second chapter of the saga of cyberpunk manga by Masamune Shirow, this time also written and directed by Mamoru Oshii , which became effective in its own right second father to this strange world - this time aided by the famous animator Hayao Miyazaki's Studio Gibli.
The action has shifted to 2032, years after the disappearance of Major Kusanagi on the network after the battle with the Puppet Master. Batou continues to ask where is and if you ever see her again. Meanwhile, the gynoid, robots created to satisfy the sexual pleasure of the buyer, have turned against the killing compratoti. To bring together the crimes, is the fact that all the robots involved were produced by Locus Solus (the same as the work of French writer Raymond Roussel, who's just not fuckin 'avant-garde) ... that this company hiding something?
thought the first film was a hut? Haha, deluded ... you have to think again! The fact that I described the plot in so few lines to let you know what they are expected to fill the almost two hours of viewing. Exactly, mental saws, never abundant as in this case. Only in the sketch the plot was impossible not to point out a quote literary / philosophical, and then a little 'accounts.
Maybe I'm giving him too much about (but maybe not, since he was nominated for the Palme d'Or at Cannes), because it has an outlet in a dark period of my adolescence (see case by a girl, a bit 'as the main character Batou), but it is one of the film that changed my life. Indeed, shaken and shocked in the depths, far more than the first.
not a film that I recommend to most people possible as the first chapter. Too complex to be so complacent and, on a plot too convoluted to linearissima exasperated beyond belief, so much so that eventually becomes a secondary factor due to the multitude of considerations involved. But I loved him despite his faults millemila.
Sure, some thought less would be beneficial to the overall pace, leaving also the sense of destruction and loss of identity experienced by the characters, but that's Oshii. Take it or leave it. This soul is the sum of its poetic and visionary.
Again, these animations do not disappoint, even if the parties in CG are perhaps too blunt and too separate from the other party animated by hand. The end result is an animation of realistic and sometimes too cold, but I think it would allow to better identify themselves with the robot moving in the plot.
But despite everything, the human side prevails. And how does this simple but chilling final scene, we are forever destined to repeat the same mistakes.
PS: The original title is del'opera "Inosensu ( イノセンス ), literally, 'innocence'. E 'was distributed with the international title of "Ghost in the Shell: Innocence. "Let us give more praise and glory to our own translators for the adaptation of the title-_-'
0 comments:
Post a Comment