G-1.0
Japanese name
Katakana ゴジラ マイナスワン
Transcriptions
Directed by Takashi Yamazaki
Written by Takashi Yamazaki
Visual effects by Takashi Yamazaki & Kiyoko Shibuya
Produced by Minami Ichikawa, Shūji Abe, Kenji Yamada, Kazuaki Kishida, Gō Abe, Keiichirō Moriya
Starring
Ryunosuke Kamiki
Minami Hamabe
Yuki Yamada
Munetaka Aoki
Hidetaka Yoshioka
Sakura Ando
Kuranosuke Sasaki
Cinematography Kōzō Shibasaki
Edited by Ryūji Miyajima
Music by Naoki Satō
Production companies Toho Studios, Robot Communications,
Distributed by Toho
Running time 125 minutes
Country Japan
Language Japanese
Budget $10–12 million
Box office $115.8 million
“Come to think of it this country has treated life far too cheaply. Poorly armored tanks. Poor supply chains resulting in half of all deaths from starvation and disease. Fighter planes built without ejection seats and finally, kamikaze and suicide attacks. That’s why this time I’d take pride in a citizen led effort that sacrifices no lives at all! This next battle is not one waged to the death, but a battle to live for the future.”
Godzilla Minus One (ゴジラ, Gojira Mainasu Wan)
This quote, just by itself, shows how different G-1.0 is from any other Godzilla movie made. It’s post-war Japan, and this movie is a remake of the very first Godzilla. While the original had its share of political commentary (the monster is awakened by irresponsible American use of nuclear weapons) such a direct commentary on the conditions Japan faced during the long war (1931-1945) was still unthinkable, since Emperor Hirohito was still widely revered in Japan.
This one shows the deprivation and destruction of post-war Japan in a way not seen since the brilliant Grave of the Fireflies.
Kōichi Shikishima (Ryunosuke Kamiki) is a Japanese Zero pilot sent out in the waning days of the war on a kamikaze raid. Faking a mechanical issue, he instead lands on the as-yet untouched island of Odo. There, the lead mechanic, Sōsaku Tachibana (Munetaka Aoki) realizes he reneged on his sacred duty and disgraces him in front of his crew. That night, however, they are attacked by a reptilian monster standing some twenty feet tall. Everyone except Kōichi and Sōsaku are killed, and Sōsaku blames Kōichi for not shooting the monster with his aircraft gun when he had the chance.
The war ends, and Kōichi returns to an utterly devastated Tokyo, only to find his family have all been killed. In the ruins of his neighborhood he encounters a young woman, Noriko Ōishi, who while on the verge of starvation herself, is desperately trying to find food for an infant. Not hers; she found it in the ruins, somehow still alive.
They form a family of sorts, and manage to live through the next two years and achieve food, shelter and warmth. During this time, the Americans test a nuclear bomb at Bikini atoll, both irradiating and awakening the monster that attacked Odo Island. Thus Godzilla is born.
Kōichi has obtained work as a marine minesweeper. Some 6,000 mines are laid along the Japanese coast, and his job is to act as gunner on a wooden boat to shoot and detonate the floating devices. While out on such a run, he encounters the now-huge and powerful Godzilla.
Where this really differs from your conventional rubber-monster-eats-Tokyo flick is the depth and humanity shown by the main characters. Kōichi is suffering from PTSD and survivors’ guilt. Noriko has kept the baby alive and the three have formed what to all intents is a true family. Sōsaku’s attitude toward Kōichi gradually evolves from disgust and loathing to understanding and eventually to friendship. This is all done with a depth and compassion that packs a real emotional wallop.
The opening quote denotes a departure from the original, where hundreds of brave Japanese soldiers die, this time succeeding in protecting the home archipelago. In this version, the government is seen as cruel, callous, inept and unsuited to the task, and thus a private militia takes on the monster, vowing to do so with minimum loss of life. They actually send people out and want them to come back alive.
Ryunosuke Kamiki, who played Kōichi, was maddingly familiar, although I couldn’t place his face. When I looked him up, the light came on: he was lead male voice actor in three of the best anime features made: Howl’s Moving Castle, Your Name, and the recently-reviewed Suzume. He is one of Japan’s most celebrated actors, and that distinction, along with a strong supporting cast, informs this wonderfully written and surprisingly deep monster movie.
One final note: the CGI effects are truly spectacular, and the entire movie was made on a budget of less than $12 million US dollars.