This is what a news channel chyron at the end of 2014sGodzillaasks.
The shot of a soldier and nurse coming together definitively answers the chyrons question.
Americas heroes, its first responders and military personnel, saved the city.
In other words, the hero ofGodzillais not the awesome-looking monster but rather the dull as dirt humans.
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At least, thats what one would think.
This problem is not unique toGodzilla, but plagues all of the MonsterVerse entries.
But director Jordan Vogt-Roberts glib approach made the disparity less of a thematic statement and more general mean-spiritedness.
To be fair, even the Japanese Godzilla films can get bogged down in human drama.
In Japanese Godzilla movies, humans matter because they can be harmed, because theyre so fragile.
In American Godzilla movies, humans matter because they are exceptional and, almost always, American.
However, the choice also centers an American as an exceptional figure among the chaos occurring in Japan.
The opening credits appear over shots of historical archives about ancient monsters, military actions, and scientific tests.
Thus, its heroesLt.
They stand out from the norms of society and the expectations of these large organizations.
However, that emphasis on individualism simply doesnt work when it comes to Godzilla films.
No human being, no matter how complex, can compete with the pure spectacle of kaiju.
Even the silliest of the Japanese films dont take that approach.
When their humans dont matter, its not just that theyre boring compared to Godzilla, Mothra, orRodan.
Its that humanity is fragile compared to larger forces, represented by kaiju.
The American films refuse to let go of American exceptionalism.
They stand outside the demands of society and their organizations.
And as a result, Godzilla from the U.S. are not only boring, theyre morally bankrupt.
