Memories (1995), The segmented film.

Directed by: Kôji Morimoto, Katsuhiro Otomo, Tensai Okamura | Written by: Satoshi Kon (segment 1),Katsuhiro Otomo
Produced by: Banday Visual Company, Studio 4°C, Shochiku, Kodamsha Co.

Awards

• Ofuji Noburo Award; Mainichi Film Concours

Genre

Fantasy, Sci-Fi, Thriller






 The collaboration of 4 Animation masters as suggested in the many trailers and posters isn't falls. The 1995 segmented film Memories forms an ensemble of 3 feature films mostly based on Otomo's manga short stories. There is no question that the quality and dept is admirable among other things, but does it work as an ensemble?

The film caught my interest particularly because of the collaboration of Satoshi Kon and Katsuhiro Otomo in the first segment "Magnetic Rose". Little did I know that he did not actually direct anything until his first work in 1998 leaving me displeased with the fact he only did the script Notes

But you cannot judge such segments based out of petty presumptuousness. A film directed by such artist behind , The Animatrix "Beyond" (2003), Wolf's Rain (2003) and not to mention Otomo's previous work Akira (1982/1988). With Koji Morimoto and Tensai Okamura's experience in the countless anime works they directed/wrote/animated, the ideal episode-like feature film was not far away and made with utmost quality and efficiency. But as a full film? "efficiency" becomes a debatable praise.

The story cannot be seen as a whole and therefore cannot be review as such, the three episodes share no connection nor do they have any continuation what so ever. Unlike The Animatrix and Batman: Gotham Knight (2008) which -like this movie- was a collective of anime studios and director including Madhouse.

Story [SPOILER]

Episode 1

Magnetic Rose

Directed by: Kôji Morimoto | Written by: Katsuhiro Otomo,  Satoshi Kon (script)

A team of deep-space  salvage freighter get a distress signal coming from the space graveyard, they are lead to an asteroid made solely by space scrap when our two protagonists the down to earth Heinz and nonchalant womanizer Miguel are send to trace the signal which leads them into the web of a noble Opera singer or what is left of her and her tragic life while dealing with haunting memories that defy reality in every way raising the question of that distress signal was real to begin with.

This was hands down the best episode and a potential undeveloped story which could have lead to a prolonged film. The dept  and story have a tremendous impact which isn't replicated by the more easy going following episodes. Magnetic Rose set a league of it's own. The magnificent decor is paraded by it's clever 360° view which in turn stimulates the chaotic and frightening nature of particular scenes. 

This episode is a film on it's own and it is a shame that it was left "unfinished" and squeezed with two other episodes. The highlight of this movie, but then again that might just be me.

Episode 2

Stink Bomb

Directed by: Tensai Okamura | Written by: Katsuhiro Otomo

Nobuo, an employee at a medical company who is bothered by a nasty flu is advice by colleagues to try the "experimental medicine" in the Chiefs office which he mistakes for cold pills . When he wakes up the next morning he is horrified by the sight of all the dead employees who died by mysterious causes. Nobuo who foolishly ignore the cause of these deaths is tasked by the headquarter to go to Tokyo with the medical samples and files unbeknownst to the headquarter that the medicine in his body made him a walking bio-weapon which spreads his body odor like poison gas.
The dark comedy is very present in this episode as you witness an epidemic caused by a dimwit everyday man which happened to take the wrong medical sample. Nobuo is in every sense the pinnacle of stupidity. It should strike every person as odd when every one near him suddenly dies, animals and humans alike. It should clear some confusion. Not with Nobuo I was struck between entertainment and frustration by the excessive stupidity brought forth by this man. I had a hard time digesting the fact that a man covered inside deadly gas fails to understand the true cause of it even when the military is blocking his path with their every move to hinder the virus.




Episode 3

Cannon Flodder

Directed | Written by: Katsuhiro Otomo

In a heavily walled city which contains canon at every corner and every few houses in order to fight an unknown city which is implied to be nonexistent.We witness young boy who wishes to become a cannon shooter unlike his father who is a cannon-loader.

The last and more random episode of the bunch. The animation style and feel of the overall episode is more western-like due to the rough thick lines and chaotic shading. The story itself is meaningless pleasantry portrayed in a linear fashion. The few shots after the enormous Red cannon which is central and symbolic to the city strength, are seen as craters in an empty wasteland which questions the very existence of this "moving city", an interesting concept in this short episode next to the animation style.

