Editorials
‘Godzilla vs Destoroyah’ – Remembering How the Heisei Series Came to an Explosive End
Godzilla was once a monster well suited for Cold War symbolism, but times changed. And as written in the book Japan’s Favorite Mon-star, author and film historian Steve Ryfle suggested “the breakup of the Soviet Union and the fading of the global nuclear threat” may have played a part in Toho’s drastic decision to kill off its most celebrated character.” Death wasn’t unheard of for Godzilla; after all, the atomic monster perished in its first two appearances. The only difference in 1995 was Godzilla was no longer a mere metaphor for ruin and despair. So much had changed since Tomoyuki Tanaka’s creation embodied the nuclear horrors of the Hiroshima and Nagasaki bombings. Godzilla had somehow become a hero, albeit a complicated one in the ‘90s and onward.
While the last leg of the Shōwa age depicted Godzilla as Japan’s foremost protector, the next installment of movies treated the monster’s existence with far more contention. Godzilla didn’t voluntarily swoop in to save Japan from its latest threat; this meaner incarnation was a territorial beast whose acts of heroism were incidental. Saving humans entailed a lot more visible damage and casualties, not to mention the creation of government forces to clean up the mess once Godzilla was dealt with. Regardless, audiences still find themselves on Godzilla’s side. That loyalty was then magnified as the beloved monster was placed at death’s door.
Toho’s promotion for Godzilla vs. Destoroyah was nothing short of dramatic back in 1995. On top of ads announcing the monster’s imminent demise — the movie’s tagline is “Godzilla dies” — Toho erected a bronze memorial statue shortly before the movie’s premiere on December 9. The devastating news was made well in advance, yet according to the press, many Japanese citizens were distraught in the days leading up to and after the movie’s release. Fans protested on Godzilla’s behalf, demanding an immediate resurrection. But as everyone knows by now, this highly publicized wake was a smokescreen. Godzilla was indeed laid to rest in its ’95 outing, however the world’s most famous kaijū refused to stay dead.
If Godzilla was going to die — or more accurately, enter dormancy so TriStar could fire up its own reimagining — it was only fitting that the Oxygen Destroyer be brought back to do it. Dr. Serizawa’s weapon of mass destruction isn’t in fact directly responsible this time around, but in what feels like a full-circle moment, the notorious device gives life to Godzilla’s hellish undoer. Destoroyah is an exceptionally demonic addition to this period’s rogues’ gallery. Biollante, Battra, Mecha-Ghidorah and SpaceGodzilla were all fantastical in both design and story. Destoroyah, on the other hand, is this series’ own personification of death. And like Godzilla, these constantly evolving, life-stealing creatures were made possible because of mankind.
Just when fans thought the ‘90s movies had moved away from the grim and sometimes eerie nature of the two ‘80s entries, and had fully immersed themselves in magic, time travel and robots, Destoroyah sought a more serious tone for obvious reasons. A popular narrative shortcut is to connect the past and present, namely referencing Godzilla’s first appearance in ‘54. Others might try to piggyback on, or even worse, try to match the sadness and severity of the classic movie, but director Takao Okawara and writer Kazuki Ōmori wisely showed restraint and looked elsewhere for emotional stakes. The giant monster responsible for so much of the country’s pain was now in need of compassion. Godzilla had become poisoned by the very thing that created it.
The Heisei Godzilla movies are divisive among fans, even after putting some distance between then and now. A ‘92 interview with Ishirō Honda had the filmmaker calling the new movies unimaginative. In the same breath, Honda praised the special effects and was lenient toward the production department. A longtime employee of Toho, Kōichi Kawakita was eventually promoted to director of special effects for the Heisei run, including two Mothra movies and the fantasy spectacle Yamato Takeru. Like in the last entry, SpaceGodzilla, Kawakita’s work in Destoroyah is a grab bag of slights and successes. In this case, though, there are more of the latter to remember this momentous movie by.
While the military’s confrontation with the juvenile Destoroyahs is blemished by inconsistent effects, this tense set piece is a good reminder of how terrifying kaijū encounters can be when shown on a smaller scale. Other positives: Burning Godzilla is a touchstone in “Goji” designs, the Hong Kong sequence boasts immaculate city miniatures, and Godzilla’s inevitable meltdown sears itself into brains all thanks to a potent blend of suitmation and visual effects. Watching Godzilla’s body dissolve in real time is haunting, to say the least.
