TB4000
10-15-2004, 05:28 PM
(Note: This is just the review I wrote in the newspaper this past week.)
Philosophy and art combined in Ghost in the Shell: Innocence
If you claim to be an anime fanatic and the words “Ghost in the Shell” have no meaning to you whatsoever, I’m afraid turning in your official anime fanatic card will have to be the next logical step. As we all know, Ghost in the Shell is one of those anime films that had the ability to achieve both cult and mainstream status, being one of the few in existence that is actually the standard others attempt to reach or extend beyond. For those out of the loop, it focuses on the human/cyborg agent known as Kusanagi, who is called on to battle a form of artificial intelligence that declares itself alive. The movie was deep…much deeper than most live action films that came out during its time, which is what made it all the more interesting. Though it wasn’t originally intended, its creator, Mamoru Oshii, began work on a sequel with the subtitle Innocence, which recently opened last month. Most anime films with theatrical openings rarely get shown around here aside from downtown Chicago art house cinemas, but fortunately the local Showplace theatre obtained a copy of the newest chapter in the Ghost in the Shell series, thereby allowing me to view it without the added frustration of Chi-town gridlock. After my initial viewing, I can honestly say that if you’re a fan of the original movie, you won’t be disappointed, but you won’t be overjoyed and giddy about the final product either.
One of the first things that are noticed right off the bat is that Kusanagi isn’t the main character of this piece (even though she comes in later), something that may put off most fans as it is. Instead it focuses on her partner Batou, a stoic cyborg whose mission is to uncover the reasoning behind robotic prototypes suddenly killing their owners and then terminating themselves. Mafia involvement is suspected, and it’s up to the emotionless Batou to figure out the cause. Right about here, when the crimes are uncovered, is where the movie gets extremely slow. You may be the most passionate anime fan on Earth, have all manner of Cowboy Bebop posters on your basement wall, but I seriously doubt you’d have an easy time deciphering the plot and sub-plots of this movie. I enjoy movies that appeal to my intellectual side, but long, drawn out discussions about the teachings of Descartes and how it relates to the cybernetic population can start to wear on the nerves a tad. Most anime does have an infamous habit of its characters discussing, discussing, discussing the plot, along with life, liberty, and whatever else for long bouts of time, whether it’s poignant or not. The characters in Innocence do this, and they do it way too well. It’s a small drawback, but sadly, it’s a drawback to the movie regardless.
The only thing keeping the balance between the philosophical discussions is the look of the movie, which is more or less art in motion. CGI, 3-D holographic imagery, and traditional animation were all used, and some of the scenes, especially the parade and mansion scenes, look extremely detailed and lifelike. It was mentioned in an article that all the effects took about 5 years to complete, and it definitely shows. When animated movies can have this type of detail, you have to wonder why live action ones seem to lack the same type. There are still the action scenes to discuss, and though they’re few and far between, they’re still better than any of the summer flicks’ attempts at doing similar things.
Ghost in the Shell: Innocence is one of those movies you’ll either love or hate, as cliché as that sounds. If you’re leaning towards hate, you’ll have to be very patient with it, same as you would be if you were leaning towards love. It may not be the masterpiece that part one is, but if you get the opportunity to see it, it will definitely make you sit up and take notice.
3 stars out of 5
Philosophy and art combined in Ghost in the Shell: Innocence
If you claim to be an anime fanatic and the words “Ghost in the Shell” have no meaning to you whatsoever, I’m afraid turning in your official anime fanatic card will have to be the next logical step. As we all know, Ghost in the Shell is one of those anime films that had the ability to achieve both cult and mainstream status, being one of the few in existence that is actually the standard others attempt to reach or extend beyond. For those out of the loop, it focuses on the human/cyborg agent known as Kusanagi, who is called on to battle a form of artificial intelligence that declares itself alive. The movie was deep…much deeper than most live action films that came out during its time, which is what made it all the more interesting. Though it wasn’t originally intended, its creator, Mamoru Oshii, began work on a sequel with the subtitle Innocence, which recently opened last month. Most anime films with theatrical openings rarely get shown around here aside from downtown Chicago art house cinemas, but fortunately the local Showplace theatre obtained a copy of the newest chapter in the Ghost in the Shell series, thereby allowing me to view it without the added frustration of Chi-town gridlock. After my initial viewing, I can honestly say that if you’re a fan of the original movie, you won’t be disappointed, but you won’t be overjoyed and giddy about the final product either.
One of the first things that are noticed right off the bat is that Kusanagi isn’t the main character of this piece (even though she comes in later), something that may put off most fans as it is. Instead it focuses on her partner Batou, a stoic cyborg whose mission is to uncover the reasoning behind robotic prototypes suddenly killing their owners and then terminating themselves. Mafia involvement is suspected, and it’s up to the emotionless Batou to figure out the cause. Right about here, when the crimes are uncovered, is where the movie gets extremely slow. You may be the most passionate anime fan on Earth, have all manner of Cowboy Bebop posters on your basement wall, but I seriously doubt you’d have an easy time deciphering the plot and sub-plots of this movie. I enjoy movies that appeal to my intellectual side, but long, drawn out discussions about the teachings of Descartes and how it relates to the cybernetic population can start to wear on the nerves a tad. Most anime does have an infamous habit of its characters discussing, discussing, discussing the plot, along with life, liberty, and whatever else for long bouts of time, whether it’s poignant or not. The characters in Innocence do this, and they do it way too well. It’s a small drawback, but sadly, it’s a drawback to the movie regardless.
The only thing keeping the balance between the philosophical discussions is the look of the movie, which is more or less art in motion. CGI, 3-D holographic imagery, and traditional animation were all used, and some of the scenes, especially the parade and mansion scenes, look extremely detailed and lifelike. It was mentioned in an article that all the effects took about 5 years to complete, and it definitely shows. When animated movies can have this type of detail, you have to wonder why live action ones seem to lack the same type. There are still the action scenes to discuss, and though they’re few and far between, they’re still better than any of the summer flicks’ attempts at doing similar things.
Ghost in the Shell: Innocence is one of those movies you’ll either love or hate, as cliché as that sounds. If you’re leaning towards hate, you’ll have to be very patient with it, same as you would be if you were leaning towards love. It may not be the masterpiece that part one is, but if you get the opportunity to see it, it will definitely make you sit up and take notice.
3 stars out of 5