Rating
8,5 -  Sci-Fi/ Fantasy entertainment pack
Though I enjoyed the bundle of episodes I'm still stupefied of the difference in quality between episodes. The collective rating is slightly down played by the episodes following "Magnetic Rose" which ended with a silent yet full-filling open ending. I'm well aware that the stories are based off the many short stories of Otomo which, without a doubt, is full of better alternatives to form a coherent pack of episode. I'd say it's a good time but the dept of every episode diminishes considerably due to the overwhelming performance of it's introductory episode. But opinions may vary, and so does taste. Comment bellow about your personal experience concerning this film

M.

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Metropolis (2001), the fictional future of many pasts

Directed by: Rintaro | Written by: Katsuhiro Otomo
Produced by: Madhouse

Award(s)

• Best Animation Film - 2nd Place;  5th Fant-Asia Film Festival
• (None out of 3 Nominations)

"Playing like a candy-colored hybrid of Fritz Lang's film of the same name and Ridley Scott's Blade Runner, Osamu Tezuka's Metropolis borrows its plot liberally from numerous legendary sci-fi sources (despite the fact that the original manga was released in 1945, certain cinematic aspects can't help but appearing overly familiar), all the while dazzling viewers on the same cutting-edge visual level as suchanime classics as Akira and Ghost in the Shell. "-JASON BUCHANAN, Rovi (Allmovie) 

Fritz Lang and Osamu Tezuka 

The 2001 adaptation of the 1949 manga of the same name by no other than the godfather of manga himself, Osamu Tezuka which in turn is inspired on the innovative 1927 silent film Metropolis by Fritz Lang. This movie shows it's worth as a piece written by the man behind the acclaimed cyber-punk manga Akira.
The filtering process from genius silent film and sci-fi predecessor to many great films in hollywood's golden age of cinema to a memorable manga brought forth by one of it's pioneers and all time legends who also claimed that he based his work of a single still image of its name sake is a remarkable homage,marvelous and a debate starter of preferences between the above-mentioned works .Be that as it may, the name and premise of this movie spans generations of great minds and great screenplay.

Now I admit that I never saw the original motion picture, therefore not being able to discuss which version is undeniably better. But I can however, compliment this films stunning visuals and accurate recreation of Tezuka's art style while enhancing the monumental posture that is Metropolis and its heaven-reaching tower.I'd also state that the film and animated film both posses an element of originality of it's own cancelling the thoughts that this movie is a copy or a cheap homage. It is not...

This movie is a colorful blend of animation and futuristic technology while preserving aspects of the presumed year the manga was made, probably due to the accurate adaptation of Osamu Tezuka's work (with the exception of some character changes).
While the animated feature and character development fair well in this movie, some turns of events do not and linger in my mind even after I finished this movie...twice.
 For example:

1. The japanese Detective Ban Shinsaku (Kôsei Tomita) who -together with his nephew Kenichi (Kei Kobayashi)- is the main protagonist who came to metropolis to arrest Dr. Laughton for the crime of human Organ-trafficking. Due to unfortunate events they find themselve separated: The detective with it's robot guide (with a serial number as name I won't even try to write that...) and Kenichi with the Tima  (unbeknownst to both of them that she is a robot made for a destructive purpose). Logic has it that the detective will search for his lost nephew who could be dead for all he knows.Well...he does not. While he shows faint signs of concern he does not search thoroughly for his nephew to the point that 5 minutes inward in the movie you can see him eat a hot dog like their is no problem in the world. It's an insignificant flaw but it does raise some moral questions.
2. There is an escape scene where Kenichi has to run away and hide with Tima for safety while being shot at repeatedly. It isn't exactly news that antagonists are horrible at aiming. But to miss 5 shots at two people standing still? That's pushing it... I know that it would have crippled the chasing scene and important turn of events but he could've at least scraped him.

The turn of events and cruel human-to-robot violence fuel the main thoughts that robots are abused and misunderstood as one of it's biggest enigma struggle to understand that she is not human and is destined for great destruction. That concept is constantly pulled back and forth in terms of importance in the movie it didn't quite stick, it was a mere reminder of interaction between humans and the machines much like The Animatrix portrayed  but less impressive. They should have worked on it more is what I'm getting at. Some bonds like the detective and his appointed robot partner where hardly credible and forced. I often found myself not believing them.
 The kind-hearted kenichi finds a fitting place in this turmoil and creates strong bonds with them and Tima in particular. The chemistry between the two said characters is portrayed as strong and emotional and plays an important role near the end. It is a shame that that bond wasn't exploited more to maximize the emotional and moral impact at the end of the film.

Rating

7,5 - Futuristic thrill !

The first animation film that taught me that not all movies are for children. I still cherish this childhood memory that screened at midnight on my old TV. The dept and visuals of this film are a mixture of Osamu tezuka particular characteristics and Fritz Langs original picture. It is not the greatest movie but it still deserves some respect and attention. 

M.

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