January 14, 2006

Ghost in the Shell 2: Innocence

Year: 2004

Directed by: Mamoru Oshii

Written by: Shirow Masamune (Comic), Mamoru Oshii (Screenplay)

IMDB Reference

Degree of Cyberpunk Visuals: Very High

Correlation to Cyberpunk Themes: Very High

Rating: 10 out of 10

Overview: If you’re looking for the best instance of awesome 2D-3D anime with an incredible philosophically laden story, Ghost in the Shell: Innocence is the hands down winner. While I still like Wonderful Days more on pure cinematography, it doesn’t hold a candle on either the story or the philosophy. Oshii is truly a master at providing an incredibly intricate, fully researched message about the direction of humanity in a wonderful anime package. Make no mistake - Oshii is fully up on co-evolution theory (the co-evolution of man and his tools) and has something very interesting to add to the discussion. And while it has all of this, GITS:2 does suffer overtly and purposefully from the absence of its star character - Motoko.

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Major Motoko, the main character from the first Ghost in the Shell movie (which might still make an appearance here…) is no longer here, and the rest of the cast has to pick up the pieces and move on. Bateau (Ôtsuk), major motoko’s partner from the first movie, and a cyborg detective for the anti-terrorist unit Public Security Section 9, investigates the case of a female robot - one created solely for sexual pleasure - who slaughtered her owner. Togusa, the mostly human detective that Motoko found in Ghost 1 is assigned as Bateau’s partner. The plot thickens as the movie progresses, and the two are sent to a number of incredibly cyberpunk looking locations to uncover the truth.

Overall, this movie has the feeling of a cast trying to cope when the major star has left. Similar to the Borg Encounter when Picard is removed, or maybe some of the first star trek series when Captain Kirk is lost somewhere doing green chicks, Motoko’s disappearance dominates a most of the back story. We get to see almost a character study of Bateau, a mostly cyborg being who has suffered the loss of the closest person alive to him struggle to maintain meaning in his life
and Togusa failing to live up to Bateau’s expectations as a partner. While the characters are able to work fine within the plot, the movie suffers from the lack of both sex appeal and the lack of a truly dominant character.

Similar to other Oshii films, there are instances where the plot gets put on hold to allow the philosophy to explored. This is a different sort of pacing (again copied by the matrix) which some like and others find pretentious (I like it!). The philosophy breaks are interesting, but only get fully connected at the end. Additionally, the plot is twisting enough and only clarified in the end that a second viewing would aid in comprehension.

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Even if you don’t like the metaphysical mumbo-jumbo or strange pacing, Ghost 2 should be seen as mandatory viewing for its truly mind blowing merging of computer imagery and hand drawn animation artistry. This is cyberpunk at its finest! Truly, Neuromancer’s William Gibson would be floored with the continually awe-inspiring scenery that’s intermixed with the grittiest of settings. I lost count of the number of sets I would have loved to freeze and place on my wall. From the creation of robots complete with fiber optic circuitry and positronic brains, to the dingy alleys of the underworld, the vast expanses of the futuristic building-scapes, this movie employs every color palette in the most effective manner imaginable. Often, you almost stop paying attention to the subtitles to just take in the scene in all its heavenly glory.

On top of this, we get trademark moments of Oshii pacing. Oshii is fully content to leave the dialogue aside for a while and let the mood develop from the visuals and sound. Very few movies do this effectively - Avalon and GITS:2 certainly come to the top of the list. In short, the pacing makes GITS:2 a fully immersive experience in a way that visuals alone couldn’t do.

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GITS 2 Philosophy: In looking at the philosophy, the first Ghost was dominated by a discussion of what it means to be human and being alive. It culminated in the creation of a new species - the merging of a sentient program called the puppet master with Motoko, an alive human complete with a soul (ghost). Without knowing the details of Ghost 2, one would have expected in seeing the first movie that Oshii would have explored this vast new experience in Ghost 2, Yet this was not to be, as instead the story takes a very different perspective to the ideas covered in the first movie. Innocence is really tracing the idea that what we "see" isn’t at all real, and that reality as a concept needs significant revision. This is done in a variety of ways through mirror analogies, VR segments and discussions of whether there is a difference between artificial life and real life. In this sense, GITS2 is far more the philosophical sequel to Avalon.

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Ghost 2 almost turns the perspective from Ghost one on its head and looks at what it means to be a sentient program and how even humans seeking to become fully cyborg struggle to attain this plateau of ever increasing sensory perception and understanding. Taking Decarte’s notion ("I think, therefore, I am") that sentient life does not require a ghost, Ghost 2 explores the notion that a sentient program or robot (called a "doll") might NOT want to have a ghost, and looks at what happens when ghosts are foisted on dolls. Ideas taken for granted in the real world, like the demarcation between life and death get blended and rendered almost meaningless.

