| Godzilla | |
|---|---|
Theatrical release poster |
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| Directed by | Roland Emmerich |
| Produced by | Dean Devlin |
| Written by | Roland Emmerich Dean Devlin Ted Elliott Terry Rossio |
| Based on | Godzilla by Toho Company. LTD. |
| Starring | Matthew Broderick Jean Reno Maria Pitillo Hank Azaria Kevin Dunn |
| Music by | David Arnold Michael Lloyd |
| Cinematography | Ueli Steiger |
| Editing by | Peter Amundson David Siegel |
| Studio | Centropolis Entertainment |
| Distributed by | TriStar Pictures |
| Release date(s) | May 20, 1998 |
| Running time | 139 minutes |
| Country | United States |
| Language | English |
| Budget | $130,000,000[1] |
| Box office | $379,014,294[1] |
Godzilla is a 1998 science fiction monster disaster film film co-written and directed by Roland Emmerich. It is a loose remake of the 1954 giant monster classic Godzilla. The storyline was conceived from a screenplay written by Emmerich and Dean Devlin. The film relates a tale of a nuclear incident in the South Pacific which causes an abnormal mutation to occur in a reptile. The beast migrates to North America and wreaks havoc on a densely populated city. Incorporated in the plot is the character of Dr. Niko Tatopoulos, played by actor Matthew Broderick. Tatopoulos, an American scientist whose work involves the effects of exposed nuclear radiation on species; is recruited by the military to help contain and subdue the creature referred to as "Godzilla". An ensemble cast featuring Maria Pitillo, Hank Azaria, Kevin Dunn, along with French actor Jean Reno, star in principal supporting roles.
The film was a co-production between the motion picture studios of Centropolis Entertainment and TriStar Pictures. It was commercially distributed by TriStar Pictures theatrically, and by Sony Pictures Entertainment for home media. Godzilla explores nuclear mutation, crisis management and military warfare.[2] Following its wide release in theaters, the film won and was nominated for multiple mainstream awards, including Saturn Award nominations for Best Special Effects, Best Fantasy Film, and Best Director. The film also won the People's Choice Award in the category of Best European Director for Emmerich from the European Film Awards. On May 19, 1998, the Original Motion Picture Soundtrack was released by the Epic Records label. It features songs written by several recording artists including The Wallflowers, Rage Against the Machine, Silverchair, and the Foo Fighters. The film score was composed and orchestrated by musicians David Arnold and Nicholas Dodd.
Godzilla premiered in theaters nationwide in the United States on May 20, 1998 grossing $136,314,294 in domestic ticket receipts. It earned an additional $242,700,000 in business through international release to top out at a combined $379,014,294 in gross revenue. The film was a strong financial success, taking into account its $130 million budget costs. However, preceding its initial screening in cinemas, the film was generally met with negative critical reviews. The widescreen DVD edition of the film featuring theatrical trailers, scene selections, and selected commentary, among other highlights was released in the United States on November 3, 1998. The film spawned an animated television sequel, titled Godzilla: The Series, which premiered September 12, 1998 on the Fox Kids network.
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Following a nuclear incident in French Polynesia, a lizard's nest is irradiated by the fallout of subsequent radiation. Decades later, a Japanese fishing vessel is suddenly attacked by an enormous sea creature in the South Pacific ocean; only one seaman survives. Traumatized, he is questioned by a mysterious Frenchman in a hospital regarding what he saw, to which he replies: "Gojira".[2]
Dr. Niko Tatopoulos (Matthew Broderick), an NRC scientist, is on the Chernobyl exclusion zone in the Ukraine researching the effects of radiation on wildlife, but is suddenly interrupted by the arrival of an official from the U.S. State Department. He is sent to Tahiti and Jamaica, escorted by the military, to observe the wreckage of the recovered Japanese fishing trawler with massive claw marks on it. The Frenchman is also present, observing the scene, and introduces himself as Philippe Roaché (Jean Reno), an insurance agent. Aboard a military aircraft, Nick identifies skin samples he discovered in the shipwreck as belonging to an unknown animal. He dismisses the military's theory that the creature is a living dinosaur, instead deducing that it is a mutant created by nuclear testing. The large reptilian creature dubbed as "Godzilla" by the media, travels to New York