Nacho Vigalondo also noted this in his interpretation when Den of Geek sat down with him at the Colossal press junket in New York.
Just as someone with a drinking problem might tell you they are still an alcoholic, even if they haven’t had a drop in 12 years, the monster at the bottom of the glass (and thus potentially above the rooftops of Seoul) persists. Sure, the film’s magical realism dictates that Oscar is the reason she has the ability to channel a Godzilla-esque monster on opposite sides of the globe, but the creature in both its moments of glory and malevolence are all Gloria. Just because Gloria is strong enough to realize that she needed neither the condescending contempt of Dan Stevens’ Tim or the passive aggressive evil of Oscar does not mean that the colossal monster within is gone. Personally, I think the point is that even though she is strong enough to escape an abusive and deceptively insidious relationship with Oscar (Jason Sudeikis)-which at least at first began as cheerful enabling before it turned into physical violence-personal demons never go away. Of course the answer is intentionally ambiguous, and for our part we can only speculate. (Crushing Oscar’s bar to smithereens, devastating the Western and ‘American Bar’ aesthetics alike would certainly be satisfying.) So does Gloria reach for the drink? Perhaps she could even go on another bender that might end with her sizeable giant monster wreaking greater havoc in her sleepy hometown.
It’s a glass of beer, alcohol, and temptation itself staring Anne Hathaway’s Gloria in the face like the siren song that murdered so many Grecian sailors in another tale of potent allegory.
It sits there in front of her, like a taunting monster, every bit as immense and titanic as any kaiju running rampant in downtown Seoul. This article contains major Colossal spoilers.
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