Buy Paprika Online. • 02.06.10
Besides the fascinating films of Miyazaki Hayao, I have rarely watched Japanese animation during the past six years or so. However, during that time period I did happen to look a film called Perfect Blue. Unlike great anime with their bug-eyed, florescent haired characters, Perfect Blue was enthralling in a more realistic style and like the challenging films of Oshii Mamoru it delved into questions of the mind, image, and reality. Since the release of Perfect Blue, Kon Satoshi also directed Millennium Actress, Tokyo Godfathers, and the television series Paranoia Agent none of which I have seen myself, but of which I have heard superb things from my anime watching friends. I was attracted to the film Paprika when I saw some of the colorfully vibrant film stills and heard a couple of Hirasawa Susumu’s pulsating electric tracks from its soundtrack. This past weekend I watched the film twice and I am aloof trying to unravel some of the threads of view that it has left in my brain.
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Paprika opens in…a circus. Detective Konakawa, apparently on an undercover mission suddenly finds himself within a cage after the emcee, supposedly a friend, points. He then falls through the floor into notice film, also a Tarzan film, and also a gangster film. We then perceive him begin up a door to ogle a body falling after it has been shot and the culprit escaping. Konakawa then wakes up next to a lithe, red-headed girl. Using a plan called a DC mini which allows an individual to enter another’s dreams to accumulate what is ailing the “patient.” The girl, called Paprika, is quite experienced at her job and is quite knowledgeable about dreams and the inner psyches of individuals. However, Paprika herself is nothing more than the manifestation of the psyche of Dr. Chiba Atsuko, a very serious woman who is quite dedicated to her profession even if it means doing things a bit under the table. Problems inaugurate when Dr. Tokita, a morbidly obese childlike genius, informs Chiba that three of the DC minis have been stolen. To form matters worse, Dr. Tokita never programmed security codes into the devices to prevent objective anyone from being able to exhaust them. The first evident victim of the DC mini is the fragment chief Shima who suddenly dives out a window when his psyche is invaded by another’s dreams. Chiba goes to sleep in order to allow Paprika to jump into Shima’s dream. There she discovers a very creepy circus led by a mailbox and a refrigerator objective like Shima said before he jumped out the window. She soon discovers that the culprit is Dr. Tokita’s assistant Himuro who is in the guise of a Japanese doll. However, do things truly extinguish with Himuro or is there something considerable deeper at stake?
Like the comics of Shirow Masamune, Paprika delves into the interrogate of science and technology and its relationship to mankind. The Chairman states that dreams should not be invaded by science because they are precious to humans. With the intervention of science this purity is lost and humans lose a principal aspect of themselves. The self and the Internet is also an jabber within this film. People make lives and personas completely different from their accurate selves online. Be it being a jerk on You Tube or creating a fantasy life, individuals allow for their psyches to span in cyberspace. These are fair a couple of questions that the film raises. Sexuality in the being of Dr. Chiba, a broken-down woman, and Paprika, a teenaged girl, also plays a principal role, but I feel as if I need to discover the film a couple more times before I delve into that topic.
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With its pulsating soundtrack and wide ranging milieu of colors, Paprika is quite an experience both aurally and visually. Definitely an bewitching film to be watched for those keen in the genre expanding potential of animation, Paprika will definitely spark one’s thinking cap.
It’s no secret amongst fans of lustrous, adult sci-fi that some of the best genre films these days aren’t originating from Hollywood, but rather from the masters of Japanese anime. Films like “Akira ” and “Ghost in the Shell” prove a quality of writing and visual imagination that few “live action” productions (post “Blade Runner”) can touch.
One of the most adventurous anime directors is Satoshi Kon. In previous work like his incredibly dense and ambitious TV miniseries “Paranoia Agent”, and in several feature films, Kon has displayed a flair for coupling complex characterization with a neo-realistic visual style that tends to execute me forget that I’m watching an “anime”. Most of Kon’s work up until this point has drawn on genres that one does not typically associate with anime: adult drama (”Tokyo Godfathers”), film noir (”Perfect Blue”), psychological thriller (”Paranoia Agent”) and character spy (”Millennium Actress”) .
Kon’s latest film, “Paprika” is actually the first of his animes that I would categorize as “sci-fi”… and it’s a doozy.
A team of scientists develops an interface intention called the “DC mini” that facilitates the transference of dreams from one person to another. This “dream machine” is designed primarily for utilize by psychotherapists; it allows them to literally experience a patient’s dreams and consume a closer ogle “under the hood”, if you will. In the unpleasant hands, however, this could potentially become a very risky tool.
As you have likely already guessed, “someone” has hacked into a “DC mini” and started to wreak havoc with people’s minds. One by one, members of the research team are driven to suicidal behavior after the dreams of patients are fed into their subconscious without their knowledge (mighty akin to someone slipping acid into the punch) . Things regain more complicated when these waking dreams open taking sentient gain and originate spreading like a virus, forming a pervasive matrix that threatens to supplant “reality” (whew!) . A homicide detective joins forces with one of the researchers, whose alter-ego, Paprika, is literally a “dream girl”, a sort of super-heroine of the subconscious.
“Mind blowing” doesn’t even initiate to recount this Disney-on-acid/murder mystery/psychological sci fi-horror yarn. It is Kon’s most visually ambitious work to date, with gorgeous exercise of color and imagery (designate my words-this one has “future cult midnight movie” written all over it) .
Kon raises some though-provoking philosophical points (aside from the hoary “what is reality? ” debate) . At one point, Paprika ponders: “Don’t you reflect dreams and the internet are similar? They are both areas where the repressed conscious vents.” I consider Kon is positing that the dream place is the last “sacred station” left for humans; if technology encroaches we will lose our last factual refuge. A must-see for anime and sci-fi fans.
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