City leaving a path of destruction in its wake. The city is evacuated as the military attempts to kill it but fails in an initial attempt. Dr. Tatopoulos later collects a blood sample and learns that Godzilla reproduces asexually and is collecting food for its offspring. Aspiring journalist and ex-girlfriend of Dr. Tatopoulos, Audrey Timmonds (Maria Pitillo), uncovers a classified tape in his temporary military tent which concerns the origins of the lizard. Her superior Charles Caiman (Harry Shearer) however, declares the tape as his own media discovery. The tape is broadcast on television embarrassing the military on the sensitive nature of the situation. Dr. Tatopoulos is thrown off the team but is kidnapped by Roaché, who reveals himself to be an agent of the French Secret Service. He and his colleagues have been keeping close watch on the events and are planning to cover up their role in the nuclear accident that spawned the creature. Suspecting a nest somewhere in the city, they cooperate with Dr. Tatopoulos to trace and destroy it.[2]
Following a chase with Godzilla, the creature dives into the Hudson River where it is attacked by a Navy submarine. After sustaining head-on collisions with torpedoes, the beast sinks after being rendered incapacitated. Believing it is finally dead, the authorities celebrate. Dr. Tatopoulos and Roaché's special operations team, covertly followed by Timmonds and her cameraman Victor "Animal" Palotti (Hank Azaria), make their way through underground subway tunnels to Madison Square Garden. There, they locate numerous eggs, having finally found the nest. As they attempt to destroy them by planting explosives, the eggs suddenly hatch. Sensing the human intruders as food, they begin attacking them. Dr. Tatopoulos, Roaché, Timmonds and Palotti take refuge in the coliseum's broadcast booth and send a live news report to alert the military of what will happen if the lizards escape. A prompt response involving an airstrike is initiated as the four escape moments before the arena is bombed. Godzilla however, survived the torpedo attack earlier underwater and emerges from the venue's ruins. Discovering all of its offspring dead, it roars in anger and chases Dr. Tatopoulos, Roaché, Timmonds and Palotti through the streets of Manhattan. In pursuit of the quartet, Godzilla eventually makes its way to the Brooklyn Bridge. The creature helplessly becomes trapped in its steel suspension cables, making it an easy target. After being attacked by military aircraft, it falls to the ground and slowly dies. Meanwhile, amidst the Garden's ruins, a lone egg has survived the aerial bombardment and begun to hatch.[2]
| Matthew Broderick | as Dr. Niko Tatopoulos
| Jean Reno | as Philippe Roaché
| Maria Pitillo | as Audrey Timmonds
| Hank Azaria | as Victor "Animal" Palotti
| Kevin Dunn | as Colonel Hicks
| Michael Lerner | as Mayor Ebert
| Harry Shearer | as Charles Caiman
| Arabella Field | as Lucy Palotti
| Vicki Lewis | as Dr. Elsie Chapman
| Doug Savant | as Sergeant O'Neal
| Malcolm Danare | as Dr. Mendel Craven
| Lorry Goldman | as Gene - Mayor's Aide
| Frank Welker | as Creature Vocals
Patrick Tatopoulos was contacted early on by Emmerich and asked to design the new Godzilla (later dubbed "Zilla"). According to Tatopoulos, the only specific instructions Emmerich gave him was that it should be able to run incredibly fast.[3] Godzilla's traditional look was changed from an erect bipedal dinosaur to a hunched bent-over marine iguana. Godzilla's color scheme was designed to reflect and blend in with the urban environment.[3] At one point, it was planned to use motion capture from a human to create the movements of the computer-generated Godzilla, but it ended up looking too much like a human in a suit.[4]
A soundtrack containing alternative rock was released on May 19, 1998 by Epic Records.[5] It was a success on the music charts, peaking at number 2 on the Billboard 200 and was certified platinum on June 22, 1998. The original score was composed by David Arnold. The film's score was not released on CD until 9 years later, when it went on sale as a complete original film score in 2007 by La La Land Records.[6]
| Godzilla: The Album | |
|---|---|
| Soundtrack album by Various artists | |
| Released | 05/19/1998 |
| Length | 59:04 |
| Label | Epic Records |
| Godzilla: The Album | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| No. | Title | Length | |||||||
| 1. | "Heroes - The Wallflowers" | 3:56 | |||||||
| 2. | "Come With Me - Puff Daddy, Jimmy Page" | 6:06 | |||||||
| 3. | "Deeper Underground - Jamiroquai" | 4:42 | |||||||
| 4. | "No Shelter - Rage Against The Machine" | 4:03 | |||||||
| 5. | "Air - Ben Folds Five" | 3:20 | |||||||
