Paprika (2006)
Directed by Satoshi Kon
Dr. Atsuko Chiba is a research psychologist who uses a device called the DC Mini to enter her patients' dreams, wherein she adopts the alter-ego "Paprika". When the device is stolen, she must stop rogue elements from merging the dream and waking worlds.
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34 films that influenced Paprika
What critics say influenced Paprika
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.
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).
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.
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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.
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.
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(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.
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.