Satoshi Kon
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Satoshi Kon follows his meta homage to the movies, Millennium Actress , with a Christmas card to Tokyo’s homeless inspired by John Ford’s religious western 3 Godfathers.
Adapted loosely from John Fords 1948 Western 3 Godfathers, this story of three homeless people a grizzled, world-weary drunk, an over-emotional drag queen, and a headstrong but vulnerable runaway girl who find an abandoned infant on a snowy Christmas Eve and traverse Tokyo in search of her birth parents is an honest and heartfelt parable.
Tokyo Godfathers is what happens when John Ford's sentimental 1948 Western ''3 Godfathers'' is reset in modern-day Tokyo on Christmas Eve by rising Japanese postmodern anime filmmaker Satoshi Kon: John Wayne and his fellow desert bandits are replaced by a homeless alkie, a former drag queen, and a sullen teenage runaway who find an infant girl while scrounging through city trash and band together to find her parents.
Inspired by the 1949 John Ford chestnut "3 Godfathers," in which a troika of cowboy-bandits (including John Wayne) rescues a newborn, "Tokyo Godfathers" unwinds in more straightforward fashion than Kon's earlier features.
Based on an old story by Peter B. Kyne, this material has been made into at least half a dozen Hollywood films, including several during the silent era, and most notably John Ford's 1948 film 3 Godfathers.
While neither as visually nor as thematically intricate as Millennium Actress, Satoshi Kon’s Tokyo Godfathers – a reimagining of John Ford’s weepy Western 3 Godfathers in which three homeless friends attempt to return an abandoned baby to its parents on Christmas Eve – is nonetheless a delightfully rambunctious holiday fable about the vital importance of family.
If the plot evokes for you Roman Polanski's "Repulsion"--that director's 1965 psychological shocker about the mental deterioration of a sexually repressed girl left alone in her sister's apartment for several days--you'd be on the money.
There are aspects of Repulsion and Dressed to Kill , but you can also see the direct result of Perfect Blue in Aronofsky’s Black Swan which has very similar themes and ideas.
Roman Holiday and Tarzan the Ape Man both factor into some of the main scenarios, and keeping with the Kurosawa love in Millennium Actress one character even manifests as the director in his dreams (you can tell by the hat and sun-glasses).
After that, the dream shifts into the riverside dance scene in Roman Holiday , with Konakawa as Gregory Peck’s photographer/journalist.
He finds himself in what seems to be a series of movie clipsfirst Tarzan, then a Hitchcock thriller, then Roman Holiday and finally he wakes up.
Giant robots and dolls march in the streets, and a detective finds himself inside movie scenes from Tarzan and Roman Holiday .
Roman Holiday (1953) – Audrey Hepburn ile Gregory Peck’in başrolleri paylaştığı bu klasik yapım da animeye en eğlenceli sahnelerinden biriyle konuk oluyor; Hepburn’ün peşindeki saray korumalarından kurtulmak için birkaçının kafasına gitarla vurduğu sahne.
Even as it evokes classic Christmas fare like Miracle on 34th Street (1947) and It's a Wonderful Life (1946), Tokyo Godfathers is loosely based on John Ford's Three Godfathers (1948), whose pseudo-Christian plotline is also the inspiration for Three Men and a Baby (1987).
Paprika's story line combines elements of Blade Runner and Wim Wenders' strange apocalyptic fantasy Until the End of the World, both of which imagined the damage that could be wrought by a machine that invades human memories and dreams.
He also acknowledges the influence of writer Philip K. Dick and the film based on his story, Blade Runner.
Intr-un interviu, Satoshi Kon s-a declarat fascinat de filme ca “ Blade Runner ” (bazat pe un roman al lui Philip K. Dick) si “ Slaughterhouse-Five ” (ecranizare a unei carti a lui Kurt Vonnegut de catre George Roy Hill), de posibilitatile pe care le aduce SF-ul anilor 70 prin distorsionarea timpului, spatiului si identitatii personajelor ; aici se intilneste Satoshi Kon cu David Cronenberg (cel din “ Videodrome ” si “ ExistenZ ” mai ales).
Bunlar dışında filmde birçok gönderme olsa da, yazımızın sınırlarını aşmamak adına sadece isimlerini vermekle yetinelim: Pinocchio (1940), The Big Sleep (1946), Peter Pan (1953), The Collector (1965), Monkey (1978) ve Blade Runner (1982).
The reality vs. fantasy element has been done before in films within films, most notably in the Oscar nominated 1980 film, The Stunt Man, although this anime takes the theme and runs with it for all its worth.
Though some observers have trotted out highfalutin names such as Spanish surrealist Luis Buñuel, French novelist Michel Houellebecq (currently preparing his own feature film debut), and Alfred Hitchcock (specifically Spellbound 's Salvador Dalí's dream sequence), Paprika is rarely as deep or as clever as those references suggest.
But Kon, who held particular esteem for George Roy Hill’s time-hopping Slaughterhouse-Five (1972) and the works of Terry Gilliam (the influence of the latter is especially noticeable), and his animators kept a tight grip on this film, which swings from anarchy to crisp realism.
Intr-un interviu, Satoshi Kon s-a declarat fascinat de filme ca “ Blade Runner ” (bazat pe un roman al lui Philip K. Dick) si “ Slaughterhouse-Five ” (ecranizare a unei carti a lui Kurt Vonnegut de catre George Roy Hill), de posibilitatile pe care le aduce SF-ul anilor 70 prin distorsionarea timpului, spatiului si identitatii personajelor ; aici se intilneste Satoshi Kon cu David Cronenberg (cel din “ Videodrome ” si “ ExistenZ ” mai ales).
