After watching the cast interview for 'the place promised in our early days', I have a better understanding of Shinkai's aesthetics. Not a whole new understanding revealed in torch light, but rather an reinforcement of the elements that are already evident in his movies.
He said he used to stare out of the railway train for hours and hours wanting to catch everything. There's always something new to see. So he was bound by a nostalgic childhood scenery that becomes an recurring motif. I guess there is indeed something wonderful and meditative about rusty railways nestled quietly in road grass, appearing blotchy and flickery under warm sunlight. The place isn't for trespassing, except when trains whoosh through with the old chunky chunky rhythm. The two parallel lines could lead you somewhere, might be better than where you stand. Most of all the air smells of a slightly baked summer.
Opposed to a preformed image I have of him, shy and taciturn, Shikai is actually rather outspoken and he talks in 1.5x average human speech pacing (make it 2.0x when he gets carried away). Still I look at him and couldn't help thinking, this's a sensitive guy who makes feminine, monologue movies where voice overs make up for the lack of actions or a solid story plot. Sometimes I wonder if this 'shortcoming', which forwards itself as a trademark rather than an outstanding defect, can be easily brushed aside. There's no limitation to the type of medium a director chooses to fulfill his artistic needs, but there seems to be too much abandon in the code of free expression. It's the same thing when I look at modern art. The spotlight is on 'the concept' while traditional craftsmanship, the solid skills easily slip unnoticed. Call it heavy make-up?
It would be better if Shinkai could do more than a bunch of nostalgic feelings and pretty screensavers.
For fomality's sake, here's the introduction. Byousoku 5cm (or 5cm per second) is a chain of stories composed of 3 episodes telling a romance story of two childhood friends growing apart geographically because their parents are on constant move but they never stop seeking the shadow of each other. The ending is rather maudlin and sour.
If you're familiar with Makoto Shinkai(the director), his story-telling is very introverted and is based on a large amount of soliloquy pouring out melancholic thoughts for the loved one. Byousoku 5cm is what I take to be very personal and might work effectively for teenage audience who share an experience of tender love, but technically and stylistically, this production is a stand still compared to 'the place promised in our early days', his previous animation feature movie. Background design bears the trademark of soft warm light, classrooms, cherry blossoms, panorama views of grasslands swinging in the wind, all matching well with his romantic slash but none of it goes to his credit. You can't possibly pull the old tricks tirelessly without dulling my senses. Too much sentimentality can be a deadly weakness. At least I don't want to see the wine brewing and brewing till it turns vinegar.
The movie is best summed up in the ending song, some 7min long clip which succinctly concentrates the essence of all 3 episodes.
'I've been looking for you everywhere, in places where I know you don't exist. ' There's something heart wrenching about our foolishness in holding on to an ideal that remains an ideal. We so often refer to such relentlessness as 'youth', thinking it's untainted and beautiful.
One More Time, One More Chance Writing: Masayoshi Yamazaki Arrangement: Toshiyuki Mori Transliteration and translation: daike Translation support: Emma Translation edit: icie
How much more do I have to lose, before my heart is forgiven? How many more pains do I have to suffer, to meet you once again? One more time, oh seasons, fade not One more time, when we were messing around
Whenever we disagreed, I would always give in first Your selfish nature made me love you even more One more chance, the memories restrain my steps One more chance, I cannot choose my next destination
I’m always searching, for your figure to appear somewhere On the opposite platform, in the windows along the lane Even though I know you couldn’t be at such a place If my wish were to come true, I would be at your side right away There would be nothing I couldn’t do I would put everything on the line and hold you tight
***
If I just wanted to avoid loneliness, anybody would have been enough. Because the night looks like the stars will fall, I cannot lie to myself. One more time, oh seasons, fade not. One more time, when we were messing around
I’m always searching, for your figure to appear somewhere At a street crossing, in the midst of dreams Even though I know you couldn’t be at such a place If a miracle were to happen here, I would show you right away The new morning, who I’ll be from now on And the words I never said: “I love you.”
***
The memories of summer are revolving The throbbing which suddenly disappeared
I’m always searching, for your figure to appear somewhere At dawn on the streets, at Sakuragi-cho Even though I know you couldn’t be at such a place If my wish were to come true, I would be at your side right away There would be nothing I couldn’t do I would put everything on the line and hold you tight
I’m always searching, for fragments of you to appear somewhere At a traveller’s store, in the corner of newspaper, Even though I know you couldn’t be at such a place If a miracle were to happen here, I would show you right away The new morning, who I’ll be from now on And the words I never said: “I love you.”
I always end up looking for your smile, to appear somewhere At the railroad crossing, waiting for the express to pass Even though I know you couldn’t be at such a place If our lives could be repeated, I would be at your side every time I would want nothing else Besides you, nothing else matters
Paprika literally means a spice made from grounded red bell peppers (ref. wiki).
'You can't tell dream from reality' has been a signature motif of Satoshi's kon's films. Paprikia is a come-back of Paranoia Agent.
Skipping over synopsis and trivia, there's something else that interests me. I can surely smell Shinichiro Watanabe! But can it be he has anything to do with this film?? The old cast of cowboy bebop is back and I'm glad I can distinguish their voices without peeking at the credit. Dr. Chiba is voiced by Megumi Hayashibara (Faye) and Dr. Osanai is voiced by Koichi Yamadera (Spike). Take a close look at the character design of Dr. Chiba who looks like a female version of Jin (Samurai Champloo) =D The heavy appearance of parades and dolls, and extensive philosophical quotes draw you back to Ghost in the Shell. Deja vu?
The opening credit is absolutely enjoyable. You see Paprika dashing between dream and reality, blending into objects and appearing from thin air. Detective Konakawa's reoccurring dreams retold in slightly different twists and progressions is another notable highlight. His rendezvous at radioclub.jp bartenders who brought a final message from Paprika closed the film perfectly. After all, it's a Satoshi film which means it's another provocative approach to acute social problems and human emotions. Although I'm not sure with the term 'superflat', I think Satoshi's manipulation of animation to deal with consumerism culture is a forerunner of such motif.
And yes I'm very touched when the ghost of Chiba reveals her love for Tokita, a bear sized fat genius scientist who invented DC mini. Unconventional but sweet!
But again watching Paprika is a head spinning dream experience since psycho patients are talking gibberish and there're absolutely no rules in dream states. That's why animation's probably the best medium to express it!
All photos are taken from Paprika Sony official site. Credits go to the artists and sony picture classics. (This movie is rated R)
Konakawa's dream in which he was caged on a circus stage and a crowd bearing his face swarmed and screamed his name.
In the finale, a void appeared connecting dream and reality. The world was greatly disturbed.
Director Shima's subconscious world was invaded by a big parade. And look at that doll?! Doesn't it look similar to GITS the movie? I'm compelled to conclude Japan is a doll fetish nation...
more dolls and cyborgs
Paprika venturing into a deserted site
I love how Paprika's dressed up in spicy red with that classic oldie hairdo!
Dreams and butterflies ALWAYS go together. Talking about creativity people!!