| 6. | "Running Knees - Days Of The New" | 3:41 | |||||||
| 7. | "Macy Day Parade - Michael Penn" | 4:18 | |||||||
| 8. | "Walk The Sky - Fuel" | 3:17 | |||||||
| 9. | "A320 - Foo Fighters" | 5:44 | |||||||
| 10. | "Brain Stew - Green Day" | 3:57 | |||||||
| 11. | "Untitled - Silverchair" | 3:31 | |||||||
| 12. | "Out There - Fuzzbubble" | 2:48 | |||||||
| 13. | "Undercover - Joey DeLuxe" | 5:11 | |||||||
| 14. | "Opening Titles - David Arnold" | 2:42 | |||||||
| 15. | "Looking For Clues - David Arnold" | 1:48 | |||||||
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Total length:
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59:04 | ||||||||
In interviews promoting The Day After Tomorrow, Emmerich admitted regretting the production of Godzilla, particularly due to the rushed shooting schedule that was required for a Memorial Day weekend release and the studio's insistence on not test-screening the film. However, he defended the film as better than critics gave it credit for, as it was financially successful, and out of all the films he directed, it was the one which parents told him their children enjoyed the most.[7] At its release, the film was much criticized by Godzilla fans the world over. Kenpachiro Satsuma, the actor who portrayed Godzilla in the second series of films (1984–1995) walked out of a Tokyo screening and told reporters that, "It's not Godzilla, it does not have the spirit".[8] Godzilla was initially projected to break the four-day Memorial Day long weekend opening record of $90,161,880 set by The Lost World: Jurassic Park a year earlier.[9] Instead, Godzilla's four-day opening weekend gross returned $55,726,951 in ticket sales.[10]
Following its cinematic release in theaters, the Region 1 Code widescreen edition of the film was released on DVD in the United States on November 3, 1998. Special features for the DVD include; Photo Galleries, Visual Effects Commentary, "Heroes" Music Video by The Wallflowers, Behind the Scenes of Godzilla with Charles Caiman, Theatrical Trailers, Scene Selections, Featurette, Special FX Supervisor Commentary, Director/Producer Biographies, Cast Filmographies, Photo Gallery, Music Video, and Godzilla Takes New York (before and after shots).[11] Additionally, a Special Edition DVD was also released by Sony Pictures Home Entertainment on March 28, 2006. Special features include; "Heroes" Music Video by The Wallflowers, Behind the Scenes of Godzilla with Charles Caiman, Photo Galleries, Visual Effects Commentary, Featurette, Music Video ("Heroes" by the Wallflowers), "All-Time Best of Godzilla Fight Scenes" featurette, 3 Episodes from Godzilla: The Animated Series, Never-Before-Seen Production Art Gallery, Photo Gallery: Godzilla Takes New York (before and after shots), and Special FX Supervisor Commentary.[12]
The widescreen hi-definition Blu-ray Disc version of the film was released on November 10, 2009. Special features include; Visual Effects Commentary, a Behind the Scenes of Godzilla feature with Charles Caiman, All Time Best of Godzilla Fight Scenes, and the "Heroes" Music Video by The Wallflowers.[13] A supplemental viewing option for the film in the media format of Video on demand is available as well.[14]
Among mainstream critics in the U.S., the film received almost exclusively negative reviews.[15] Rotten Tomatoes reported that 26% of 61 sampled critics gave the film a positive review, with an average score of 4.7 out of 10.[16] At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film received a score of 32 based on 23 reviews.[15] In 1999 at the Huntley Hotel Garden Room in Santa Monica, California, the film won Golden Raspberry Awards in the categories of "Worst Supporting Actress" for Pitillo and "Worst Re-Make or Sequel". Concurrently, the film was also nominated for Razzies in the categories of "The Joe Eszterhas Dis-Honorarial Worst Screenplay Award" for Emmerich and Devlin, "Worst Picture", and "Worst Director" for Emmerich.[17]
| "Roland Emmerich and Dean Devlin's big-budget lizard-stomps-Manhattan disaster flick has been written with the brain dead in mind. The script isn't just "dumbed down," it's lobotomized. Godzilla lives and dies on special effects alone." |
| —James Berardinelli, writing in ReelViews[18] |