Satoshi Kon’un Paprika’yı animasyon dünyasında yeniden yaratma sürecinde çok sayıda ilham perisi vardı şüphesiz, ancak yukarıda bahsettiğimiz DVD’de kendisi, Kurt Vonnegut Junior’ın yazdığı romanın aynı adlı sinema uyarlaması Slaughterhouse-Five’dan (1972) ve sirk sahnesindeki karakterlerden birisi için Japon şarkıcı Tony Tani’den esinlendiğini saklamıyor.
Paprikas costumes change from the Monkey King to Tinkerbell to Pinnochio, while everything from Tarzan to Roman Holiday to The Shining gets a passing nod.
Astfel, in cosmarul detectivului, imbracat à la Akira Kurosawa , un soi de lift utopic il propulseaza pe acesta de la etajul lui “ Tarzan-omul maimuta ” la “ Vacanta la Roma ”, la James Bond apoi mai departe catre o scena dintr-un thriller hitchcockian si tot mai departe catre “ The Shining ”...
Da ist etwa "The Shining" zu nennen, der durchaus für ein paar Elemente Pate gestanden haben könnte - eine Holzflut statt Blutflut durch die Gänge, beängstigende Hotelkorridore und eine skurrile Bar mit stoischen Barkeepern sind nur einige der Merkmale.
Paprika's story line combines elements of Blade Runner and Wim Wenders' strange apocalyptic fantasy Until the End of the World, both of which imagined the damage that could be wrought by a machine that invades human memories and dreams.
Roman Holiday and Tarzan the Ape Man both factor into some of the main scenarios, and keeping with the Kurosawa love in Millennium Actress one character even manifests as the director in his dreams (you can tell by the hat and sun-glasses).
Tarzan the Ape Man (1932) – Ardından bu filmin klasik ağaçtan ağaca sallanma sahnesine harika bir geçiş yaparız.
The borders between her reality and her nightmares start to become distressingly fuzzy, but The Swerve isn’t really the story of an unreliable protagonist who is (maybe) losing her mind, in the vein of Repulsion (1965), Perfect Blue (1997), or Black Swan (2010).
This is a journey picture that nods to O. Henry and "The Wizard of Oz" while cracking pulp surprises like a whip.
But "Paprika" is far closer in tone and intent to Chris Marker's landmark "La Jetée," or its mutant stepchild, "12 Monkeys": The sense of having no feet on the ground is not limited to the characters.
Spirited Away (2001)
Directed by Hayao Miyazaki
influenced Paprika (2006), Tokyo Godfathers (2003)
Visuals
(Some of it seems to have been inspired by Hayao Miyazaki's Spirited Away ).
The master here is Japanese legend-in-the-making Satoshi Kon, whose work pedestals only with Studio Ghibli co-founder Hayao Miyazaki, who won an Academy Award for Spirited Away.
Kon is a spectacular filmmaker, although not quite of the same warm, humanistic nature as Hayao Miyazaki, of "Princess Mononoke" and "Spirited Away," the two finest examples of anime, films that stay with you longer than "Paprika."
Lar du deg imponere av fargebruk og ein animasjonstil som fleire stader ligg nær det groteske i både Akira og Spirited Away kjem du ganske langt.
Unlike Hayao Miyazaki (" Spirited Away ," " My Neighbor Totoro "), his style doesn't approach full-motion animation, but uses the simplified approach of a lot of anime, with simple backgrounds and characters who move and talk in a stylized way that doesn't approach realism.
Kon has already made two highly popular works, 1998's "Perfect Blue" and last year's "Millennium Actress," and he has some of the virtuosity and storytelling knack of Hayao Miyazaki ("Spirited Away") if not quite Miyazaki's effortless graphic imagination.
In one moment, he’s Tarzan swinging from the trees before the dream morphs into the train fight between James Bond and Red Grant in From Russia with Love , with Konakawa in the Bond role.
From Russia with Love (1963) – Bu en meşhur James Bond filmlerinden biri de trendeki amblematik sahneyle Paprika’ya konuk oluyor.
Les citations cinématographiques et artistiques sont également très nombreuses, passant des précédents opus de Satoshi Kon à de courtes références à From Russia With Love, Tarzan, The Cell, Akira, en plus des nombreux contes pour enfant dont s’alimente le scénario de Satoshi Kon et Seishi Minakami.
The Wind Rises (2013)
Directed by Hayao Miyazaki
influenced by Paprika (2006), Millennium Actress (2002)
Visuals
(The sequences reminded me a good bit of the recurring dream in Satoshi Kon’s 2006 film Paprika.)
There have been many superior producers of anime, led by the late, great Satoshi Kon (“Millennium Actress,” “Paprika”), but the septuagenarian Miyazaki is regarded as Japan’s answer to Walt Disney and gets his films distributed to American art-house theaters.
There have been many superior producers of anime, led by the late, great Satoshi Kon (“Millennium Actress,” “Paprika”), but the septuagenarian Miyazaki is regarded as Japan’s answer to Walt Disney and gets his films distributed to American art-house theaters.
The Greatest Show on Earth (1952) – Rüya sekansı bu filmdeki sirk sahnesiyle başlar, hatta palyaço kılığındaki Paprika “It’s the greatest showtime!”
Even a silky-smooth, graceful movement can be an unsettling factor in horror cinema — Dreyer’s Vampyr and Murnau’s Nosferatu attuned to the floating nature of their vampires to elicit an atmosphere of the mysterious attractive side of horror.
From one pit stop to the next, their savior tot facilitates a string of serendipitous, sometimes confusing reconnects: Gin reunites with the daughter he believes to have shamed; Hana (a dead ringer for Pixote‘s Marília Pêra) seeks guidance from his drag queen “Mother”; and Miyuki deals with her relationship to her dead cat.