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Review of the anime film "Ghost in the Shell"

A classic cyberpunk philosophical anime film, often incorrectly credited to blockbuster fantasy fighters.

10
evaluation

Japan 2029 year, in which many people have turned themselves into cyborgs. 9 Department of the Ministry of Internal Affairs is investigating crimes committed by an unknown foreign hacker. The villain is known as the "Puppeteer", because he often hacks computer access to other people's consciousness and takes them under control. Such a criminal is an exceptional danger for cyborged operatives of the 9 department, and therefore they hunt him with special zeal. Suddenly, the Puppet Master's consciousness is found in the body of a robot trying to escape from the factory where it was assembled. When a hacker is interrogated in the 9 department, he confesses that he is not a person, but a computer-acquired computerth program.

Shot from the anime film "Ghost in the Shell"

Shot from the anime film "Ghost in the Shell"

"Ghost in the Shell" was created with the financial support of the American distributor of the anime Manga Entertainment. The company has invested in the film Hosea, because it's tired of waiting until the Japanese themselves draw something comparable in scope and pathos with "Akira", the previous major hit of selling anime in America

"One of the best animated films created in the history of Japan" - this or similar definition can be found not only in enthusiastic reviews of anime fans, but also in solid encyclopedias. "Ghost in the Shell" is often included in the anime lists recommended for beginning fans of Japanese animation, and he is listed among the paintings that inspired "Matrix", The main Hollywood cyberpunk hit. But are the praises regularly brought down on the tape released in 1995? Mamoyu Osisha, based on the same "adult" comics Masamune Shiro, which was published with 1989 for 1990 years?

Shot from the anime film "Ghost in the Shell"

Shot from the anime film "Ghost in the Shell"

Fair, but not all of them. "Ghost" is often called a fantastic (more precisely, cyberpunk) militant and praised for its action scenes. However, Mamoru Hosea ("Indisposed aliens","Avalon"," Patlabor ") has repeatedly admitted in an interview that he can draw an action, but does not like to do it and puts the conversational scenes above the militants. In "Ghost" it can be seen without directorial explanations. By genre standards, action scenes in the film are few, and in scope and ingenuity they are a couple of orders inferior to "Akire", With which" Ghost "is often correlated.

Shot from the anime film "Ghost in the Shell"

Shot from the anime film "Ghost in the Shell"

In the comic of Masamura, Shiro Motoko Kusanagi looks younger than in the film, and she has a more restless character. The designer of the characters of the tape Hiroyuki Okiyura considered that Motoko in the script is too serious and deep character to appear on the screen as a "girl"

What a grand Akira! Look, let's say, the first scenes of the first series of the Japanese anime-video series "Crisis every day" (Bubblegum Crysis, 1987-1991), also related to cyberpunk. These fragments are not too graphically detailed and not particularly qualitatively animated, as their creators had a smaller budget than Hosea. But in essence it's a more sweeping action than in Ghost. And it is evident that the "Crisis" was created largely for the sake of vigorous combat scenes, often accompanied by equally vigorous music. On the contrary, the music composed for "Ghost" Kenji Kawaii melancholic and meditative. And this is not a mistake of a great composer, but part of a director's plan. Yes, in "Ghost" there are spectacular, unusual, superbly traced combat footage. But this is not an action movie, but an anti-motivator - a story about the meaninglessness of the war, which lead the main characters.

Shot from the anime film "Ghost in the Shell"

Shot from the anime film "Ghost in the Shell"

"Ghost in the Shell" - one of the first anime films with abundant use of computer graphics and computer revision of frames, drawn by hand

In fact, at the beginning of the picture, the characters, led by Major Motoko Kusanagi, an almost entirely "robotic" woman, are sure they beat off a foreign attack or pursue international terrorists (depending on who is behind the Puppet Master). But in the course of the action, it turns out that the characters are pursuing a program created in another government department, and that the "criminals" that oppose them are ordinary people with hacked and reprogrammed brains, and not convicted villains. Moreover, Kusanagi and her deputy Bato in the conversation heartily acknowledge that they themselves are government puppets, because they can not give up the service paying for the maintenance of their computer parts. Therefore, at the very beginning of the film Motoko performs a deliberately criminal order and kills a diplomat, protected by the Vienna Convention. Even if she wanted to rebel, she would not be able to do it. Her body at 95% belongs to the government.

