sunsetrider Reviews

Cowboy Bebop: The Movie (2001)

compromise between appeal to both "cowboy" faithful and neophyte

[7/10 · 1 January 2004]

"Cowboy Bebop: Knocking on Heaven's Door" is an animated feature based on a tv anime series (released on DVD) that has gained quite a following on both sides of the Pacific. It is interesting to note how Mr. Watanabe manages to pull off a balancing act required to satisfy both the loyal following of the tv series, to whom the introduction of principal characters and setting would be redundant, and to those who are relatively new to the "Cowboy Bebop" universe, of which I am the latter.

To those not well versed in the "Cowboy Bebop" lore, it takes some time to get familiar with various featured characters. The film begins in the same fashion as any of its self-contained tv episode would, in that not a lot of exposition is provided for grasping the setting. The characters are more or less introduced as 'bounty hunters' and that is as much of a background the film lets on before establishing the main plot.

It is not too much of a setback not to be given any opportunity to become attached to any of the characters. They are there to simply convey various scenes of the main plot and arrange them into place before they culminate into an oft-tread climax. The plot is briskly disclosed (rather literally spelled out by dialogue, no implication) and turns out to be a fairly mundane yarn that does not break any new ground in narrative nor provide any catalyst for any interesting character development or revelation.

The symbolism and nuance that are laid thick in colorful locales and poignant sceneries may merit repeat viewings to appreciate them; a careful analysis of the film brings another level of enjoyment to overall experience. Also relationships between the characters and circumstantial developments of the plot seem to rely too impulsively on coincidence, not mindful of what the viewer is meant to discern. This could be attributed to attempting to weave a credible plot involving diverse elements and subplots in a limited frame of time, or it could have been something else relevant in the context of the "Cowboy Bebop" tv series. Some have suggested that this film is nothing but a figurative dream, in which the main character confronts the guilt of his past to help him proceed to his ultimate fate in the last remaining episodes of the tv series.

If that was the case, then the film ends up being not as complete or entertaining to the "Cowboy Bebop" novices as it would have been for those well acquainted with the tv series. To that effect, it is rather disappointing.

"Cowboy Bebop" features lush animation that features some of the most impressive displays of action sequences put to cel, particularly the confrontation at the medical lab between Spike and Electra, not to mention the prolonged martial no-holds-barred showdown between Vincent and Spike. The character designs are fairly distinct and varied, although in some instances they linger a bit too long on stereotypical depiction of some races. The details given to many of the locales are unsurpassed in their variety and ambience; it is a testament to how artists went as far as to include references to mainstream culture, dotting the background with "WcDonald's" and "Kodac" (although I am lead to believe such play on words is the Japanese equivalent of product placement).

The music is another highlight of the film, which is not unexpected of Yoko Kano, who is a renowned composer of anime soundtrack who have previously lent her resourceful talents to other popular anime such as "Macross Plus" (another collaboration with the director Watanabe). The compact blend of blues and jazz heightens the urgent mood and graces slower parts with an equally effective repertoire. I don't know about others, but I did not mind the dubbing of the film too much. Maybe because the voices are supported by a script that is partially altered to bring out genuine emotion to the dialogue and to resolve colloquial barriers between the languages.

"Cowboy Bebop: Knocking on Heaven's Door" is a good standard action romp that is further enhanced by superb animation, equally enjoyable music, and more or less succeeds both as a tribute to the series' fans and a good introduction of the series to those who might be interested in one of the better anime licenses to have come ashore. Recommended.

Millennium Actress (2001)

Defying time and space, love is consummated

[9/10 · 20 December 2003]

Reprising roles that span a millennium, an actress who longs for her first love re-enacts the drama of affirming her love for him. 'Millennium Actress' puts the theme of unrequited love in a light that is universally encompassing. It is ultimately a story of a pure-hearted character whose loving devotion to one person, innocently conceived and passionately guarded, lends itself sentience and weaves fiction with stark reality of often longing and despair. There is no doubt that this film has left me profoundly impressed.

'Millennium Actress' adopts an esoteric 'film within film' form that is disclosed in flashbacks by the actress, Chiyoko. Her highlights of her cinematography is interwoven with real events of her life, and both fiction and non-fiction aspects of her life adhere to the context of concise Japanese history. Some of these flashbacks at least in their thematic references recur more than once, and variations between them become clever plot devices that lend meaningful depth of time and space to the film.

The recurring and consistently relevant symbols in the flashbacks not only pique the viewer's interest, but also anchor a means to explain the psyche of Chiyoko. Her reaction in each flashback and present to one particular entity is another indication of her perspective on her love, one of many signs of deep implication that enhances the film.

The animation in the film tends to be minimalist except for a few instances where it is cast in significant passage of film (for example running), but the art direction and technique which realize various era of Japanese history and provides a fluid transition between fictional flashbacks to accounts rooted in reality is most elegantly and superbly executed. Character design is accordingly appealing, especially the depiction of Chiyoko through various stages of her life that delineates the same dignity and purity. So much so that it seems almost as if Chiyoko itself transcends to some abstract form of ideal love, only unrequited, and therefore something of great potential but not wasted; since it essentially defies time and space, as allegorically portrayed in her various film roles.