On Dolls: Let’s go into a discussion of dolls for a moment: On one hand, dolls in our terms are purely fake, but in the eyes of a child, are actually "real" in the sense that they are assigned virtual persona and as an object and affect the behavior of the child. In effect, the notion of the child’s mind being constrained to her head is challenged - the child’s mind functions "virtually" in the doll. This notion of a doll is also examined in the sense that it contains our greatest fears - that all we are is a "shell" without something actually unique inside that makes us special. In making a cyborg "doll" that mimics a human - GITS2 poses that we are creating a human-looking shell that is sentient in the Descartes sense, but is not complete. Even worse, when given a facsimile of a ghost, we are doing real harm to the doll as the doll is now neither a stable sentient robot nor a human, but a bastardized thing in-between.

In total, there is this ongoing discussion of three types of "ultimate" life forms: God, Dolls, and animals. They all embody the notion of innocence. God (in this sense, almost synonymous with Major Motoko’s new form) is all knowing so basic human frailties no longer affect her. Needs and desires that humans have are non-existent for God. Dolls, and in cyborg version of dolls - sentient robots, are also perfect in that they can think but don’t fall prey to human inadequacies. Finally, Oshii argues animals such as dogs are innocent. Their joys in life are simple ones - Batou’s dog scenes also serve to demonstrate that which is still "human" about Batou - everything else in his life has been rendered meaningless. In this sense, interestingly the dog takes on the same roll as a doll does with a child - This shows Batou’s mind expressing its "virtual" humanity externally.

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Throughout the movie are instances of humanity’s self-gratification, extreme self-importance and the consequences of over-indulgence. From the enormous cathedrals to the dingy alleyways, to the making of dolls in our own “perfect” shell of ourselves, Oshii’s message is that we are doing everything possible to hide ourselves from true humanity. The beautiful imagery of GITS 2 is the result. Freedom comes not through materialism, but through real “humanity.” However, one wonders whether Oshii thinks real humanity is in anyway restricted to humans. At some level Oshii is saying our bodies are now obsolete, and that what makes us human, our shell, may not be the purview of humans.

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As for the details of the merging of traditional hand drawn animation, there are a few scenes where the Babylon 5-like ships or statues don’t quite fit, but for the most part, the expansive scenes have incredible depth, and the close-ups are as exquisite as a portrait. You are truly missing out on a feat of artistic beauty if pass this movie up. And overall, GITS:2 is clearly in of the best new cyberpunk movies out. Watch it - you won’t be disappointed.

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Tags: cyberpunk movie review

This post has been filed under Hot Cyberchicks Kicking Butt, AI (no body), Awesome Cyberpunk Themes, Man-machine Interface, 10 Star Movies, Android Movies, Awesome Cyberpunk Visuals, Animes, Cyberpunk movies from 2000 - 2009 by SFAM.

Metropolis

Year: 1927

Directed by: Fritz Lang

Written by: Fritz Lang (Script), Thea von Harbou (Novel, Script)

IMDB Reference

Degree of Cyberpunk Visuals: High

Correlation to Cyberpunk Themes: Very High

Key Cast Members:

  • Maria (cyborg): Brigitte Helm
  • Johhan ‘Joh’ Fredersen: Alfred Abel
  • Freder Fredersen: Gustav Fröhlich

Rating: 10 out of 10


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Overview: Most people probably think cyberpunk started in US in the early 80s. I say it started in Germany in 1927. Metropolis all but disapeared after its initial release, but slowly gained a following in drops and drabs, and then with the early 80s restorations, it began to truly take hold in the minds of most as something special in movie making history. Is it a coincidence that Metropolis gained prominence right around the same time as the cyberpunk movement took hold? I think not. If you’re interested in seeing the first movie with replicants, use of computers, cybernetic body parts, full corporate control over society, a robust underground, and a massively negative impact of technology on society, look no further than Fritz Lang’s expressionist masterpiece, Metropolis. You think not? Hopefully my review will sway your opinion.

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The Story: Metropolis takes place in an extreme dystopic future where a society is clearly divided into the workers and the elite. The elite live above ground in this truly wonderful city called Metropolis that has gardens, fascinating architectures, advanced transport systems and sinful night clubs. The workers live underground, in a dreary non-distinct, undifferentiated set of buildings. Their whole existence centers around keeping the machinery going that powers Metropolis.

Johhan Fredersen, the corporate CEO, does not see the workers as people, but instead sees them as no more than specialized parts in his grand, clockwork-like machinery. This point is struck home in that the workers life is organized in 10 hour shifts. They work 10 hours on, than have 10 hours off. In other words, their sense of time is not dictated by night and day as it is in metropolis - they live underground so they rarely if ever see the sun. Their time and life is fully guided by the needs of the machinery - the 20 hour days ensure they are fully disconnected from anything natural.

