It’s scary that “war is coming again”

ゴジラ-1.0
Godzilla -1.0

「戦争再来」といかく怖い
It’s scary that “war is coming again”

「シン・ゴジラ」で再起動した、日本が誇るスター怪獣が令和に登場。山崎貴監督が満を持して挑んだ「ゴジラ-1.0」は、1954年公開の第1作に“原点返り”し、「核」「戦争」を背負って終戦直後の日本に現れる。「シン」が日本を俯瞰したのに対し、「-1.0」は下からの視点で戦後日本を照射する。

Japan’s proud star monster, which was rebooted with “Shin Godzilla,” is now available in Reiwa. Director Takashi Yamazaki’s long-awaited “Godzilla-1.0” goes back to the roots of the first film released in 1954, and appears in Japan just after the end of the war, carrying the burden of “nukes” and “war.” While “Shin” provided a bird’s-eye view of Japan, “-1.0” illuminates postwar Japan from a perspective from below.

第二次世界大戦末期、敷島(神木隆之介)が乗った特攻機が南太平洋の大戸島に不時着する。その夜、海から突如現れたゴジラは、敷島が恐怖で動けずにいる間に部隊を全滅させてしまった。敷島は復員し、他人の子を預かった典子(浜辺美波)と暮らし始める。平穏な日々を取り戻そうとした矢先、ゴジラが東京に上陸して銀座を熱線で破壊、敷島も大切なものを奪われる。ソ連との関係悪化で軍事行動を取らない米軍と政府に代わり、ゴジラ駆除は大日本帝国海軍の元将兵に委ねられ「わだつみ作戦」が発動する。

At the end of World War II, a suicide plane carrying Shikishima (Ryuunosuke Kamiki) makes an emergency landing on Odo Island in the South Pacific. That night, Godzilla suddenly appears from the sea and annihilates Shikishima’s troops while Shikishima is unable to move from fear. Shikishima is demobilized and begins living with Noriko (Minami Hamabe), who took care of someone else’s child. Just as they were about to return to peaceful days, Godzilla landed in Tokyo and destroyed Ginza with heat rays, and Shikishima was robbed of something important. Instead of the U.S. military and government taking no military action due to worsening relations with the Soviet Union, the task of exterminating Godzilla is entrusted to former officers and soldiers of the Imperial Japanese Navy, and Operation Wada Tsumi is launched.

今回のゴジラ、とにかく怖い。物語の筋立ては第1作を踏襲し、随所にオマージュも差し挟む。だがコンピューターグラフイックス(CG)で作り出した映像の迫力は70年前の比ではなく、巨大で凶暴な怪獣が人間のすぐそばまで迫り、息もつかせない。これだけでも見る価値あり。

Godzilla this time is just scary. The plot of the story follows the first work, with homages thrown in here and there. However, the power of images created using computer graphics (CG) is no longer as impressive as it was 70 years ago, with giant, ferocious monsters coming so close to humans that they cannot even catch their breath. This alone is worth seeing.

一方、今作ではゴジラとの戦いの前段に、東京が復興する戦後の数年間をたっぷりと挿入する。敷島は典子と家族になり平穏を得ようとしながらも、生き残った罪悪感にさいなまれる。そこに現れて東京を再び焼け野原に戻すゴジラは、戦争の再来だ。ゴジラ退治は、言ってみれば敷島と元軍人たちの、雪辱戦であり敵討ちである。

On the other hand, in this film, before the battle with Godzilla, there is plenty of time in the post-war years when Tokyo is being rebuilt. Although Shikishima tries to find peace by joining Noriko and her family, he is tormented by the guilt of having survived. Godzilla shows up and burns Tokyo down again, which is the return of war. The extermination of Godzilla is, so to speak, a revenge battle and revenge between Shikishima and the former soldiers.

一敗地にまみれた負け犬たちが「今度こそ」と立ち上がり、知恵と勇気を駆使して強敵に立ち向かう。スポ根ものに通じるこの構造、いかにも日本的な情感をたたえ、歯を食いしばって戦う姿は迫真の映像と相まって感情を揺さぶる。

The underdogs who are covered in defeat stand up and say, “This time,” and use their wisdom and courage to face a strong enemy. This structure, which is similar to the roots of sports, exudes a very Japanese emotion, and the scenes of gritted teeth in battle, combined with the realistic visuals, stir your emotions.

しかし日本は、被害国であると同時に加害者でもあった。太平洋から現れて怒りまくるゴジラ、果たして何を象徴しているのか。2時間5分。東京・TOHOシネマズ日比谷、大阪・TOHOシネマズ梅田ほか。(勝)

However, Japan was both a victim and a perpetrator. What does Godzilla, who emerges from the Pacific Ocean and rages, symbolize? 2 hours 5 minutes. Tokyo/TOHO Cinemas Hibiya, Osaka/TOHO Cinemas Umeda, etc. (win)

◆ ここに注目
◆ Pay attention here

目を見張るスペクタクルがいくつもある。小さな木造船に乗った敷島らがゴジラに機雷で対抗する海上の攻防は、筆者が劇場で身を乗り出したベストシーン。銀座の街を破壊するゴジラは、圧倒的な恐怖をまき散らす巨大生物として描かれる。ポリティカルな視点に立った「シン・ゴジラ」とは対照的に政府が全く介在せず、民間の有志が作戦会議を開く展開も面白い。彼らが闘う動機付けに自己犠牲や愛国の精神がちらつき、一部脇役の大げさな演技はマイナス点だが、視覚効果の充実ぶりも加わり迫力十分のできばえ。(諭)

There are many spectacular spectacles to behold. The battle at sea, in which Shikishima and his friends aboard a small wooden ship counter Godzilla with mines, was the best scene in the movie for me to watch. Godzilla, who destroys the city of Ginza, is depicted as a gigantic creature that spreads overwhelming fear. In contrast to “Shin Godzilla,” which had a political perspective, it is also interesting to see that the government does not intervene at all, and private volunteers hold a strategy meeting. There are flickers of self-sacrifice and patriotic spirit that motivate them to fight, and although some of the supporting characters’ exaggerated performances are a negative point, the rich visual effects make it a powerful production. (Teaching)

◆ 異論あり
◆ Objection

ゴジラの凶暴さ、暴力性を前面に出しつつ、人間ドラマを作品の基盤に据えた。戦争で生き残った者の葛藤、絶望からの回復、助け合うことの美徳…。「三丁目の夕日」シリーズや「永遠の0」で多くの観客を引き付けた人間への信頼や希望、絆をうたい上げた山崎監督。今回も、焦土に加えゴジラに襲われながら、ぬくもりや人間らしさ、団結を保つ日本の心をたたえ、瞬時、心地よさとホッとした感情に包まれる。が、その感傷の基調は憂国へと転じる。現代社会への不満を集約したセリフが飛び交うと、映画に込められたメッセージが危険な色合いを持つようにも見える。

While bringing Godzilla’s ferocity and violence to the fore, the work is based on human drama. The struggles of survivors of war, recovery from despair, and the virtue of helping each other… Director Yamazaki sang about trust, hope, and bonds in humans, which attracted many audiences in the “Sunset on Third Street'”series and “Eternal Zero.” Once again, the film celebrates the Japanese spirit of warmth, humanity, and unity despite being attacked by Godzilla in addition to scorched earth, and instantly envelopes you in a feeling of comfort and relief. However, the underlying tone of his sentiments turned to patriotism. When lines that express dissatisfaction with modern society are thrown around, the message contained in the film seems to take on a dangerous tone.

(鈴)
(bell)