Shot from the anime film "Ghost in the Shell"

Shot from the anime film "Ghost in the Shell"

As the Puppeteer rightly observes, when faced with Major Kusanagi face to face, they look like mirror reflections. He is a program that tries to break free. She - once a free man, allowed to turn himself into a robot-killer. And Motoko does not protect law and order, but sheds other people's blood for the sake of unnecessary bureaucratic fuss. Not surprisingly, she was addicted to diving to a depth that is deadly dangerous for a creature that is much heavier than water (a woman uses special water cannons for swimming). Motoko clearly suffers "thirst for death" - a professional disease of the military, disappointed in his mission, but too proud to retire and quit comrades.

Shot from the anime film "Ghost in the Shell"

Shot from the anime film "Ghost in the Shell"

The convincing antiwar and anti-bureaucratic pathos of the "Ghost" is only one of its virtues. The main of them is the philosophical component of the tape. Almost every second conversation of the film proves to be a serious discussion of the consequences of universal cyborgization. By the lips of characters or plot situations, "The Ghost" asks many acute questions, some of which the society has to deal with, and others are likely to become serious problems in the coming decades. As befits intelligent science fiction, Hosea's film helps prepare for the future, and without his observations and observations it is difficult to imagine a discussion about the pros and cons of technological progress.

Shot from the anime film "Ghost in the Shell"

Shot from the anime film "Ghost in the Shell"

Another undisputed plus of the film is detailed graphics and high-end animation. It is clear, on photorealism "Ghost" does not pretend, and in some places you can notice the angles cut off by the animators. But still it is so beautiful that it is worth seeing only for its magnificent image. You can also watch the film in order to feel yourself in Hong Kong. The artists of the Production IG studio copied from photos and video clips not only the Hong Kong city landscapes, but also signboards in Chinese to emphasize the "Babylonian" cacophony of the approaching cyberpunk future.

Shot from the anime film "Ghost in the Shell"

Shot from the anime film "Ghost in the Shell"

The music of Kavaya also deserves repeated mention. Especially sounding on the initial credits is the enchanting composition "Assemblage of the Cyborg", composed in the traditional folk style and including a hymn in the ancient Japanese language. As already noted, Kawai does not support the aggressive spirit of the narrative, but provides a contrast counterpoint and emphasizes the contradiction between what is happening on the screen and what is going on in the soul of philosophizing heroes.

Shot from the anime film "Ghost in the Shell"

Shot from the anime film "Ghost in the Shell"

Among the shortcomings of the tape is usually called the plotting of the first half of the "Ghost" and the weakly outlined characters of most of the characters. But in the light of all of the above, both are explainable and forgivable. The plot is not completely intelligible, because the heroes are led by the nose and forced to participate in a senseless bureaucratic swallow that spills over city streets. The characters of the same characters are barely outlined, because they are government "robots", from which for years all human was etched, not necessary for work.

As a result, to find fault in the "Ghost" can only be repeated "nudity." Yes, Motoko regularly undresses in the frame, because her thermal camouflage is mounted directly into the body, and the cyborg, as the hero of the "Invisible Man", has to be exposed to hide from the enemies' eyes. But this plot move is clearly invented only to spend fans of hand-painted erotica, and without it it was easy to do without. No, we are not a prude, and we do not mind nudity just because she's nude. But against the background of the general high-mindedness of the picture, regular stripping Motoko is perceived as a clumsy and inappropriate giving to spectators who can not appreciate the ideological depth of the Ghost. Well, at least, Motoko beautifully painted chest! And this is not the drawback for which it is worth reducing the estimate.

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