Metropolis Streaming
Lundi, août 30th, 2010 |
Metropolis Streaming.
Movie Title: Metropolis Metropolis is available for streaming or downloading. |
Well, for once I will not cut corners around this review, this film must be watched by everyone. It could quite possibly be the most well-done anime of all time.
Now, to start off with the basics, “Metropolis” is a state-of-the-art anime that was based off of the old Osamu Tezuka (”The God of Manga”, creator of “Astro Boy,” “Kimba,” and “Adolf” to name a few) comic from 1949. It’s modern update was written by Katsuhiro Otomo (”Robot Carnival,” and “Akira”) and directed by Rintaro (”X:The Movie,” and “Galaxy Express 999″). But you all know that after reading the shallow Amazon review from above.
The film’s story has been brought up again and again, so I won’t go into it that much. However, I will say this, the story is executed in a form in which I would call “Noir Disney.” Don’t worry, it’s nothing bad, it’s just saying that although the film looks like it takes a childish approach to things, it tends to be a bit more on the dark side. Thus, the film seems like a very interesting blend of two different genres. Besides, Otomo takes extreme cautions with the script, knowing that the material it’s based on is nearly half a century old.
Characters are something to gleam over as well. Unlike “Akira,” “Ghost in the Shell,” or “Arcadia of my Youth” the characters have a full understanding of their emoitions. This can be credited not only to the superb animation, but also to the very talented JAPANESE (not English) voice cast. It is very easy to fall in love with all of these characters. From the robot, Pero, to the detective Shunsaku Ban, even to the enigmatic Rock of the Marduk. A rarity even in Disney movies.
The animation is the real star of the show. Blanding extraordinary CGI and traditional Tezuka-style characters, the artwork teems with both powerful and simple energy that radiates from ever cell of animation. Madhouse Studios (”Ninja Scroll,” “Trigun,” “Cardcaptor Sakura,” and several others) spent a LOT of time and effort on these breath-taking visuals. Whats more, they even put in enough effort to make the film seem as if it were alive. For example, in one scene, Shunsaku Ban is reading a book, he flips the page, but the page flips back (as it would in real life) and he turns the page back to where it was. Don’t see my point? Well, considering that animation is a technique that requires A LOT OF TIME AND EFFORT, the fact that they would put something as small as that gives the film a certain clarity not seen today.
Last note, the soundtrack….wow. Everything about the music is so…so…I don’t know, vivid, alive, real…I could throw out a lot of adjectives here. Its basically Dixie-Land Jazz played in the background and foreground throughout the entire film. It captures just about everything in the movie. From the city scapes, to the chase scenes, even to the little scenes like people in a bar. What’s the shining note is the climax song, Ray Charles’ “I Can’t Stop Loving You,” I won’t spoil the ending but I will just say this, “Dr. Strangelove” anyone?
In the end, “Metroplis” is a landmark in anime. EVERYONE should buy the DVD when it comes out, or just go to the theaters. Believe me, it is time worth spent. And if your an anime fan, you have more of a reason to go. You can’t be a true otaku simply by watching “Fushigi Yugi” and “Utena” all day long. Do yourself a favor and watch this. There, I said my piece.
-RW
Between 1947 and 1949, Osamu Tezuka - who was to become the world’s best-known anime producer - issued a small series of manga about a world of the future where industrialization, robots and humanity are all at odds. Sharp class differences also contribute to the tensions of a world largely in the hands of the power hungry. Now, 50 years later, Rintaro, another famous name in anime has decided to create an film from the original manga, sparing no effort or expense.
We find Metropolis in the throes of a celebration. Duke Red has completed the Ziggurat, an immensely tall building whose central tower conceals a solar weapon that will make the city the capital of the world, and Duke Red its ruler. The intricate politics of Metropolis are based on three tiers - the upper class, a vast and impoverished lower class, and beneath all else, the robots. There is great conflict over the role of the robots. Many fear them, and an anti-robot faction called the Marduks watch the streets, ready to destroy and automaton that acts out of line. Duke Red is the power behind the Marduks, but secretly he has hired Dr. Laughton, a criminal scientist, to build a super robot in the image of his daughter. This is Tima, whose destiny is to command the weapon hidden in the top of the Ziggurat.
Into this come Shinsaku Ban and his nephew Kenichi. Shinsaku is a detective, come from Japan to track down Dr. Laughton. As he is doing this, Duke Red’s adopted son Rock, leader of the Marduks, is plotting to destroy Laughton’s lab and Tima with it. The resulting conflagration catapults Kenichi and Tima into a wild race for life with Rock right behind them. On the way, we get to see much of Metropolis’s underground, bringing home the social message.
The real thrust of the plot, as is often the case with anime involving robots and cyborgs is the question of what is human and what is not. Or whether that should even make a difference. Tima, who does not know she is not human, finds she is capable of wonder, love, and fear. Is she a soul in the making or a flawed machine? If she had never met Kenichi this would have been a far bitterer film, and the white doves would never get to fly.
Not only is the artwork remarkable, but this is an exquisite piece of animation, smoothly combining CGI and two-dimensional animation. Sometimes the entire screen seems to be in motion. An agile eye will pick up new details on each watching. Toshiyuki Honda’s music is equally satisfying. It is interesting that Tezuka refused to have this story made into a film during his life. Apparently, he thought of ‘Metropolis’ as an early and not especially successful effort. However, Rintaro and writer Katsuhiro Otomo (of ‘Akira’ fame) have much modified and expanded the story. This is a commonplace when a manga is converted to the screen, since many Japanese anime producers avoid slavish imitation if they have an opportunity to break new ground. I like to think that Tezuka would have been impressed with Rintaro’s efforts even if ‘Metropolis’ was no longer just his story.
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