DID YOU READ

“Godzilla” roars onto Criterion Blu-ray

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I don’t know about you, but when I hear the name “Godzilla,” certain images come to mind. I see a dude in a rubber lizard suit stomping around a Papier-mâché city. I see Japanese men and women pointing at the sky in terror while unaccented English springs awkwardly and unconvincingly from their lips. I see giant turtles and moths and three-headed flying dragons, all held aloft by visible strings. In other words: I see bad movies.

Godzilla has endured through fifty years of films, most of them — let’s face it — terrible. Fun? Sure. Entertaining? Absolutely. Art? Mmmm, not so much. But what Godzilla became and what Godzilla was created as are two very different things. All those schlocky sequels have polluted our memories of the character, whose very first movie, made in 1954 by director Ishiro Honda, was quite different than the camp spectacles that came in its wake. Now that “Godzilla” is available on Criterion Blu-ray and DVD for the first time. It hits you in the gut with the impact of a 150-foot dinosaur.

Very little of what I imagine when hear the name “Godzilla” is present in Honda’s movie. True, Godzilla himself is still a dude in a costume. But filmed in stark black and white cinematography rather than the murky, drab color stock of the later sequels, the creature takes on a surprisingly convincing ferocity. Criterion’s Blu-ray presents the film sans dubbing, so you can appreciate the Japanese cast’s terror without the impediment of horrific American voice actors. And in this earliest “Godzilla,” there’s no other giant creatures for our titular dino to fight. In fact, Honda puts more emphasis on what Godzilla represents than what he does.

If you’re just interested in monster movie havoc, the big bust-’em-up finale will satisfy your craving. But Godzilla himself doesn’t get a ton of screen time; most of his attacks are brief, and a few happen entirely off-camera. What we see instead are the people who bear the psychic and physical scars of his devastation. And since Godzilla’s appearance is directly linked to underwater hydrogen bomb tests, we can link those psychic and physical scars to those suffered by the Japanese in World War II. Premiering less than a decade after the nuclear attacks on Hiroshima and Nagasaki, “Godzilla”‘s images of a city burning in atomic flames bore a special significance. So too does the incident that starts the whole storyline (inspired, Criterion’s Blu-ray tells us, by a real-life tragedy) in which a fishing boat is suddenly destroyed by an underwater explosion and a blinding flash of light. The intensity of the acting in this scene always upsets me. This isn’t camp. This isn’t Godzilla on Monster Island palling around with Godzuki. These are real people torn to shreds by a giant walking metaphor for nuclear power. This is perhaps the scariest horror movie of the atomic age.

Though the fundamental subtext of “Godzilla” couldn’t be removed from the film, the overt references to H-bombs were considered too radioactive for American audiences. So when “Godzilla” premiered stateside in 1956 as “Godzilla: King of the Monsters,” it arrived 15 minutes shorter than its Japanese counterpart and stripped of nearly every direct mention of atomic bombs. That wasn’t the only concession for stateside tastes either. When “King of the Monsters” lost almost a quarter of its runtime it also gained a new hero: American journalist Steve Martin (the wild and crazy Raymond Burr), who stops off in Tokyo on his way to Cairo (from where?!?) just in time to witness Godzilla’s rampage.

Looking to boost the picture’s local appeal, “Godzilla”‘s American distributors hired Burr for a couple of days and got filmmaker and editor Terry Morse to shoot him on sets designed to mimic the original Japanese locations, with body doubles subbing in for the Japanese cast. With the none-too-deft use of cutaways, Burr was inserted into the story. “King of the Monsters” was a monster hit in the United States in the 1950s — and it remained the way most Americans, myself included, saw “Godzilla” for decades. As a kid, the Burr “Godzilla” seemed like a prototypical badly dubbed schlock monster movie. Seeing it now, it looks more deranged than silly, like a film cut by aliens who’d been told what a movie was without having actually seen one themselves.

Though “King of the Monsters” was designed for the mainstream, it plays like an experimental film. The Japanese “Godzilla”‘s straightforward narrative gets contorted and distorted to accomodate Burr’s voiceover (and to eliminate the pesky atomic nightmare material). In perhaps the single worst example in movie history of telling rather than showing, Burr narrates almost everything: dialogue, character development, even some of Godzilla’s attacks. Sometimes he even gets his facts wrong — he says that the sole survivor of Godzilla’s fishing boat attacks died of his injuries, but that character shows up again a short time later on Odo Island. Throughout, Burr’s voiceover and on camera demeanor are shockingly disinterested. The man is witnessing the rebirth of a creature that just spent a couple million years under the Pacific Ocean. You’d think he could at least feign surprise. As he watches Godzilla raze Tokyo, his face barely registers any emotion. Later, his good friend — the man he supposedly came to Japan to see — dies; Burr looks like he’s stifling a yawn. Burr flattens “Godzilla”‘s drama more effectively than Godzilla flattens Tokyo.

Burr’s inexplicably disinterested performance reinforces his outsider status in the story, but it also forms the basis for the only case I think can be made for “Godzilla: King of the Monsters.” Because Morse didn’t have the budget to bring over Honda’s Japanese cast, Burr’s character couldn’t really affect the narrative in any significant way. Hence he just stands on the sidelines and watches the action. That makes Steve Martin a bad hero and a weirdly appropriate protagonist for a movie about nuclear horror. Burr’s impotence suggests humanity’s impotence in the face of atomic weapons. Science gave us the power to destroy ourselves; all we can do now is bear witness to that destruction. On a textual level, Burr is a joke. On a subtextual level, his helplessness is absolutely perfect.

The new “Godzilla” Criterion is just about perfect as well. You get both versions of the film as well as two versions of Godzilla scholar David Kalat’s commentary track, which are loaded with interesting details about both productions. The supplements include new interviews with actors Akira Takarada and Haruo Nakajima, a featurette on the special effects, and an essay by J. Hoberman. It’s enough to make you think of something new the next time you hear the name “Godzilla.”

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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