With the stage set, the executioner chosen, and the risks of failure acknowledged, the movie mostly delivers as promised. The hyped brawl between the titular titans ends a great deal sooner than expected, and Destoroyah winds up dead before it can pull the plug on Godzilla. The monsters’ conflict is hurried along so that Godzilla’s passing can have priority. Before self-destruction begins, there is the soul-crushing reunion as well as the goodbye between parent and child. The Heisei output largely shied away from anthropomorphizing these creatures like in past movies, but even in their more pure and animalistic states, the emotion is undeniable. Godzilla’s mournful roar courses through everyone. The monster’s final moments on Earth are so poignant that they make everything else seem unimportant. Life comes to a standstill as the wonder that is Godzilla fades away, leaving a world it didn’t belong in anymore. Okawara outdid himself with this masterly directed scene, and the one immediately after it is all the solace a heartbroken “G” fan could ask for.
Godzilla vs. Destoroyah is one hell of a way to send a beloved icon into the sweet hereafter. Toho’s elegy for Godzilla may come across as deceitful; only a few years later was Godzilla shown crushing New York City, and then starring in a brand-new strand of Japanese movies. Yet after spending a good portion of its life as a walking symbol for Japan’s fears and frustrations, Godzilla’s death was necessary if there was to be a future for the distinguished monster.
Horrors Elsewhere is a recurring column that spotlights a variety of movies from all around the globe, particularly those not from the United States. Fears may not be universal, but one thing is for sure — a scream is understood, always and everywhere.
Editorials
‘Immaculate’ – A Companion Watch Guide to the Religious Horror Movie and Its Cinematic Influences
The religious horror movie Immaculate, starring Sydney Sweeney and directed by Michael Mohan, wears its horror influences on its sleeves. NEON’s new horror movie is now available on Digital and PVOD, making it easier to catch up with the buzzy title. If you’ve already seen Immaculate, this companion watch guide highlights horror movies to pair with it.
Sweeney stars in Immaculate as Cecilia, a woman of devout faith who is offered a fulfilling new role at an illustrious Italian convent. Cecilia’s warm welcome to the picture-perfect Italian countryside gets derailed soon enough when she discovers she’s become pregnant and realizes the convent harbors disturbing secrets.
From Will Bates’ gothic score to the filming locations and even shot compositions, Immaculate owes a lot to its cinematic influences. Mohan pulls from more than just religious horror, though. While Immaculate pays tribute to the classics, the horror movie surprises for the way it leans so heavily into Italian horror and New French Extremity. Let’s dig into many of the film’s most prominent horror influences with a companion watch guide.
Warning: Immaculate spoilers ahead.
Rosemary’s Baby
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The mother of all pregnancy horror movies introduces Rosemary Woodhouse (Mia Farrow), an eager-to-please housewife who’s supportive of her husband, Guy, and thrilled he landed them a spot in the coveted Bramford apartment building. Guy proposes a romantic evening, which gives way to a hallucinogenic nightmare scenario that leaves Rosemary confused and pregnant. Rosemary’s suspicions and paranoia mount as she’s gaslit by everyone around her, all attempting to distract her from her deeply abnormal pregnancy. While Cecilia follows a similar emotional journey to Rosemary, from the confusion over her baby’s conception to being gaslit by those who claim to have her best interests in mind, Immaculate inverts the iconic final frame of Rosemary’s Baby to great effect.
The Exorcist
William Friedkin’s horror classic shook audiences to their core upon release in the ’70s, largely for its shocking imagery. A grim battle over faith is waged between demon Pazuzu and priests Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow). The battleground happens to be a 12-year-old, Regan MacNeil (Linda Blair), whose possessed form commits blasphemy often, including violently masturbating with a crucifix. Yet Friedkin captures the horrifying events with stunning cinematography; the emotional complexity and shot composition lend elegance to a film that counterbalances the horror. That balance between transgressive imagery and artful form permeates Immaculate as well.
