GHOST IN THE SHELL
This robot chick doesn't do windows
Review by: Craig "Fatal Error" Norris
Length: 2 hour movie
Genre: Sci-fi, action, psychological
Watched: All, dubbed
I've noticed that some anime films are a lot like the books that English teachers forced us to read in high school; they're supposedly "classics." No one knows who determined this, but no one is arguing, either, and as a result they are forced upon the masses. Now, while I enjoyed the tongue-in-cheek humor of "Oliver Twist" and the innovative symbolism of "Old Man and the Sea," I can safely say that the vast majority of the classics have disappointed me. And so it stands with this modern day must-watch title of anime. Although, it doesn't drag or hurt nearly as much as anything by Tolstoy.
Plot synopsis: In the year 2029, the Internal Bureau of Investigation, with the help of Section 9, is hot on the trail of a dangerous computer hacker that can infiltrate and manipulate androids and cyborgs. What they don't know is that the hacker, known as Project 2501, is actually a formless electronic entity created by the Ministry of Foreign Affairs for international espionage. But Project 2501 is tired of its life in cyberspace, and seeks to merge itself with a cybernetic body and confirm its own existence. Its target is Section 9's best agent, Motoko Kusanagi.
Artwork: Only about one or two productions come to my mind that even begin to approach the level of artwork in this film. In a visual sense, the movie is about as flawless and breathtaking as any film before or since. Everything from close-ups to panoramic cityscapes is rendered with extraordinary detail and precision. Considering that the film was made before CG began to be widely used, and is composed mostly of cel work, its timeless quality is particularly impressive. Even with the aid of state of the art production techniques, topping this film's visuals would be a real challenge.
Music: To be honest, I didn't like it that much. The theme song is very disjointed, and is actually not at all pleasant to listen to. Most of the in-episode tracks are fairly forgettable, utilizing subtle techno elements in an attempt to reinforce the futuristic setting. I believe that the soundtrack tried too hard to be edgy and poignant when a much simpler and more traditional score would have sufficed. It certainly doesn't suffer from a lack of effort, but the end product is clunky and unimpressive.
Characters: Another area where this movie fails to impress is in the character development. Yes, it's only a two-hour movie and we're not going to learn everything about what makes the characters tick, but with so much focus on exploring the coexistence of man and machines, the characters were left high and dry. The one we learn the most about is Kusanagi, and even her character is left as one-dimensional, existing only to ask questions and receive answers that move the plot along. We do learn that she is analytical and hard-nosed, but even a sparse handful of personality traits aren't enough to save her from flatness. A few other members of Section 9 are given screen time, such as Chief Aramaki, Batou, and Togusa, but they amount to little more than token characters that seem to exist for the sole purpose of not making Kusanagi look like a screen-hog. The most developed character is Project 2501, who calls himself The Puppet Master. Of all the characters, he is the only one whose origin, purpose, and desire are explained. When the most developed character can fit on a CD-R, you know there are problems with character development.
Plot: It's a good idea, but there are problems with its execution. The biggest flaw is that it tries to be deeper than it really is. At its core, it is about a computer program that develops sentience and wishes to have a body of its own. Sort of like an IBM-inspired production of "Pinnochio." However, the plot over-extends itself, trying to explore society and the very fabric of human existence in the process. As a result, it is full of technobabble and pseudo-psychology that pseriously (sorry, had to) muddles things up. This is the same sort of concept that was dealt with in Serial Experiments Lain for 13 episodes, and even that amount wasn't sufficient to cover it all. The plot tries to do too much and explore avenues that shouldn't even be on the map, and as a result seems crammed and uncomfortable for two hours.
CHICKS!: Unfortunately the only chick that shows up for more than a few minutes during the movie's run is Kusanagi, and as stated before her character is considerably lacking. But for straight drool fuel, she's tough to beat. Her on-the-job wardrobe facilitates full ranges of movement; in other words, it's form-fitting, or sometimes just plain sparse. She's tough as nails, so don't expect her to be swayed by flowers or teddy bears. She is shown naked a few times, as are a couple of other female androids, but the nudity is presented casually in a totally non-sexual manner. Nevertheless, it showcases the undeniable fact that Kusanagi, in more ways than one, is built.
Overall: Once again, a classic fails to impress me to any great degree. Sure, there are a couple of good reasons to watch it, namely the animation and the innovative concept, but by and large I believe that this title is undeserving of its high status among anime enthusiasts. Its flaws clearly eclipse its merits, making me wonder why it was dubbed a classic and who named it so. Obviously, whoever it was had his judgment of quality tainted by being forced to read a lot of bad books in high school.
IN A NUTSHELL:
+ Animation in a class of its own
+ Original
- Spotty soundtrack
- Tries to be too complex
- Flat characters
Rating: 6.5/10
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