T.A.O's: The Classics:

Review:

-"Akira" is in many ways the quintessential animé film. It is a thriving and visceral film legend, who's inner roots and intuitive qualities reach far beyond the bounds of the anime realm; and farther back than most of it's loyal fans can remember. However, those who are capable of doing so may recall a distinctive and innovative boom of technical mastery and vision; most of which you probably wouldn't recognize at first glance. Moreover, for some; admit.

It is also arguably the most acclaimed anime film of all time, obtaining rudimentary praise in the form of illustrious film critics and members of the anime community. Yet, it's amazing influence is not hard to discover amid the most extreme convention of contemporary "Hollywood" and film medium teeming.

Some of the movie's most profound of images can be discovered with most Hollywood honchos like "Spielberg", "Kubrick", "James Cameron" and the more modern "Wachowski" brothers. Though it's impact on Hollywood is most likely silent and abased, it's influence on the anime medium is nothing short of abysmal; and on that note, it's in more ways than one.

For starters, the film revolutionized the very essense of anime film making; transforming the medium into a staggering innovative blowout of both style and quality. That for which Akira is solely responsible. And believe me when I say that any anime fan can tell you this. It also further launched the illustrious careers of distribution icons like "Macek", and allowed for higher content exploitation of the medium as a whole.

The manor by which Akira achieves it's visceral and kinetic feel is both detailed and masterful, upon it's release it pushed conventionalism to it's hindmost of entertainment and emotion rendering; however, most will simply remember it as a bombastic energy ride of teen angst. It's core of emotion is carefully discovered through it's crevasses of detail and character. The film however is not simply an exposition of these elements. At 150,000 cels, it's truly a technological masterwork.

Based upon the close-to-9000-page manga, the vibrant backdrop of Otomo's asphalt jungle is so meticulously rendered here that it's almost tiresome to gaze upon. Anyone who's just seen the movie for the very first time will notice an astonishing amount of physical effort placed in observance. Either way you look at it, it's often hard to look away from the amazing technical execution at work.

It's something which draws us in after witnessing a swift nuclear blast for which the film is rather famous; cameos on various box art and other anime artwork, CD covers, mangas; etc. The film opens with a kinetic and violent motorcycle chase sequence through the alleys and streets of "Neo Tokyo" 2019.

It's quite possible you will not see a more exhilarating first 15-minutes of film, Otomo knows full well how to paint energy and emotion with explosions, constabulary chases & bright colors n' artwork. Cleverly utilizing a series of prolate zooms, quick cuts as well as background/foreground distortion to convey a sense of timing and involvement with the action. Otomo is not at all afraid to show us the methodical artwork and motion that is Akira; tonically unleashed without a fear for convention. Various skyscrapers, intersections, roadways, tunnels and underpasses are observed in fluid motion and moody color.

The biker gangs of the infamous "Clowns" and "Kaneda's" team move like clockwork through the streets of Tokyo, with apsolutely no hint of dithering or unrealism. While that phrase is perhaps stretching the imputing qualities of realism, to say that Akira is 'unrealistic' by any means in the sense of physical differentia is unfair. The rendered movements of each character is remarkably astute and fast-moving. Everything from the exhausting looking juke-box to "Kaneda's" teeth are fully rendered characters in their own right, as much as human emotion is played out through the chases. If there is one thing to regard about Akira it is truly this incredibly scrupulous 15-minutes.

That same crammed 15 also seems to be the perfect intro for our two seemingly central hero figures: "Kaneda" and "Tetsuo". Rather illustrious in the anime world for various reasons unbeknownst to myself. Both youthful waifs and hustlers of the law, the two have remained best friends since childhood and carry a distinctive mannerism reminiscent of brothers having a constant fight. To put it bluntly, Kaneda is a seemingly 'punk-like' teen with a knack for ambition and self-righteousness; pushing and fighting bravely for himself and his friend when necessary; though it may be a blind and stupid fight.

Tetsuo on the other hand is the exact opposite of Kaneda in two ways. One, he's reserved, helpless and foremost choleric much like a nuclear bomb. And two, he takes center stage in our "Akira-laden" narrative; for which he falls victim of elusive experimentation. The core of Akira's storyline is one dealt with the prolific and parading antagonists w/arms, the booming atrocities of political corruption as well as the existing wight which follow the Akira cult; a self-described 'wind' of hate and violence.

Although it's unravellings of detail often explore the dark terrain of these notions, the film is foremost a story of undeniable friendship; and the incredible miracle of science & mystery intellection. Foremost is it's monumental effect on Kaneda and Tetsuo's relationship. And the very bad emotional dent in Tetsuo's psyche; such examinations of the idea which have not been explored up until the incredible "Serial Experiements Lain" & Oshii's "Ghost In The Shell". However, few are as ambitious and vision-worthy as this sci-fi romp. Enlightened by the evocative music of "Geinoh Yamashiro Gumi".

