Paprika is an anime film, original title Papurika in its home market of Japan where it was released in 2006. It was made by Satoshi Kon from a story originally drawn from a 1993 novel by Yasutaka Tsutsui of the same name. Released by Madhouse Pictures, the film draws on well-known vocal talent, including voice actors from the Cowboy Bebop series and the iconic Ghost in the Shell films. It doesn't really resemble them, however.
Paprika is a story about...is a story concerning...no, that won't work.
In this movie, a team of psychiatrists has invented a device called the DC Mini. This much we learn almost immediately. The function of the device is to allow one person to intrude into another's dreams, observe, and record the events therein on computers for later study and analysis. Did you ever see the Dennis Quaid vehicle Dreamscape? Well, sort of like that.
But not really.
See, someone's stolen some of these things. The DC Minis, I mean. And there's this underground dream therapist, named Paprika, who is helping people using a DC Mini - but she doesn't really exist. Maybe. And then the stolen DC Minis start to invade people's waking psyches, causing damage-
...and then it gets really confusing.
But the beauty of it is that it only gets confusing for the characters. All the chaos and insanity (literal insanity, we're dealing with psychiatric patients here) that the makers of this film stretch and employ every last trick of anime to depict, as well as invent a few, is something that we the viewer never quite lose track of. The characters spend a great deal of time trying to figure out just what the hell is going on at any particular moment, and while we the viewers may spend a lot of time in the early part of the movie doing the same thing, once we are given enough information, we never feel like we've been left behind the characters. We're with them. The levels of confusion, as it were, bind us tightly together; we feel their dizziness and their struggles to comprehend, and it brings us into the action, behind the fourth wall.
There are some points in the movie where that fourth wall is metasyntactically shattered. Does that sound like a jumble of terminology? Don't worry, you'll know precisely what I'm talking about as soon as it happens. The whole film is like this. I was forcibly reminded (in a good way) of If On a Winter's Night a Traveler at some points.
And did I mention it's unbelievably gorgeous? While the animation is not as smooth as Ghost in the Shell or some of the more recent Hayao Miyazaki creations, the imagery is luscious. Coupled with music that runs the gamut from scene-relevant and absorbing to absolutely soaring1, the movie begs - cries out - to be seen on the biggest screen it can, with the best sound system possible.
There are some disturbing bits in it, which is only natural as it is a film which plumbs the deepest depths (literally) of its characters' psyches and drags them kicking and screaming into the outer world. Inner demons meet traditional Japanese apocalyptic scenes, here, and unlike movies which try for the complete mind game but don't pull it off (*cough*Total Recall*cough*The Usual Suspects*cough*) this one manages it not just once, but multiple times. And unlike Akira, it isn't a mind-numbingly exhausting cycle of endless destruction, but 90 minutes of thoughtful metaphor and explosive beauty.
p.s. the music from the film was composed by Susumu Hirasawa, and he has made a couple of tracks from the film (including the closing credits theme and outtakes from the track which helped make the preview so memorable) available for free on the internet. You can get them here.
If anyone other than me buys the soundtrack, do me a favor and listen to 'Mediational Field' which is what it sounds like 'Runner' is outtakes from. Is it me, or is one of the melody sequences incredibly evocative of Nik Kershaw's 'Wouldn't it be Good'? Heh.
Posted by jbz at June 3, 2007 12:07 AM