One of the most fascinating things about the new Godzilla (2014) is its place in the series; how it relates to other movies in terms of formula and style can be tricky considering its Hollywood roots. Looking beyond the polished CG and big name stars reveals something very familiar. The term “stealth-Showa” has been coined by a minority of Godzilla fans defining the film for its Showa-esque elements.* The assertion is that director Gareth Edwards' movie follows a late Showa-era formula that was ultimately disguised by a specious marketing campaign that catered to modern day, Hollywood sensibilities.
The original Godzilla series ran from 1954-1975 during Emperor Hirohito's reign known as the Showa Period. Godzilla films of this era are also called the Showa Series. (This label seems to be more popular with Western fans. Japanese fans might simply call it 'The Original Series' or 'The First Series'.) The series is known for Godzilla's two decade transformation from villainous anti-hero to scrappy superhero. The formula by the mid-70s was fairly clear: a new monster, sometimes two, threatens the existence of the world. Meanwhile, Godzilla spends much of the film swimming to the mainland for an epic third act battle. Mankind's salvation was synonymous with a victorious Godzilla swimming away. There were exceptions, but it's the general direction late Showa films steered. Godzilla '14 followed a similar formula.
Although it's hardly unique to the Showa series, it's worth mentioning Godzilla is revealed early in a number of these movies. His presence opens the credits for both Godzilla vs. Gigan (1972) and Godzilla vs. Megalon (1973). The opening credits in Terror of MechaGodzilla's (1975) recaps Godzilla's victory from the prior entry. Legendary's Godzilla doesn't reveal the Monster King quite as prominently, but he is the main title's centerpiece.
To many fans' dismay, the new film shifts much of the focus from Godzilla to another life form. The M.U.T.O. take center stage as a world annihilating threat; characters make every effort to both evade and eliminate them, but fail spectacularly. Late Showa films also transition into a story about humanity's newest threat, typically alien conquerors and their monster. A number of military failures follow, demonstrating the monster's might: aircraft and maser beams barely faze King Ghidorah and Gigan, Megalon's distraction when Goro Ibuki (Katsuhiko Sasaki) regains control of Jet Jaguar is short lived, the MechaGodzilla / Titanosaurus team ignoring missile barrages, etc. Godzilla was rarely, if ever, the primary focus of the 1970s decade. He was a plot device used for damage control. The latest film is no different.
Dr. Serizawa (Ken Watanabe) insists that only Godzilla can end the M.U.T.O. threat. It's an assessment echoed by other characters in the Showa Series. Goro sends Jet Jaguar to enlist Godzilla's help against Megalon, Eiko Miyajima (Hiromi Matsushita) presumes Godzilla is the prophesied beast that will defeat MechaGodzilla and Mugal (Goro Mutsumi) respects the King of the Monsters enough to call him, “...MechaGodzilla's greatest enemy.” This kind of reverence for Godzilla is toyed with in Godzilla vs. King Ghidorah (1991) and Godzilla: Final Wars (2004), but both films pen him as an unpredictable variable. The 1970s Godzilla was a savior that many characters depended on. Although in the new film many don't share Serizawa's confidence, his dialog suggests Godzilla is their last, best hope, effectively securing him as a protagonist.
Every protagonist, or hero, needs help. I've mentioned before that one of the greatest elements of dai kaiju eiga is the relationship between humans and monsters. No matter how indirect it may be it's fascinating to watch the effect human interference has on these titans. The battle with Hedorah might have never ended had Dr. Yano's (Akira Yamauchi) device not been built. [Godzilla vs. Hedorah (1971)] If Gengo Kotaka (Hiroshi Ishikawa) and his friends failed to destroy the Godzilla tower Gigan and King Ghidorah would have surely won. And Interpol's actions largely rescued Godzilla from Titanosaurus. All of these moments are examples of how beautifully the human element affects the outcome. Ford Brody (Aaron Taylor Johnson) unwittingly rescues Godzilla from certain defeat when he destroys the M.U.T.O nest. It distracts the monsters long enough for Godzilla to recover. Although the human / monster relationships have never been restricted to the 1970s, or the Showa series for that matter, it is the one decade that consistently shows characters turning the tide for Godzilla's victory. Ford joins the ranks of Dr. Yano, Gengo and Interpol as Godzilla's unlikely sidekicks.
What's a hero if you can't swoon over him? In most of the 1970s films there's a character, or multiple characters, waving goodbye to Godzilla as he marches away from a smoldering battlefield. Children in both Godzilla vs. Hedorah and Godzilla vs. Megalon belch his name hoping the King of the Monsters will hear their thanks. In Godzilla vs. Gigan, Gengo smiles as his friends cheer a victorious Godzilla returning to sea. Hearing the praise, Godzilla gives a final, impassioned roar and swims away. Edward's movie borderline remakes this finale-- With crowds cheering and Serizawa smiling in awe (Watanabe's big payoff), Godzilla roars triumphantly and disappears beneath the waves.
The parallels between Godzilla '14 and the late Showa series might be worth considering, or championing, as “stealth-Showa.” Granted Legendary's film isn't nearly as campy, bizarre or experimental as the 1970s entries, but it emulates the formula of those films closer than most. The comparison isn't a perfect science and it isn't meant to be. It is interesting, however, that a big budget Hollywood film inadvertently echos a decade known for budget cuts, resource droughts and high camp. In spirit, the new Godzilla could be considered a modern day, Hollywood continuation of late-Showa facets.
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*SciFi Japan's members from Monster Zero forums first coined "stealth-Showa"
