Sequel plans are underway for Godzilla vs. Kong, shooting in Australia later this year. While there isn’t much known about the next chapter, reports circulated last year that Adam Wingard was in talks to direct a possible “son-of” concept for which both Kong and Godzilla received treatments in 1933 and 1967. The concept could set up some interesting dynamics that could lean either more issue-focused with parental themes or even become much more comedic, as some critics have deemed the recent films to be somewhat lacking in depth. The success of Godzilla vs. Kong has also sparked the development of a possible spin-off TV series revolving around the Monarc organization that may help support the expanding MonsterVerse. Now that we’ve seen what an American mega-budget Godzilla vs. Kong movie looks like, fans are also wondering what Toho may be planning on their end for the giant radioactive lizard and foes.
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While the American films deliver a visually perfect spectacle to consume while eating lots of popcorn and candy, the Japanese movies tend to be a little more theme heavy, using their monsters as metaphors for real-world issues. Shin Godzilla, the most recent film from Toho, was very much entrenched in the horrors of Fukushima and the black hole of bureaucracy. A sequel to Shin was reportedly canned in 2018, with Toho shifting focus to establish their modern MonsterVerse with stand-alone films to build toward a larger crossover project. Certainly taking cues from Marvel’s success with the Avengers, but mostly tweaking their own approach to a universe populated with multiple films, as Toho has been doing so since the 1950s. Their animated trilogy of the Godzilla series on Netflix also adds to the growing volume of Godzilla content, servicing anime fans with a tonally unique take on the franchise.
Toho
Fans of Godzilla and King Kong are often lumped together for obvious reasons. However, the two franchises have distinctly different histories, with one hailing from the East and the other from the West. For starters, Godzilla’s inventory far exceeds Kong’s. The giant ape has nine films (two of which were made by Japan), including the most recent Godzilla vs. Kong. Godzilla has a whopping thirty-two installments. Toho defined the Kaiju genre, which until recently was exclusive to the East, and for some purists, remains that way.
Unfortunately, with the advent of CGI, we will naturally see fewer performers in rubber suits crashing into pyrotechnic-packed cityscapes. Still, it’s doubtful the art form will disappear forever, considering decades of perfecting a practical Eastern filmmaking technique. Let’s take a look at some of the franchise’s tonal shifts, the thematic meaning behind the monsters, and what may be in store for the future of these titular titans.
Meaningful Monsters
Toho
Perhaps the most obvious metaphorical monster in the history of Godzilla movies is Hedorah, AKA The Smog Monster. What did Hedorah represent? Well, pollution. So obvious, in fact, that the notion of metaphor monsters possibly became a divisive issue for the filmmakers who were tasked with building these enormous projects for the masses and feared becoming too political. Godzilla himself was a clear response to nuclear weapons but didn’t telegraph its meaning at first glance. Why subtlety should matter in the realm of giant monsters is a question worth asking. Impregnating these beasts with political meaning may also pack a double dose of absurdity and unintentional humor that Trey Parker and Matt Stone of Southpark fame may have caught onto.
Back in 2006, the comedic due were developing a project titled Giant Monsters Attack Japan, which may or may not still be heading toward a theater or streaming service in the future. The most recent reports claim the project may now be animated. Godzilla is right at home in the ever-growing ironic and contemporary comedy sub-genre of “so-bad-it’s-good.” In comedy, it may be an easier pill to swallow having an enormous beast represent global warming or racism. There’s a giant monster just waiting to be personified. In 2007, Big Man Japan was released, a parody film from the Japanese that poked fun at the Kaiju genre in ways that would speak to Japanese audiences but not necessarily Americans.
Giant Babies Attack
Walt Disney Pictures
Should the next installment of Legendary’s MonsterVerse go in the direction of Kaiju-sized offspring, they may take a cue from 1969’s Godzilla’s Revenge, AKA All Monsters Attack. This was Toho fully embracing the fact that Godzilla was resonating heavily with children, so why not make it a kid’s movie? Godzilla’s Revenge may be regarded by fans as one of the worst entries in the series for breaking form, but for others, it is the most re-watchable and hilarious of all the films. Legendary attempting a mega-budget approach to a more kid-friendly comedic formula would certainly entail a high degree of risk that could alienate their core audience. But if handled well, the movie could be incredibly entertaining.
1992’s Honey, I Blew Up the Kid is the closest thing that comes to mind for American cinema attempting something like this. The eventually successful sequel to Honey, I Shrunk The Kids featured a Kaiju-sized toddler tearing his way through Las Vegas with catastrophic temper tantrums and meltdowns, a movie worth revisiting. A bold decision to go much lighter with the tone could inject a needed dose of humility into the franchise. As details unfold, we will certainly keep you posted. Also, be sure to look out for the upcoming book from author Graham Skipper, Godzilla: The Ultimate Illustrated Guide, a comprehensive dive into Godzilla, dropping on September 13, 2022.
