“Godzilla Minus One,” the 70th-anniversary film of the iconic Japanese monster, has stirred controversy in South Korea. The film features a post-World War II Japan where a massive Godzilla, reminiscent of atomic bomb devastation, is defeated by former Kamikaze pilots. While internationally recommended as a summer blockbuster, in South Korea, it faces criticism for allegedly glorifying Kamikaze pilots.
Despite its release in Japan last November and North America in December, the film was not shown in South Korea until its Netflix debut on June 1. The film gained attention after winning the Academy Award for Best Visual Effects in March, becoming the first non-English film to do so. As of June 11, it ranks third worldwide in Netflix’s film category according to FlixPatrol.
The title “Minus One” signifies Japan, reduced to zero by war, facing even greater despair due to Godzilla. South Korean viewers are divided. Some criticize the film for depicting Japan, which suffered atomic bombings and lost the war, as defeating an atomic bomb-wielding Godzilla, interpreting it as a “mental victory” without reflection. The film’s portrayal of Japan’s dire post-war situation and Godzilla’s radiation heat rays, which evoke atomic bomb imagery, reinforce this criticism. Some also view the scene where protagonist Koichi Shikishima, a war survivor, crashes a bomb-laden plane into Godzilla as glorifying Kamikaze pilots.
Others argue that the Godzilla series, which began in the 1950s, carries an anti-war message. Godzilla, born from nuclear testing, symbolizes “nuclear disaster” and “war terror.” The film’s theme is to “overcome that fear and continue to survive.” It also criticizes the Japanese government’s disregard for soldiers’ lives during the war, depicting civilians uniting to defeat Godzilla, suggesting it is not glorifying Kamikaze but showcasing survivors’ recovery from war’s shadow.
Internationally, the monster flick has received positive reviews. Following its Netflix release, it has been praised as “one of the best Godzilla series” and a “summer blockbuster pick.” The New York Times described it as depicting Japan’s slow reconstruction and overcoming of physical and mental destruction caused by the atomic bomb, while The Guardian highlighted its exploration of post-war survivor’s guilt. Director Takashi Yamazaki faced similar criticisms for adapting a novel by a Japanese right-wing author into “The Eternal Zero” (2013), which was also accused of glorifying Kamikaze pilots. He is known for works like “Parasyte Parts 1 & 2,” “Stand by Me Doraemon,” and “Friends: Naki on the Monster Island.”
Just as Japan cannot make all post-war films a “statement of repentance,” South Korean viewers inevitably interpret films through a historical lens. Setting aside these controversies, the film receives praise for its dynamic and lifelike visual effects. The vividly depicted Godzilla, with its rising horns and hefty movements in the sea, yet comical short arms and bulging belly, remains as compelling as the 70-year-old monster that once rivaled Western “King Kong.”
