Lizards that just don't quit ............

I finally got around to seeing Cloverfield last night. I wanted to see it last Monday but the whole day-off fizzled following a death in the congregation and a series of phone calls and other obligations. My fiancee doesn't like films like this. My future stepson would have loved it but wouldn't have slept afterwards so it was strictly a solo affair. Once I'm married to his mother I'll take him to films like this when he's being a little sod. I'll put him to bed afterwards, shut off the light and close the door. Periodically I'll walk by the door and make this sound.



Any of you who were watching B-movies in the fifties and sixties will have to explain to me how on earth the original Godzilla movies inspired anything more than a chuckle. One is taught to treat past generations with a measure of patience. You did endure the War after all - the Blitz, Mock Apple Pie, Glenn Miller - and, yes, you may now be incontinent, dribbling and forever accusing the orderlies of stealing your teeth. But how lame is the idea of people screaming and covering their eyes at what is clearly an out-of-work circus midget stumping around a baptistry in a rubber suit kicking over a three foot model of a bridge. And the Atomic Breath? Yet another even smaller midget with a paintbrush colouring in the squares of film.

Which is a long way of saying hats off to anybody who can resurrect the Godzilla/Gojira tradition and have the film end up being really quite scary.

The film begins with the theft of an idea from the Blair Witch Project about a bit of video data being found by accident. In this case the data is contained in a castoff video camera found in "what was" Central Park in New York City. Special effects abound throughout the movie - money was spent in copious amounts but the point of view is that of a rather stupid boy named Hudd who's been given a cam-corder and told to record the evening's festivities - a surprise party for his best friend's brother who's leaving the next day to take up a junior management job in Japan.

The entire movie is filmed in Not-Too-Steady-Cam, then, with quite thrilling results. The first twenty minutes are difficult to endure. Pouty young women, vacuuous youths trading gossip and scandal. We knew we'd come to see a scary movie. Oh for God's sake send the Creature in! Don't force us to endure the late-teen, early-twenty crowd with their up-talk and their petty scandals. Stock characters do abound - a stupid boy who manages to be charmingly naive, a protagonist caught between two choices, a grumpy sister, the female Object of Desire, the mysterious stranger-girl. You're trying to figure out all the connections and you're not quite bored yet when the first earthquake hits and reports of explosions come in over the television. The giant lizard starts wreaking havoc in the city.

The original Godzilla movies didn't arise, like the monster, from a submarine trench. They reflect the anxiety felt by most in the early years of the Nuclear age. It was, as I remember, the testing of the Hydrogen Bomb which was alleged to have released the creature into the world. In the long run, though, the movies were a lot more fun than they were therapeutic. Cloverfield has woven within its plot all sorts of markers of post-911 anxiety as well. One scene of people cowering inside a convenience store as the monster passes is very nearly an exact replica of the famous bit of footage from September 11th in New York. There is, however, no real therapeutic task to the film and it ends up being a good ride.

All of the stock preamble at this point both begins to make sense and to (mercifully) disappear when the monster begins its rampage. This is a good film which eats its own schlock and demonstrates what another age might have been so scared about in its day. Go see the film if it's still around. Don't wait for the video!