There's a lot going on in Godzilla vs. Hedorah. One could view it as a unique, bold, artistic approach, or an insufferable mess.
In the film, Godzilla battles Hedorah, a monster created by pollution. Similar to how Godzilla (1954) was about nuclear fears, Godzilla vs. Hedorah is about a fear of unfettered pollution. In the book, Japan's Green Monsters: Environmental Commentary, authors Sean Rhoads and Brooke McCorkle suggest that the film is also a critique of Japan's economic state: as Japan's economy grew, would they continue to grow the economy without care for the environment, or grow the economy in a more sustainable way? The authors also suggest the film discusses the "role and power of the government in Japan; the impotence of the JSDF for Japan's protection; the pervasiveness of television in daily life; and the place of the counterculture and hippies and their inability to bring about meaningful change." It is also a message to Japan's children. The main character is a boy named Ken who idolizes Godzilla and sees him as the solution to Hedorah.
Sometimes the film explores these ideas in experimental ways. Animated sequences, a psychedelic scene in a night club where young club goers have fish heads, a sequence where TV sets featuring individual faces and dialogue continuously multiply, and an almost Bond-esque original song that laments pollution, while featuring images of various items floating in sludgy water.
Challenging stuff. There's also a bizarre quality to the fights where we see Godzilla framed, not advancing, and Hedorah framed not advancing. Then different framing, not advancing. Repeat.
Amongst audiences, the film is very divisive. Godzilla fans and non-fans alike either appreciate Banno's approach, or hate it. Apparently director Yoshimitsu Banno was fired after this for "ruining Godzilla." And while I appreciate what Banno was trying to do, I'm afraid I agree.
In the film, Godzilla battles Hedorah, a monster created by pollution. Similar to how Godzilla (1954) was about nuclear fears, Godzilla vs. Hedorah is about a fear of unfettered pollution. In the book, Japan's Green Monsters: Environmental Commentary, authors Sean Rhoads and Brooke McCorkle suggest that the film is also a critique of Japan's economic state: as Japan's economy grew, would they continue to grow the economy without care for the environment, or grow the economy in a more sustainable way? The authors also suggest the film discusses the "role and power of the government in Japan; the impotence of the JSDF for Japan's protection; the pervasiveness of television in daily life; and the place of the counterculture and hippies and their inability to bring about meaningful change." It is also a message to Japan's children. The main character is a boy named Ken who idolizes Godzilla and sees him as the solution to Hedorah.
Sometimes the film explores these ideas in experimental ways. Animated sequences, a psychedelic scene in a night club where young club goers have fish heads, a sequence where TV sets featuring individual faces and dialogue continuously multiply, and an almost Bond-esque original song that laments pollution, while featuring images of various items floating in sludgy water.
Challenging stuff. There's also a bizarre quality to the fights where we see Godzilla framed, not advancing, and Hedorah framed not advancing. Then different framing, not advancing. Repeat.
Amongst audiences, the film is very divisive. Godzilla fans and non-fans alike either appreciate Banno's approach, or hate it. Apparently director Yoshimitsu Banno was fired after this for "ruining Godzilla." And while I appreciate what Banno was trying to do, I'm afraid I agree.