The Triplets of Belleville bills itself as being something different from anything you’ve seen before. This may not be 100 percent true, as it certainly takes its cues from some of the original animations dating back to the first filmic era and there have been other animators to play extensively with the medium. However, it is a film you don’t see every day with a rather unusual style. The film has a certain dark, dingy quality that’s hard to put your finger on.
Visually, there are a lot of muted colors, with browns and beiges predominating, similar to old sepia photographs. Likewise, character designs are somewhat grotesquely shaped, and some of the scene are just a little bizarre.
Continue reading “The Triplets of Belleville”
In general, the history of cinema seems to be more significantly linked to dieselpunk and cyberpunk as opposed to steampunk. This isn’t surprising, considering cinema isn’t considered to have entered its prime until the 1920s, around the beginning of the “dieselpunk” era.
However, it’s important to remember that in 1895, the Lumière brothers held their first public film screening, some thirty years before the Golden Age of Silent Film.
Continue reading “The Original Steampunk Cinema”
The live-action film Casshern (directed by Kazuaki Kiriya, 2004) is based on the 1973 anime of the same name. This fact is a sore spot for fans of the original, who generally seem to be unanimous in their dislike of the filmic remake. On the other hand, fans of the movie may not enjoy the anime upon viewing.
I have to admit that I’ve only seen a few fragments of that original 1970s animation, but I think I’ve seen enough to say that I actually enjoy both, for their own reasons.
Needless to say, the 70s anime is generally bright and campy. The film is, however, dark and extravagant (perhaps to excess). This already forces a wedge between the two, which is driven deeper by some drastic changes to the plot.
Continue reading “Casshern”
When one says that Atlus’ Shin Megami Tensei: Devil Summoner 2: Raidou Kuzunoha vs. King Abaddon is set in an alternate history Japan where the Taisho era (1912-26) has continued on into the 1930s, one might expect this alternate history setting to play heavily into the plot of the game. “How would Japan be different if the Taisho era had not given way to the strong militarism of the 1930s that foreshadowed Japan’s involvement in World War II?”
For better or worse, this is not the case. The story is, instead, highly reminiscent of detective novels of that era, such as the Kindaichi series written by Seishi Yokomizo, but with the addition of the standard theme of all Shin Megami Tensei games: demons, devils, and dark magic.
Continue reading “Devil Summoner 2: Raidou Kuzunoha vs. King Abaddon”
It is difficult to describe the exact relationship between the 2001 anime Metropolis, directed by Rintaro, and Fritz Lang’s 1927 silent film of the same name without longwinded explanations or vague terms like “inspired by” or “loosely based upon.”
As a matter of fact, the anime is chiefly a filmic adaptation of a 1949 manga by Osamu Tezuka, best known as the creator of Astro Boy, which is purported to be “loosely inspired” by a few promotional images of the famous masterpiece of silent cinema.
Continue reading “Rintaro’s Metropolis”
No film genre has been as beloved by dieselpunks as film noir and, for many, the first glimpse of this classic American genre was through the subsequent attempt to revive it.
This genre, generally referred to as neo-noir, is probably best known for its fusion with cyberpunk in Blade Runner (1982). However, one the oldest and purest examples of the neo-noir genre came in the form of the period film Chinatown (1974), directed by the infamous Roman Polanksi.
Continue reading “Chinatown”