This week, we're giving you a little hint of the juicy editorial you can get in our new Giant Monsters issue of Birth.Movies.Death. magazine. In this new larger-than-life issue, we go BIG - we talk all sorts of kaijus and mechs, in honor of Colossal and Kong: Skull Island. You'll read about 50-ft Women, kaiju of both American and UK stripes, King Ghidorah, Godzilla and much, much more - as well as, of course, tons of info on both King Kong and the kaiju of Colossal, including incredible interviews with Kong and Colossal directors Jordan Vogt-Roberts and Nacho Vigalondo.
Get your copy of the magazine HERE.
Get tickets to Colossal HERE.
Today's sneak peek is courtesy of Siddhant Adlakha:
The modern cinematic kaiju has its roots in our post-World War II fears, with Japan’s GOJIRA (1954) and America’s THE CREATURE FROM 20,000 FATHOMS (1953) dealing with nuclear fallout in the form of reptilian megafauna, but our collective fascination with monsters dates back several millennia. The Graeco-Roman Hydra. The Egyptian Sphynx. The Inuit Amarok. The Native American Tlanusi'yï. Countless behemoths form the basis of cultural mythologies the world over, but perhaps their simplest distillation comes in the form of the humanoid giant, an externalization of id in constant conflict with Gods and religious order.
Whether Hindu, Celtic, Norse or otherwise, giants have always been both a literal and metaphorical magnification of our most primal selves, and examining the functions of Giants in mythology reveals the basic mechanics of some our most famous kaiju. Godzilla walks upright, stomping around like a child, uncontrollable and feral. King Kong obsesses over a beautiful woman, wreaking havoc on the epicenter of civilization itself. While some of these are mere functions of actors in creature suits, their uncanny resemblance to human behavior brings them that much closer to projections of our very selves. These monsters are us, and they always have been.
Nacho Vigalondo’s COLOSSAL is a kaiju/mecha beat-em-up, but it understands these ideas and grounds them entirely in character. The mythological implications are ever-present in its metaphor, and it speaks the language of robots and monsters as interpreted by pop culture in order to dig deep between the layers of how we treat each other. Anne Hathaway’s Gloria is an alcoholic. Her life is falling apart around her. Her habits lead to frequent blackouts and bleed into her personal relationships, as she lies to stay afloat and her dishonesty compounds. Time slips by as her life begins to snowball. She has little understanding of the effects her actions have on the people around her, an idea that comes to a head in strange and mysterious fashion when she moves back to her home town after being dumped and spends an inebriated early-morning at a nearby playground.
You can read the rest of the interview in the Giant Monsters issue of Birth.Movies.Death. magazine, and don't forget to nab tickets to Colossal this week!