Suspiria
Jessica Harper stars as Suzy Bannion, an American newcomer at a prestigious dance academy in Germany who uncovers a supernatural conspiracy amid a series of grisly murders. It’s a dance academy so disciplined in its art form that its students and faculty live their full time, spending nearly every waking hour there, including built-in meals and scheduled bedtimes. Like Suzy Bannion, Cecilia is a novitiate committed to learning her chosen trade, so much so that she travels to a foreign country to continue her training. Also, like Suzy, Cecilia quickly realizes the pristine façade of her new setting belies sinister secrets that mean her harm.
What Have You Done to Solange?
This 1972 Italian horror film follows a college professor who gets embroiled in a bizarre series of murders when his mistress, a student, witnesses one taking place. The professor starts his own investigation to discover what happened to the young woman, Solange. Sex, murder, and religion course through this Giallo’s veins, which features I Spit on Your Grave’s Camille Keaton as Solange. Immaculate director Michael Mohan revealed to The Wrap that he emulated director Massimo Dallamano’s techniques, particularly in a key scene that sees Cecilia alone in a crowded room of male superiors, all interrogating her on her immaculate status.
The Red Queen Kills Seven Times
In this Giallo, two sisters inherit their family’s castle that’s also cursed. When a dark-haired, red-robed woman begins killing people around them, the sisters begin to wonder if the castle’s mysterious curse has resurfaced. Director Emilio Miraglia infuses his Giallo with vibrant style, with the titular Red Queen instantly eye-catching in design. While the killer’s design and use of red no doubt played an influential role in some of Immaculate’s nightmare imagery, its biggest inspiration in Mohan’s film is its score. Immaculate pays tribute to The Red Queen Kills Seven Times through specific music cues.
The Vanishing
Rex’s life is irrevocably changed when the love of his life is abducted from a rest stop. Three years later, he begins receiving letters from his girlfriend’s abductor. Director George Sluizer infuses his simple premise with bone-chilling dread and psychological terror as the kidnapper toys with Red. It builds to a harrowing finale you won’t forget; and neither did Mohan, who cited The Vanishing as an influence on Immaculate. Likely for its surprise closing moments, but mostly for the way Sluizer filmed from inside a coffin.
The Other Hell
This nunsploitation film begins where Immaculate ends: in the catacombs of a convent that leads to an underground laboratory. The Other Hell sees a priest investigating the seemingly paranormal activity surrounding the convent as possessed nuns get violent toward others. But is this a case of the Devil or simply nuns run amok? Immaculate opts to ground its horrors in reality, where The Other Hell leans into the supernatural, but the surprise lab setting beneath the holy grounds evokes the same sense of blasphemous shock.
Inside
During Immaculate‘s freakout climax, Cecilia sets the underground lab on fire with Father Sal Tedeschi (Álvaro Morte) locked inside. He manages to escape, though badly burned, and chases Cecilia through the catacombs. When Father Tedeschi catches Cecilia, he attempts to cut her baby out of her womb, and the stark imagery instantly calls Alexandre Bustillo and Julien Maury’s seminal French horror movie to mind. Like Tedeschi, Inside’s La Femme (Béatrice Dalle) will stop at nothing to get the baby, badly burned and all.
Burial Ground
At first glance, this Italian zombie movie bears little resemblance to Immaculate. The plot sees an eclectic group forced to band together against a wave of undead, offering no shortage of zombie gore and wild character quirks. What connects them is the setting; both employed the Villa Parisi as a filming location. The Villa Parisi happens to be a prominent filming spot for Italian horror; also pair the new horror movie with Mario Bava’s A Bay of Blood or Blood for Dracula for additional boundary-pushing horror titles shot at the Villa Parisi.
The Devils
The Devils was always intended to be incendiary. Horror, at its most depraved and sadistic, tends to make casual viewers uncomfortable. Ken Russell’s 1971 epic takes it to a whole new squeamish level with its nightmarish visuals steeped in some historical accuracy. There are the horror classics, like The Exorcist, and there are definitive transgressive horror cult classics. The Devils falls squarely in the latter, and Russell’s fearlessness in exploring taboos and wielding unholy imagery inspired Mohan’s approach to the escalating horror in Immaculate.
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