There are two protagonists in Akira which play a huge role in the storyline conveyance, one of which happens to be my favorite character in the film; him being the man known only as "Colonel". On the other side is the much utilized character of "Kay", a female character existing in a film of corrupt male ordinance. I've always believed that the manor by which Otomo utilizes the character of Colonel through opposition, and Kay's through ambiguous immunity is the key emotional drive of the movie.

Consider a key moment in which Colonel is exploiting the act of sheer defiance toward corrupt city officials in a meeting room, and Kay's surprising act of self-defense in a brooding underground sewer. Like Colonel and Kaneda, Kay is an innocent character until she is presented with the dilemma through conflict.

It's not a conflict of you typical flavor because like Colonel, though young, Kay carries the mannerism of a dignified matron; full of wisdom and implied risk but forced to act out of defense for values. As little values that exist in Akira, the characters hold on to what little they have in a world falling apart. Kaneda on the other hand serves as a consoling innocence for Kay, who is probably more burdened than Kaneda emotionally.

It's often useless to ponder about the character exploitation of Akira and it's emotional bent, simply because each one of the characters seems to be aiming toward retribution; whether it be for stolen values, objects or friends. Ongoing struggles of political/military dominance or simply blind opposition toward the corruption created by the dense storyline. Which to some appears clustered in mannors of disposition, much in the way a shallow action film might carries itself. Akira transcends these notions in all it's forms through it's amazing execution.

Akira is recognizable for shifts in story emotion like the visceral and supernatural qualities of "Tetsuo", as well as the elusive triad dignified only through fear and numerals. A large element in the film is the apparition-like relation between Kay and the sickly looking number 25"; "Kyoko". An aspect which is clearly distinguishable in Akira is the quote: 'ethinic gestures' of the characters; reminiscent of agaped ignorance or maybe simply rendered "shock".

The detail of such notions is quite remarkable, because of the sustainable subtlety of the film's plot; which always seems to cross the lines of supernatural indicatives (Such as your seemingly bromide 'flying'). What has always been remarkable about Akira is the 'psyche' power elements like Tetsuo's rage, transformed into energy force; amid shadowed 'dale-like' obstructions in hospital walls and military compounds throughout the movie's extended climax.

Among the most effective is the famous tank battle scene, in which Tetsuo single handedly transformes technical military monsters into scrap-metal; along with the aid of his destructive Akira powers. Much important emotion is played out to the uncovering of the Akira mystery, something which appears to be the driving force of both the plot and much exploration of the film's ideas; which never seem to end for anyone with all the detail. Otomo makes sure that each one is carefully structured and placed amid the action and hallucination sequences, like the one in Tetsuo's hospital room. An errie but exciting scene involving milk and a gigantic 'teddy bear' (Don't ask just see the movie).

Even so, Kaneda and Kay's relationship is the most meaningful and touching of the film; rather than a humble love story (Though it is in a way) it serves as a canonical window for the human emotion, and what it's hauntingly capable of when presented with the correct ambition. The ambition of Kaneda's quest to uncover the mysteries surrounding his friend Kay are often stemed for the antithesis of Tetsuo's challenge; controlled by Akira's wind and maybe the three children.

And foremost, it's perhaps as elusive and abysmal as mankind's will to contain knowledge and power. Like teen angst or the supernatural, it can explode uncontrolled and without proper warning. It is the profound antithesis and will to survive which is the sheer emotional force of Akira's storyline, told amazingly through Kaneda, Tetsuo, Kay, Colonel as well as the three mysterious abettors for the Akira puzzle.

While teen angst as well as the innocence of ambition is a key factor of the film's intent, this does not at all escape the notion that perhaps innocence is the only mold of change; that ambition is the key to abstaining power, and most importantly that sometimes power is not meant to be touched, only admired.

I can only hope to admire Otomo's masterwork without rambling on like Tetsuo about controlling the universe, ultimate power and such; solemnization existing is the thought of several scenes involving the wonder of technology. What it controlls, enthralls and what it cannot hope to grasp. Consider a scene in which Tetsuo regenerates his mutilated arm; it's not a surprise it's at the hands of his best friend.

Tetsuo and Kaneda seem to have it all figured out in desolate scenes like the playground, in which memory is life and life is ambition without meaning; amid hindmost ends they appear lost. Simply gazing, looking upon the sky after the 'imploding' of Tokyo in wonder; which seems to have returned to it's roots of antediluvian existence. In the end Kaneda proves that human beings can never hope to understand, they can only attempt to look and wonder. Grasping for anything the future may hold; for Tetsuo, Kay or Akira....