The Conservative Fantasy of Godzilla (Analysis and Spoilers)

Some people have looked at the political message of Godzilla (2014) because of how surprising frequent it is, given it’s a giant monster movie. On the one hand there is the heavy handed anti-nuclear message: literally, giant monsters emerged because of nuclear submarines and the past 50 years of tests were secret attempts to pacify them. In fact, one of the complaints was that there was not enough Godzilla and too much story. But on the other is the hidden symbolic message that this supposedly progressive movie has.

To put it simply, the film argues that we’ve angered the gods. Humanity was doing fine until nuclear power came about which led to an “imbalance” by attracting giant monsters. As Ken Watanabe says explicitly:

“The error in man is thinking nature is in our control and not the other way around.”

Thus the solution is Godzilla, as the “Alpha Predator.” As Watanabe says, his role is to restore order and the only thing humans can do is to “let them fight.”

Human Responsibility for Our Actions

One of the great appeals for having a mythical “natural order” is that it alleviates human responsibility. It’s something that Eric Fromm pointed out in Escape From Freedom, if we are no longer the agents in control of events, then we are not responsible for them.

Surprisingly, even though Godzilla tried to make nuclear power look bad it ironically did the opposite. Instead of just having disasters and fallout because of horrific policies and technology, in the film’s universe they were defenses against giant monsters. That is, the injuries from nuclear power was out of self-defense, rather than a catastrophe in-itself (If the movie went one step further, it might have negated the 1954 original by arguing that the nuclear bombing of Hiroshima and Nagasaki were really just attempts to kill Godzilla.)

In a sense this is an easier story to take, instead of governments and corporations inflicting pain on their own people (as the US and USSR did in their nuclear tests), they can be rationalized as defensive measures, as almost all horrific crimes are.

Return To a “Natural” (Read: Overtly Patriarchal) Order  

Nuclear power is in many ways the perfect folly because it gets liberals on board with “restoring nature.” The problem is what kind “nature” is movie is implying. One is overt male hierarchy, as Wantabe illustrates there is a prophecy for the “Alpha” Predator to kill the other Muto monsters: a smaller male and larger (read: dominant) female.

If that symbolism wasn’t obvious enough image this: Godzilla is a giant MRA rampaging through San Fransisco while the male Mutto is a fedora-wearing Nice Guy and the female Muto is an All Powerful Feminist. This follows a slew of recent sci fi/action films of men “taking back” control from women like Doghouse (2009) or Wanted (2008).

This of course is usually a chauvinistic fantasy which in real life leads to things like the recent Santa Barbara shooting. The only science fiction film that accurately portrays men “taking back” control is Chronicle (2012) where the main character uses telekinesis to become an “Apex Predatory” (not unlike the Alpha Predator of Godzilla) and essentially became a murderer.

Restoration of Fatherhood

As Zizek pointed out, if there is one thing any conservative/patriarchal movie needs it’s a restoration of paternal authority. Godzilla doesn’t just have one father restoring himself in the eyes of his children but two. The first is Bryan Cranston, who through Malcom in the Middle to Breaking Bad, is sort of the epitome of fathers taking back respect. Anyways, he goes from conspiracy-theory cook to justified in proving that that were actually giant monsters! (and to insult to injury, he was the only decently acted character in the whole film). Next is Aaron Taylor-Johnson who is too aloof and removed from his kid. Ultimately, he helps save the city and is reunited with his family by the end.

Did I mention that in addition to two fathers reconciling that are three kids that end up getting fathered? In addition to Taylor-Johnson and his son, there’s also a separated kid in San Fransisco that Taylor-Johnson basically fathers on the side.

The Director Made A Film About Immigrant Space Aliens Destroying Society

But wait, maybe I’m looking too deeply into this. Well that would be the case if Gareth Edwards wasn’t so on the nose reactionary. In Monsters (2010) the whole premise is that space aliens crashland on the US-Mexico border (Get it? Space/Mexican Aliens!) and have “infected” and essentially destroyed the US (oh…).

It just goes to show how a progressive premise (nuclear power bad!) can be executed in such an absurdly reactionary way.

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