In this article, I will discuss the threat of Nuclear weaponry conveyed both literally and metaphorically in the films “Godzilla” (1954) and “Threads” (1984), the contexts in which they were made, their purpose, and how they differ in their depiction across the cultures of Japan and the UK. 

“Godzilla” (Gojira, 1954) comes from a time when Japan was weakened by World War II. The atomic bombings of Hiroshima and Nagasaki had a very strong presence in the population’s conscience. The fear of nuclear disaster was furthered through incidents involving nuclear radioactivity, such as the ‘Daigo Fukuryu Maru’ incident that came from nuclear testing at Bikini Atoll. The monster Godzilla is used as a metaphor for nuclear weapons. Due to its destructive nature, Godzilla could be easily perceived as a replacement for the nuclear bomb, although it has been theorized that Godzilla was perceived by Japanese audiences at the time as a victim, seeing him as going through a similar struggle as the nation, displaced by the workings of nuclear activity. (Allison, Anne, June 30, 2006, Millennial Monsters. The University of California Press. Pp. 45-69). It’s important to see Godzilla as a tragic figure, and it is said that the movements of Godzilla could have been recognized by veterans of the war as moving similarly to those who were injured or traumatized. 

Godzilla acts on fear and self-preservation and doesn’t act with particular evil intent or malice. He is perhaps more animal than a monster, enhanced by the radioactivity befallen upon it. This can be reinforced by the ending of the 1954 original “Godzilla,” in which somber music plays as he sinks to the bottom of the ocean and dies. If this was considered a true victory and not a sort of tragedy, also marked by the heroic death and sacrifice of Dr. Serizawa, then the end should come with much greater fanfare. Instead, it appears with a much more reflective and nullified atmosphere, in which the film’s nuclear messaging is rounded off by a short speech by Takashi Shimura as Professor Yamane states, “I cannot believe Gojira was the last of its species. If nuclear testing continues, then someday, somewhere in the world… Another Gojira may appear.”

If the word ‘Gojira’ is replaced with the atomic bomb, then this is a very reflective note on the fear that history could repeat itself with another dropping of a bomb. Professor Yamane’s quote also suggests that if nuclear testing persists, then bigger devastation will always be looming over us. 

Stark Contrast Between ‘Godzilla’ and ‘Threads’ in Showcasing Horror

“Godzilla” and “Threads” offer contrasting views on national resilience in the face of disaster. “Godzilla” embodies a hopeful narrative, reflecting Japan’s post-war determination to overcome adversity. The film’s hero, Dr. Serizawa, represents this spirit through his ultimate sacrifice to defeat Godzilla, a symbol of nuclear destruction and, possibly, America’s wartime influence. This act mirrors the sacrifices made by Japanese soldiers to protect their nation. In contrast, “Threads” presents a grim perspective, critiquing British attitudes towards nuclear war. Set in Sheffield, a working-class city, the film personalizes the threat of nuclear annihilation, suggesting no one is safe. Upon its BBC Two release, “Threads” deeply affected viewers, achieving high ratings and leaving audiences in contemplative silence, as noted by director Mick Jackson.

‘Godzilla’ takes a more optimistic approach and maintains a Universality

Compared to “Threads,” “Godzilla” is relatively more optimistic. It takes a very nationalist and quite typically Japanese approach to adversity, driving the message that with hard work and perseverance, any difficulties can be tackled. This reflects the real-life struggles in post-war Japan, trying to bounce back from the devastation and toll the war had on the nation. After the Americans relinquished their occupation, they regained their freedom to build back up on their own feet. Godzilla shows this Japanese dedication to your work in an almost ritualistic sacrifice from the film’s quiet hero, Dr. Serizawa, who sacrifices himself along with his work, both to destroy Godzilla, which in some theories is perceived as a metaphor for not just the atomic bomb but America itself, which could reference the sacrifice of Japanese soldiers during and after the war in an effort to preserve their country, and for the greater good of peace.

