The ultimate gateway for the ruler of all monsters.
The monster has gained popularity again as his 70th birthday approaches, fueled by the success of “Godzilla Minus One.” This has made Godzilla a major movie star currently. While fans are used to seeing him in this light, the recent mainstream attention and praise is a refreshing change for the Big G, who is finally receiving recognition for the first time in his career.
One of the most well-known aspects of Godzilla movies, as many fans are aware, is the iconic entrance scene. It is a superficial and subjective quality, but it holds great significance in the film. When Godzilla appears on screen, it brings a sense of joy and excitement to the audience as they witness a stylish or impressive moment showcasing his coolness. This is a common occurrence in all of his films, providing a memorable introduction for first-time viewers and seamlessly integrating him into the story.
Perhaps his best work can be seen in the 1989 film “Godzilla vs. Biollante,” which is considered one of the more entertaining entries in the second phase of his career known as the Heisei era. This was the second film in the series, following 1984’s “The Return of Godzilla” or the American version, “Godzilla 1985.” The Heisei era lasted until 1995’s “Godzilla vs. Destoroyah,” after which there was a short break before the revival in 1999 for the third phase of the series, known as the Millennium films.
“Biollante,” a sequel to “The Return of Godzilla,” is highly praised for its depiction of Godzilla’s battle against Biollante, a shape-shifting plant monster created through genetic modification. Godzilla’s epic entrance, emerging from a erupting volcano, is a standout moment that perfectly showcases his unmatched strength and intimidating presence. The scene’s concept is truly impressive, with the flowing lava and explosions emphasizing Godzilla’s power as the triumphant score plays in the background, heralding his return.
From a narrative perspective, this scene is highly effective. It is well established that in “Return,” Godzilla is ultimately trapped inside a dormant volcano, and the return to this location creates a sense of anticipation and fear for his potential release if the volcano were to erupt. The first half of the scene is dedicated to the government agents’ efforts to prepare for Godzilla’s arrival, as it becomes increasingly clear that it is only a matter of time. This is intertwined with the subplot of terrorists attempting to obtain Godzilla’s radioactive cells from the government, which adds another layer of tension. As the terrorists plant explosives in an attempt to free Godzilla before the eruption, the audience is left wondering which event will occur first. Will the agents be able to secure the cells? Will the volcano erupt regardless and foil both plans? The film skillfully plays with these possibilities, creating multiple avenues for the story to unfold.
Koichi Kowakita’s special effects are a standout aspect from a technical perspective. Despite having prior experience in the studio’s special effects department, this was his first time directing for the series. He proves himself capable of following in the footsteps of legendary directors Eiji Tsuburaya and Teruyoshi Nakano. The use of a high-quality suit and a miniature volcano set adds to the spectacular visuals, showcasing Godzilla in both wide shots and close-ups. The pyrotechnics and smoke effects add to the grandeur of the scene, leaving a lasting impact on viewers.
Towards the conclusion of the film “Godzilla vs. Biollante,” the emergence of Godzilla stands out as a standout moment in the series and continues to be a memorable scene. While there may be other notable and action-packed scenes in the series, this particular scene stays true to the entertaining and light-hearted tone of the franchise at this point in its duration. In this sequence, Godzilla appears more impressive and visually striking than ever before, with impressive special effects to enhance the overall impact. It is truly a grand entrance befitting a King.