The director Satoshi Kon commented in his interview on his pleasure with the music, which seems to be electronically assembled with a lot of repetition. It sometimes stands out as a bit overbearing and idiosyncratic, yet considering the nature of theme from the film it does not detract from the overall viewing experience.

Only note of letdown, if there is any point to it at all, comes from my personal disdain for a rather melancholy sequence at the end. Yet, a conventional Hollywood resolution would not apply here. As a footnote to my rambling, and for which I must apologize, I should add that 'till death do us part' could not be more opposite of what this film professes.

9/10

The Last Samurai (2003)

A fantasy of romanticized Japan

[7/10 · 18 December 2003]

The Last Samurai is an epic that features Tom Cruise, in a film that seems to draw some inspiration from either Dances with Wolves or Lawrence of Arabia. The similarities extend to some degree where these films all share a common trait that features a protagonist who is confronted by an alien culture, but who grows to appreciate it enough to sacrifice his life upon its defense. The similarities cannot resolve the inevitable differences, though, when it becomes clear that the Last Samurai does not delve more deeply into the culture that the movie draws other facets of wonder.

The film describes a tribulation of a certain Nathan Algren, who is wasted with guilt for having taken part of systemic massacre of native Americans during the nation's expansion toward the west. He is called upon by his former colleagues to help modernize Japan's army. Despite reluctance Nathan travels to Japan, only to be haunted by his old fears and but this time strives to challenge them...

There are more than a few novelties or liberties that can be counted upon when it comes to manipulating the viewer's perspective on a different culture as depicted in film. How Tom Cruise's character, Nathan, survives his first conflict with the Samurai is a prime example of how Japanese code of honor is fused with Western ideals of compassion. How Nathan resolves his guilt with the widow of a fallen warrior in the prime showcase of forgiveness triumphing over a cycle of vengeance is another such example. What amounts to be a fairly detailed and appealing rendition of Japanese culture ends up being a hopelessly romanticized view engendered only for your viewing pleasure. Also, it does not certainly hurt that Tom, an embodiment of the collective conscience of viewing public, embraces the culture fully.

For me, however, this implausible and sweeping depiction of the culture is the greatest failing of this movie. It is a fairy tale, and what with one principle character drawn from the real life equivalent in that particular era of Japan, among other things, it is a mishmash of parameters for a setting that confuses rather than informs.

However, if one is prepared to accept the setting as it unfolds and view the film with an open mind while negating preconceived notions of anything realistic that one would expect of Japan, this film delivers on many levels. Tom Cruise's acting is fairly sound, although his character does not require him to exert a wide range of emotion. Ken Watanabe plays a superb supporting role as Katsumoto and very much becomes an integral force carrying the film. Other notable roles including subdued yet tender presence of Koyuki as Taka to always enjoyable contribution from Billy Connolly round out an impressive cast, even more so given obvious communication issues and the enactment of numerous battle scenes with fairly hectic swordplay.

The camera is obviously enamored with the natural beauties of Japan, of which they are plenty in the film. Set against a backdrop of serene pastoral landscape of Japanese countryside, the panorama of all four seasons are established upon it. Especially in the spring time where cherry blossoms bloom, it is a great sight to behold. Only that they were attributed as an example to some philosophical mumbojumbo between Katsumoto and Nathan is irritating.

In summary, this film is a beautiful to watch, except for vicious battle scenes that only ends up providing a stark contrast in a way that has been done in other films of this ilk, but very striking notwithstanding. The story is an illuminating journey of a disturbed man, who is rejuvenated by his admiration for something alien yet compatible with his sense of honor. However contrived and unconvincing the movie finds itself in the end, set against the shameless and incongruous depiction of fictitious Japan, I was captivated by the film's various individual parts each of which are superbly conceived and acted. Feats that their sum, unfortunately, does not fulfill as resoundingly.

7/10

Metropolis (2001)

flash without substance (possible spoilers)

[5/10 · 4 May 2002]

Metropolis seems to draw from the inspirations for the film of the same name by Fritz Lang at first, but that resemblance only ends in flashy overhead sequences that view the vast city of Ziggurat. The animation is an adaptation of the earlier works of late manga artist Osamu Tezuka.

Speaking of the animation quality, the marriage of CG and cel animation could not have been more complete. In the context of the direction toward which Japanimation has been evolving for some time, it seems that CG generated backgrounds with cel animation that depicts foreground and characters are the norm. The CG backgrounds also use the extensive application of cel shading to allow the sprites of hand drawn animation to blend with them almost seamlessly. The technical aspect of animation rivals any animation feature released recently in terms of polish. The details of the city of Ziggurat are very diverse and intricate, all of which are evident in the final sequence of the film.

