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Some Final Thoughts on Reviewing Godzilla (2014)

Sunday, May 18th, 2014

This image of the Hollywood sign in collapse seems sadly appropriate for this post.

My review of the new Godzilla film seems to have sparked some real response, and in the comments section, I added these thoughts, which I think should be repeated here. In response to a number of people agreeing with my assessment of the film, and some people disagreeing, I added these final comments on both the film, and on reviewing films that I’m not fond of – something I don’t enjoy doing.

“I took no particular pleasure in doling out a bad review of the film — and I really went in expecting a genuine return to the roots of Godzilla, so to speak. But we have to keep these things in perspective. On one level, the whole thing is ridiculous – I mean, who really cares if a Godzilla reboot works? On the other, the original film was such a serious and potent metaphor for the nuclear decimation of Japan in 1945 that to see the whole concept turn into just another monster movie is a real betrayal of the 1954 original.

Pop thought it may be, the first Gojira had depth, which this film lacks; then again, I wish Edwards would go back to smaller, more thoughtful projects, but now that Hollywood has him in its grasp, there’s little likelihood of that. The 2014 Godzilla reminded me most strongly of Ataque de Pánico! (Panic Attack!; 2009), a short film made by another spfx wizard, Fede Alvarez on a dimestore budget, which also led to another Hollywood deal.

So it’s like this; make one good film with no money, then Hollywood snaps you up, and you make one bad film after another which is totally compromised by studio/exec interference, but they’re still hits because the studios have sunk so much money into them that they can’t afford to let them die, so they promote the hell out of them, and thus they become ’successes,’ and so you do another.

So I’m waiting for Manoel de Oliveira’s next film, which will have no money, lots of ideas, and will no doubt challenge and engage me more than this — but circling around all of this for me is my conviction that the 1954 Gojira and Oliveira’s The Strange Case of Angelica (2011) are roughly approximate in seriousness of intent, and that a stronger case needs to be made for Ishirō Honda in the first film. The genre really doesn’t matter here; it’s seriousness of intent.” As Honda himself famously noted, “monsters are born too tall, too strong, too heavy—that is their tragedy,” and that’s the tragedy of this film, too.

And that’s more than enough on that topic.

Helen Keller Meets Charles Chaplin

Friday, July 26th, 2013

Here’s another amazing artifact from the early days of cinema.

Helen Keller meets Charlie Chaplin at his studio in the 1920s; thanks to Dana Miller for sending this along, and also for the image of the MGM lion, posted on this site below. A look at a time when the world was younger, more innocent, and when people communicated directly, and not through an electronic interface.

This is an astonishing image.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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