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In this world, the son of the corporate CEO (Johhan), Freder, accidentally is exposed to and falls in love with Maria, a woman who has made it her mission to give hope to the working class. Freder takes the role as a working class member and pursues her down to the underground city and takes the role of working class member. While there, he works a grueling 10 hour shift in the factory, and begins to understand the inhumane way they are treated. He later attends a secret meeting in the catacombs where Maria is giving hope to the working class through spreading the word of peace and Christianity.

Unfortunately, Johhan finds out about this worker uniting, and wants to stop it. He does so by enlisting the aid of a mad scientist named C.A. Rotwang. Johhan asks Rotwang to create a replicant of Maria and schemes to replace her in order to incite the workers into revolt so that Johhan can crush the leaders. The story progresses from here, but the short of it involves betrayal, romance, action and suspense.

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Futuristic Thoughts: While Metropolis was made prior to the computer age, its interesting that the idea of gauges and governors for machines, and a central machine that combines all the inputs and provides it to the executive is already envisioned. A never ending stream of information is sent to a control panel in Johhan’s wall that gives him a constant stock market-like update of the status of the machine. Additionally, Johhan has instant access to anywhere on the job floor by a videophone. In short, Johhan has instant access to the workings of his machine whenever he wants.

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Cyberpunk Visualized: The Replicant C.A. Rotwang modifies to turn into Maria required that the real maria be captured so that her “essence” could be transferred to the robot. By a process unexplained, the robot then has its outside appearance modified to “become” a replicant of Maria. This, in essence, is the precursor to the storyline in Ghost in the Shell: Innocence, where real humans have their ghosts copied and transferred to android dolls. Because Maria’s “ghost” has been replicated into this android, the evil android Maria exudes sexual energy to the point that she instantly enchants the entire worker city and incites them to rebellion.

In this scene above, we see that energy and information are almost synonymous. Maria’s ghosted soul is being transferred into the evil Maria android. And here all this time, I mistakenly thought Frankenstein originated this look! Truly, C.A. Rotwang’s laboratory would have worked perfectly for Dr. Frankenstein.

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C.A. Rotwang, the evil scientist, has a prosthetic hand that functions as a real hand. He has effectively merged his machinery with the human mind to allow it to function as a part of him. While the word cybernetic body part has not yet been invented yet, the implication is clear - in Metropolis, where machines dominate all aspects of life, it is indeed possible to replace body parts with cyborg limbs.

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In short, Metropolis portrays a technology-driven culture that devalues and devolves the humanity of the workers, while at the same time, allows the elite to lead perverse and sinful lives. The technology strips us of our humanity both in removing us from a natural existence, integrating us as replaceable parts in a machine, and even allows us to replace people with Replicants!

The Bottom Line: So OK, fine, its possible to look at Metropolis as a cyberpunk film. So why watch it? Answer - because its a terrific movie! If you get the Kino version (you MUST!!! the other cheaper versions don’t follow Lang’s script), you will be viewing a masterpiece of early cinema. Metropolis has replaced Passion of Joan of Arc (Dreyer, 1928) as my favorite silent movie. And truly, its influence on the cyberpunk movie genre is surpassed by only one film. If you get this, you won’t be disapointed.

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This post has been filed under Hot Cyberchicks Kicking Butt, Awesome Cyberpunk Themes, Utopia Surrounded by Poverty, Security-Surveillance State, Dystopic Future Movies, Man-machine Interface, Android Movies, Awesome Cyberpunk Visuals, 10 Star Movies, Cyberpunk movies from before 1980 by SFAM.

Armitage: Dual Matrix

Year: 2002

Directed by: Katsuhito Akiyama

Written by: Naoko Hasegawa, Hideki Kakinuma

IMDB Reference

Degree of Cyberpunk Visuals: High

Correlation to Cyberpunk Themes: Medium

Rating: 4 out of 10

Armitage: Dual Matrix DVD

Overview: While the budget for the animation is better than the original Armitage, the story is SIGNIFICANTLY worse. The place where Armitage III shines (identification with the characters) is exactly where the sequel is most lacking. They ramp up the cool explosions and fights while substituting mannequins for the lead characters. This was a sequel without a story - the message had already been communicated in the first one, and now there’s nothing left to do but rehash it, only with more incoherently and with more explosions. And really, I find the animation style in the first one lots better, especially for Armitage.

However, the two hot Armitage replicants in wings and skin-tight clothes are pretty cool. In fact, they were definitely the highlight of the movie for me.

Also, as an unintended plus (or minus, really), if you check out the English track, you get to hear the voice of Jar Jar Binks (Ahmed Best) reprise his famous role as a side-kick. Only this time he’s a cyborg doctor (but still sounds the same).

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Tags: cyberpunk movie review

This post has been filed under Hot Cyberchicks Kicking Butt, 4 Star Movies, Animes, Android Movies, Cyberpunk movies from 2000 - 2009 by SFAM.
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