Ghost in the Shell 2: Innocence[/size]
Studio: Production I.G.
Director: Mamoru Oshii
Writer: Mamoru Oshii & Masamune Shirow (original manga)
Producer: Mitsuhisa Ishikawa & Toshio Suzuki
Composer: Kenji Kawai
Design: Hiroyuki Okiura (characters) & Atsushi Takeuchi (mecha)
Released: March 6th, 2004
Genre: Action, Sci-Fi, Thriller
Format: Theatrical movie
Runtime: 99 minutes
US License: Bandai[/b]
Anyone who's read my review of the first
Ghost in the Shell[/i] film will remember that Mamoru Oshii's poorly paced and clumsily directed flick left me anything but impressed. And beyond its quality as an aesthetic affair, the elementary philosophical concepts of the narrative felt trite and banal. Needless to say, I went into the somewhat sleepily released sequel without very much enthusiasm, figuring that
Ghost in the Shell[/i], as a whole, was a beautiful mansion built on a very poorly laid foundation.
The film picks up some time after the first movie. The exact events leading up to
Innocence[/i] are left in obscurity. What we do know is that after Kusanagi's existential meltdown at the end of
Ghost in the Shell[/i], she went missing. Our new star, burly biomechanical Batou (Kusanagi's former partner), investigates a series of murders caused by malfunctioning androids created to fulfill the sexual desires of their human owners. As Batou digs deeper into this mystery, he slowly begins to uncover a conspiracy and the shocking identity of the source of these malfunctions is eventually revealed.
Compared to its edgy, precious, philosophy-spewing predecessor,
Innocence[/i] is a much simpler and more modest film. With this simplicity and modesty, however, comes a great sense of maturity that few works of anime manage to achieve.
Innocence[/i] spends less time trying to impress and more time being a good movie, and for that, I give Oshii my respect. Of course, that's not to say
Innocence[/i] is in any way spotless, but it certainly is entertaining.
The main factor in this equation for me was the change in perspective. The brooding, preachy Kusanagi of the first film gives way to the much more likable and down-to-earth Batou. His interactions with Togusa, the other characters in the story, and even with himself seem much more sincere and come from a place easier to relate to. While the story essentially boils down to a glorified cyberpunk detective story akin to
Blade Runner, the fact that it isn't bogged down with the heavy weight of Kusanagi's pretentiousness makes it a much more enjoyable endeavor.
Of course, there are still a few problems. Oshii, in spite of his maturity, is unable to let his ego subside entirely. He vents this by constantly having Batou and Togusa (and other characters) exchange quips and quotes, most of these used to inanely state fairly obvious facts about the story. This is particularly annoying when one considers how intimate their other interactions are.
Innocence[/i] really is at its best when the characters are acting like humans instead of squawk-boxes for Oshii’s favorite aspects of philosophy and favorite Confucian fortune-cookie fortunes.
I'd be lying if I said a large part of
Innocence[/i]'s appeal isn’t in its appearance. The film is made of pure gorgeous. The characters are smoothly and realistically animated (particularly striking is a touching scene between Batou and his adorable Basset Hound). The art direction is much more dynamic, with the drab, grey, metallic world occasionally overflowing with brilliant explosions of color and texture at very well-timed intervals. All said this is probably one of the most beautiful animated features you'll ever see.
Innocence[/i] maintains the one good aspect of its predecessor; its production values.
Ghost in the Shell[/i] is one of those animes that occasionally make you forget you’re watching animation. This is due in large part to the phenomenal voice acting. Richard Epcar delivers a stellar and crucial performance as Batou. Other voice acting veterans, such as Crispen Freeman and Mary McGlynn, provide a very strong supporting cast. Topping off the gripping aural experience is a moody yet adequately subtle soundtrack by legendary composer Kenji Kawai.
In spite of my lack of enthusiasm for entering into the haughty and self-important world of
Ghost in the Shell[/i] once again, I was surprised to find a very good movie in
Innocence[/i]. It’s an atmospheric and absorbing picture that permeates with an air of expertise in execution.
Innocence[/i] is about as close to a Hollywood blockbuster as anime will ever get, and I highly recommend it to just about anyone providing that you’ve seen the original or at least understand what it’s all about.
- Shalashashka
A-