The character design is reminiscent of Tezuka's works, and they are animated superbly, although too simplistic for my tastes. But that is but a minor qualm.

What Metropolis lacks is not in the animation department, but in plot and character development. The characters are generally given stock personality and some motivations of the characters are either lost in translation or flatly assumed. The several points of the plot are left hanging (such as the revelation of relationship between Duke Red and Tima; the role of the government and its titular relationship with Japan; the significance of the Dr. Laughton's notebook), and some blatant assumptions are required on the part of the viewer to even make heads or tails of some sequences to maintain realism and interest. The pacing of the plot does not help compensating for aforementioned problems either. For example, the plot dealing with the 'revolution' was very scant and its pace too deliberate. Don't ask me about the general theme of the plot. The robot's plaintive 'Who am I? Am I a human?' tripe has gained another lease of credibility in this movie, and I am not really excited about discussing that.

Another note: the music theme is consisted of many derivations of one single piece. Some insertions of other works were notable, but some of the adopted scores were just misplaced and left wandering. Obviously striving for that formula that made the end sequence for Dr.Strangelove unforgettable, what Metropolis ended up doing is to remind me of how that sequence by Kubrick was so impeccably executed and how it was rather inexplicably misplaced and arbitrary in this movie.

Whether my general disappointment is because of the translation is out of the question. Nonetheless, Metropolis is a mediocre action flick with a carefully guised pretense of meaningful depth. It does not succeed in providing either in a satisfactory manner. 5/10

Princess Mononoke (1997)

A movie without resolution

[7/10 · 19 March 2001]

What first drew me to this anime is Hayao Miyazaki's epic manga work 'Nausicaa of the Valley of the Wind'. It is there that I have surmised what Mr.Miyazaki is trying to tell us, that there is no distinct definition of good and evil; or in a much simpler sense, a term 'good' is a purely relative term.

Because there was no 'evil' to relinquish to save the day, there was no clear achievement on the part of the protagonist. Hence, there was no clear resolution, and left me a sense of bewilderment and frustration. Particularly because there was absolutely no way for me to even 'imagine' any means of a definite conclusion within the world envisioned by the creative mind of Mr.Miyazaki. And Mononoke Hime is no exception.

Perhaps as with the ilk of the movie such as 'Crouching Tiger, Hidden Dragon', this anime will clearly pique the audience's interest by it purporting a sense of novelty. That the film garnered the most revenue next to 'Titanic' is more than willing to try to coax us to see what made the Japanese so frenetic about the anime.

Clearly, Mr.Miyazaki's imagination is a vivid realization of pure enchantment. The forest is drawn with stunning detail and the surroundings of Japanese mountainside and its geographical features seem to take a life of its own. But it is a bit hackneyed, as he seems to be dependent upon his formulaic approach of rendering his characters (both storywise and graphically). Pricess Mononoke looks a bit like a cross between Nausicaa and Kushana, and Ashitaka resembles Asbel. And almost all the female bellow workers are rendered in a simple manner that seems to represent a cohesive and collective organism; a bit disconcerting at worst.

If the viewers are not willing to partake in the vision that is defined with Miyazaki and view the animation with a stoic sense of poignant reality privy to Western mindset, this anime will be nothing but a haphazard and silly fantasy tale spun from the wildest of lunacy. Of course, the movie should confound many people who do not know anything about various Japanese mythos, barrage of which are included in the movie to perfect Mr.Miyazaki's vision. But Mr.Miyazaki cordially and humbly invites us to his world of medieval Japan in the conflict between humans and gods, and it creates a convincing suspension of disbelief.

However. The biggest flaw in the anime would be that it is trying to enumerate almost everything that is Mr.Miyazaki's philosophy on life. One can only put so much definition in a two hour movie. Just like in his celebrated manga 'Nausicaa', Mr.Miyazaki dispenses with some definite references for evil and good. Therefore, his characters in the movie are both stunningly and horrendously static, no room for growth, no changes. Even after the entire Tatara Ba is destroyed, humans will forge another means of destroying the nature. It is bound to occur again and again and again, this pointless conflict between humans and nature. But what is 'pointless' if it is permanently embedded into human history or human 'nature'? Alas, even the relationship between San and Ashitaka ends in a blur of irrevocable end. The ending is rather quick and anti-climatic to grace the film of this much expense and scope.

Mr.Miyazaki's works are not my cup of tea, plainly because of it is not a wholesome entertainment within the limits of its animation or comic. But I cannot help but be intrigued by his premise and pretentious approach of presenting his ideas in such a medium. Maybe I am just a nitpicky fan of Mr.Miyazaki, an accomplished artist, who completely altered my predisposition about the animation works in general. But the anime is plainly too subdued and a dawdle of a confusing adventure.

Princess Mononoke is without a resolution. Therefore it is a depressing story mired by helpless and static characters only rising up to the occasion to resolve a circumstantial dilemma. I cannot recommend this anime with a full assurance.