Barbara Shulgasser, writing in The San Francisco Examiner, said in outward negativity, " OK. Maybe the special effects are slightly more sophisticated than they were in Jurassic Park," but the techno-stuff is all getting a bit boring. When a movie is nothing but relentless action, there's little chance for dramatic tension to develop." She emphatically believed the film was, "devoid of any discernible plot logic."[19] Left unimpressed, Mick LaSalle in the San Francisco Chronicle, wrote that the film was "an overblown action monstrosity with no surprises, no exhilaration and no thrills." He calmly admitted, "What passes for thrills is a succession of scenes lifted and extended from Jurassic Park and The Lost World. Godzilla, shot mostly from the waist down, steps on cars and strafes the sides of buildings with his tail."[20] Rita Kempley of The Washington Post, said the film "neither draws upon our fears nor revels in the original's camp charms. The picture really isn't about anything unless it is the deep pockets and shallow minds of the honchos who begat this colossal bore." She emphatically stated "Size vanquishes both substance and subtlety in the overhyped, half-cocked and humorless resurrection of dear old 'Godzilla.' It might well be titled 'Iguana Get You Sucka.' "[21] The film however, was not without its supporters. Kevin Thomas of the Los Angeles Times, believed the film was an "An expertly designed theme park ride of a movie that packs nonstop thrills."[22] In a slightly positive fashion, Gary Kamiya of Salon.com commented that "The plot is about as ridiculous as you'd expect, but for the most part its absurdities are tolerable."[23] Joe Leydon of Variety, contributed mildy to the positive sentiment by saying "Throughout "Godzilla," New York endures the most sustained rainfall in all of movie history. Most of the action takes place at night, but even the daytime scenes unfold under darkly overcast skies, which, of course, makes it all the easier for Emmerich to obscure Godzilla's features for the maximum amount of time to generate the maximum amount of suspense."[24]
Writing for the Chicago Sun-Times, Roger Ebert bluntly noted that "One must carefully repress intelligent thought while watching such a film. The movie makes no sense at all except as a careless pastiche of its betters (and, yes, the Japanese Godzilla movies are, in their way, better - if only because they embrace dreck instead of condescending to it). You have to absorb such a film, not consider it. But my brain rebelled, and insisted on applying logic where it was not welcome."[25] In an entirely negative review, James Berardinelli writing for ReelViews, called the film "one of the most idiotic blockbuster movies of all time, it's like spitting into the wind. Emmerich and Devlin are master illusionists, waving their wands and mesmerizing audiences with their smoke and mirrors. It's probably too much to hope that some day, movie- goers will wake up and realize that they've been had."[18] Describing an unfavorable opinion, Stephen Holden of The New York Times said the film "is so clumsily structured it feels as if it's two different movies stuck together with an absurd stomping finale glued onto the end." He freely noted, "The only question worth asking about this $120 million wad of popcorn is a commercial one. How much further will the dumbing down of the event movie have to go before the audience stops buying tickets?"[26]
| "In Howard Hawks' "The Thing," there is a great scene where scientists in the Arctic spread out to trace the outlines of something mysterious that is buried in the ice, and the camera slowly pulls back to reveal that it is circular — a saucer. In "Godzilla," the worm expert is standing in a deep depression, and the camera pulls back to reveal that he is standing in a footprint. Which he would have already known." |
| —Roger Ebert, writing for the Chicago Sun-Times[25] |
Michael O'Sullivan of The Washington Post queried, "The question is this: Are the awe-inspiring creature effects and roaring battle scenes impressive enough to make you forget the stupid story, inaccurate science and basic implausibility?" Thoughtfully disillusioned, he wrote, "The cut-rate cast seems to have been plucked from the pages of TV Guide. There's Doug Savant from "Melrose Place" as O'Neal, a scaredy-cat military man who looks like Sgt. Rock and acts like Barney Fife. There's Maria Pitillo ("House Rules") as Nick's soporific love interest, Audrey; "The Simpsons'‚" Hank Azaria and Harry Shearer as a wise-cracking news cameraman and superficial reporter; Vicki Lewis of "NewsRadio" as a lusty scientist. Shall I continue?"[27] However, in a more upbeat tone, Owen Gleiberman writing for Entertainment Weekly thought "There's no resonance to the new Godzilla, and no built-in cheese value, either. For a while, the filmmakers honor the sentimental paradox that seeped into the later Godzilla films: that this primitive destroyer, like King Kong, doesn't actually mean any harm." He believed the film contained "some clever and exciting sequences" but ultimately came to the conclusion that, "It says much about today's blockbuster filmmakers that they could spend so much money on Godzilla and still fail to do justice to something that was fairy-tale destructo schlock to begin with."