in the franchise with many metaphorical and symbolic meanings (Mothra vs Godzilla, Shin Godzilla, GMK and Godzilla Vs Destoroyah to name a few). Godzilla Vs Biollante, much like the original film, stands alone in its complex and layered style. As we march into another great era of Godzilla, perhaps one day lightning will be captured in a bottle again as it was with this film. From the trailers, it seems as though Godzilla Minus One could very well make that happen. (I still get chills hearing that line "That Monster, will never forgive us" *goosebumps*) It's definitely going to be a good one. It has been great journey doing this in-depth analysis on my favorite film of the franchise, and I hope you all enjoyed it as well. Anyways, have a great day everyone, and as always LONG LIVE THE KING!
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