In numerous aspects, Christopher Nolan’s intricate, behind-the-scenes portrayal of the bomb’s creation in “Oppenheimer,” and Japanese director Takashi Yamazaki’s colossal blockbuster “Godzilla Minus One,” couldn’t be more contrasting. Yet, as both films navigated through awards season this year, fans were quick to notice some unexpected thematic parallels – primarily, a contemplation on the guilt-ridden aftermath of nuclear war.
Before Nolan clinched the Oscars for Best Director and Best Picture on Sunday night, Yamazaki achieved a historic milestone by securing Godzilla’s first-ever Oscar win in the Best Visual Effects category, triumphing over four Hollywood heavyweights. When questioned about the similarities between his film and “Oppenheimer” and the significance of their simultaneous success, Yamazaki expressed his perspective during the press conference backstage at the Academy Awards.
“Of course, the correlation between the two films wasn’t deliberate,” Yamazaki remarked. “As we crafted our film, the world’s geopolitical landscape underwent significant changes. It almost feels destined that both these films premiered in the same year.”
Yamazaki had previously expressed his admiration for “Oppenheimer,” notably mentioning that he flew from Tokyo to Taiwan to watch the movie after its Japanese release faced delays amidst local backlash against the “Barbenheimer” marketing campaign.
Last summer, Warner Bros. issued a formal apology after the Barbie movie’s Twitter account ignited controversy by sharing memes portraying Barbie amidst atomic blast imagery from “Oppenheimer.” This promotion, which depicted WWII nuclear devastation as part of a lighthearted marketing strategy for summer blockbusters, offended many in Japan, where the 1945 bombings of Hiroshima and Nagasaki claimed between 129,000 and 226,000 lives, mostly civilians.
“Oppenheimer” is finally set for release in Japan on March 29, albeit through indie distributor Bitters End instead of local giant Toho, which typically handles Universal Pictures’ major releases. In a statement, Bitters End stated that the decision to release the film followed “months of thoughtful dialogue associated with the subject, acknowledging the particular sensitivity for us Japanese.”
When questioned backstage at the Oscars about his views on “Oppenheimer,” Yamazaki hinted at his aspiration to create a film about the bombing of Japan someday, suggesting it would serve as his response to Nolan’s work.
“As a person of Japanese ancestry, my response to ‘Oppenheimer’ would be to dedicate a different film to that when the time comes,” Yamazaki shared.
“Godzilla Minus One” is a period piece that takes the iconic kaiju back to its origins, portraying the creature’s emergence as Japan grapples with post-World War II devastation. Critics in the US unanimously lauded the film for its remarkable visuals, the emotional depth of its human drama, and the canonical use of Godzilla as a metaphor for social critique.
Yamazaki also discussed the inspiration behind his visual depiction of Godzilla, emphasizing the essence of terror, war, and nuclear power associated with the iconic monster.
“We delved into various iterations of Godzilla over the years, aiming to capture the essence of what truly embodies Godzilla’s essence,” Yamazaki elaborated. “Godzilla, tracing back to its roots, symbolizes terror, war, and nuclear power. I aimed to ensure that when audiences encountered Godzilla, they would feel that fear instilled within them.”