[28] Film critic Aladino Debert of Variety was consumed with the nature of the special effects exclaiming, "the title creature is wonderfully designed and the animation is excellent." Complimenting the technical aspects of the film, he summarized, "The integration of the lizard into its surroundings is for the most part very well accomplished, with rigged cars collapsing under the massive weight of Godzilla, and buildings either demolished or partially damaged. The compositing of the debris and pyrotechnics is generally good, especially when the monster runs or walks on the streets: The asphalt gives way convincingly every time the massive feet touch the ground, and a variety of CGI elements are seamlessly composited. Debris flies off buildings with every touch of the monster."[29]
The film was nominated and won several awards in 1998–99. Furthermore, Godzilla was screened out of competition at the 1998 Cannes Film Festival.[30]
| Award | Category | Nominee | Result |
|---|---|---|---|
| 19th Golden Raspberry Awards | Worst Picture | Dean Devlin | Nominated |
| Worst Director | Roland Emmerich | Nominated | |
| Worst Supporting Actress | Maria Pitillo | Won | |
| Worst Screenplay | Dean Devlin and Roland Emmerich | Nominated | |
| Worst Remake or Sequel | Dean Devlin | Won | |
| 26th Saturn Awards[31] | Best Fantasy Film | ———— | Nominated |
| Best Direction | Roland Emmerich | Nominated | |
| Best Special Effects | Volker Engel, Patrick Tatopoulos, Karen E. Goulekas, Clay Pinney | Won | |
| 26th Annie Awards[32] | Outstanding Individual Achievement for Effects Animation | Jerome Chen | Nominated |
| BMI Film & TV Awards 1999[33] | BMI Film Music Award | David Arnold | Won |
| Bogey Awards for 1998[34] | Bogey Award in Silver | ———— | Won |
| California On Location Awards 1998[35] | Location Team of the Year - Feature | ———— | Won |
| 11th European Film Awards[36] | Best European Director | Roland Emmerich | Won |
| Motion Picture Sound Editors Reel Awards 1999[37] | Best Sound Editing - Sound Effects & Foley | ———— | Nominated |
Godzilla premiered in cinemas on May 20, 1998 in wide release throughout the United States for the Memorial Day holiday weekend.[1] During that 4-Day period, the film opened in 1st place grossing $55,726,951 in business showing at 3,310 locations.[10] The film Deep Impact opened in 2nd place during that weekend with $19,381,788 in revenue.[10] The film's revenue dropped by 59% in its second week of release, earning $18,020,444. For that particular weekend, the film remained in 1st place as the romantic drama Hope Floats overtook Deep Impact for 2nd place with $14,210,464 in box office business.[38] During its final week in release, Godzilla opened in 19th place grossing $202,157. For that weekend, Lethal Weapon 4 starring Mel Gibson made its debut, opening in 1st place with $34,048,124 in revenue.[39] Godzilla went on to top out domestically at $136,314,294 in total ticket sales through an 8-week theatrical run. Internationally, the film took in an additional $242,700,000 in business for a combined worldwide total of $379,014,294.[1] For 1998 as a whole, the film worldwide would cumulatively rank at a box office performance position of 3 (behind Saving Private Ryan and Armageddon) .[40]
An animated series called Godzilla: The Series was produced as a continuation of the storyline of the film. In the series, Dr. Tatopoulos accidentally discovers the egg that survived at the end of the film before it hatches, in a minor change from the ending of the film. The creature hatches after Nick stumbles onto it and assumes Dr. Tatopoulos as its parent. Subsequently, Dr. Tatopoulos and his associates form a research team, investigating strange occurrences and defending mankind from dangerous mutations.[41]
Legendary Pictures, in conjunction with Warner Bros., plans to release a Godzilla reboot in 2012.[42] According to Thomas Tull, Chairman and CEO of Legendary, he commented "Godzilla is one of the world's most powerful pop culture icons, and we at Legendary are thrilled to be able to create a modern epic based on this long-loved Toho franchise".[42] The press release indicated Legendary plans to focus more on the Japanese source material with the reboot, largely ignoring the prior 1998 incarnation.[42] Tull added, "Our plans are to produce the Godzilla that we, as fans, would want to see. We intend to do justice to those essential elements that have allowed this character to remain as pop-culturally relevant for as long as it has."[42]
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