“Threads” also holds a national sensibility, although it offers a far less hopeful outlook of the British taking an almost hyper-critical stance of hopelessness. The choice of the city of Sheffield to be the home to the film’s nuclear annihilation generates further familiarity for the audience, with its working-class background and vastly smaller scale compared to the likes of London or even other significant northern cities such as Liverpool or Manchester, allows it to push even further to the personal, noting that nobody is safe in a nuclear holocaust. 

The impact of “Threads” upon release was nationwide, and it achieved the highest ratings number of the week upon its release on BBC Two. Director Mick Jackson later stated, ‘BBC productions would usually be followed by congratulations from friends or colleagues immediately after airing. But no such calls came after the screening of “Threads.” People had just sat there thinking about it, in many cases not sleeping or not being able to talk’ (End of the World Revisited: BBC’s Threads is 25 Years old. The Scotsman. 5 September 2009). This reception undoubtedly proves the achievement of “Threads” in shaking up a nation, making them wholly aware of the disaster they could all but face. 

In later years, however, “Threads” hasn’t remained so relevant in the public eye. Critically, it remains as praised as ever: ‘It is arguably the most devastating piece of television ever produced.’ (‘Threads Remastered DVD review: This is the way the world ends.’ SciFiNow. 11 May 2018.), leaving it heralded as one of the most significant made-for-TV dramas in the UK and perhaps worldwide, although it socially only tends to crop up periodically once nuclear tensions tend to rise from time to time. 

The release of “Godzilla” sparked a new franchise, becoming the longest-running and one of the most successful monster franchises globally. Although in its numerous sequels, Godzilla has lost some of its most prominent thematic features from the original, there is less acknowledgment of his nuclear metaphors and plays significantly more into the realm of entertainment and heroism. American depictions of the monster tend to disregard this almost entirely, most notably in the American release titled “Godzilla, King of the Monsters!” In which they cut out mentionings of the atomic bomb, stripping the film of its core whilst placing a more American-centric POV. The origins of Godzilla aren’t still entirely lost, with two notable iterations within the last decade, though with slightly different approaches to the one taken in the 50s. 

‘Shin Godzilla’ and ‘Godzilla Minus One’ fit in the definitive Godzilla Trilogy

Hideaki Anno’s “Shin Godzilla” (2016) uses Godzilla as a metaphor for the 2011 Fukushima Nuclear Disaster rather than one for nuclear weaponry. The ‘Shin’ in the title could be translated as ‘New.’ This perhaps alludes to the end quote of the 1954 film from Professor Yamane: “Another Gojira may appear.” Now, this showcases that the threat of nuclear disaster is not over and comes in different forms. Man-made disasters will combine with nature and put all life in peril. One of the most recent Godzilla films, “Godzilla Minus One,” chooses to focus on the Japanese public once again going through war-time suffering with the emergence of Godzilla. The story is set in the immediate aftermath of World War II, following the fall of Tokyo. Despite being under American occupation, it is the surviving and traumatized Japanese soldiers and bureaucrats who come together to defeat the monster. This was unlike the previous 1954 original or “Shin Godzilla” – both almost entirely focusing on the political and scientific aspects. 

These different approaches from film to film show the versatility of Godzilla as both a figurehead and a metaphor for nuclear horror. “Godzilla” (1954), “Shin Godzilla” (2016), and “Godzilla Minus One” (2023) work as the definitive Godzilla trilogy. The other sequels of the monster verse don’t matter, as they lack the thematic weight that the material requires. 

‘Godzilla’ and ‘Threads’ are twisted
Cautionary Tales

Whilst seemingly different in body and soul, both “Godzilla” (1954) and “Threads” provide great cautionary tales of their time, shining light on their contemporary contexts and highlighting their varied struggles with nuclear adversity. The main differences between the films seem to be obvious, mainly through their depiction of nuclear terror, although the differences may be embedded further into the fabric and cultures of each respective nation. 

Japan takes a more hopeful, strong opposition to the nuclear threat and disaster, whereas the UK is notably more idle, hapless, and generally more unorganized. They share their own fears of nuclear devastation. One has already been given a taste, and one can only speculate, and shown together, appear contrasting and almost entirely different, though they are both united by their fervent terror of nuclear annihilation.