Posted by psgels on 26 April 2007 with categories: Anime Reviews

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Satoshi Kon comes with another movie, called Paprika. This is the same person who directed Paranoia Agent, so I undoubtedly looked forward to it a lot. So, after having seen it, how did it turn out? Well, disappointing. It’s not bad or anything, but I expected something more.

Paprika comes with another psychological theme: dreams. About 50% in this movie happens in dreams, and they show what happens when humans start messing with them. Overall, it was quite interesting, but I’m surprised to say that the pacing was rather slow, compared to Paranoia Agent, which continuously kept the flow of events high. Paprika definitely is different, as it seems to more focus on its characters than paranoia itself. When you look at it this way, it turned out pretty good, with interesting choreography at times, and all accompanied by very unusual characters that you probably won’t see in any other anime.

Still, there are two rather bad points about this movie. It’s repetitive, and it doesn’t use its amazing soundtrack enough. Seriously, if you loved Paranoia Agent’s soundtrack, you’ll love the theme song. It’s a great song, but the rest of the anime is filled with rather mediocre background sounds or just plain silence. I kept longing to hear the opening track again, which unfortunately only happened when the ending credits rolled. Regarding the first point, it’s quite a few times that we see scenes that we’ve already seen before. I guess these scenes were meant to illustrate the changes in the anime, but when a strange parade passes the screen for the fifth time, its novelty has worn out.

Overall, if you’ve got some time to burn, you can check this out, as it’s quite a good watch, but there definitely are better movies out there.

4 Responses

  1. Martin says:

    I really enjoyed Paprika but I don’t think it’s his best effort to date. Visually it’s spectacular and you’re right about the music – I’d recommend it on these two criteria alone. Compared with his other stuff it’s not quite so outstanding but it IS a Satoshi Kon movie, and they’re always worth watching! I’ve yet to see a film or series he’s directed that wasn’t original and enjoyable.

  2. Wyrdwad says:

    I think part of why Paprika didn’t live up to his other movies (and don’t forget about Millennium Actress here, which has the best Hirasawa Susumu soundtrack to date!) is because Satoshi Kon didn’t actually WRITE it. Not the original story, anyway. He wrote Paranoia Agent and Tokyo Godfathers, and he co-wrote Millennium Actress, but both Paprika and Perfect Blue are movies based on pre-existing novels. If Kon himself had written Paprika, I think it would’ve been MUCH more interesting!

    That having been said, though, I got to see the movie WITH SATOSHI KON HIMSELF INTRODUCING IT AND ANSWERING QUESTIONS AFTERWARD, so I can’t complain. (:

    -Tom

  3. kaei says:

    Kinda late to the party – just saw the movie. Gave up on the plot half way through and just decided to enjoy the eye candy, but somehow the ending was surprisingly poignant for me, and I can’t figure out why. Atsuko is definitely one of the awesomest female anime characters in recent anime history.

  4. TheouAegis says:

    I always show up when the party’s over and everyone’s gone home.

    The soundtrack is not one of Susumu Hirasawa’s best, but it does have more variety than his other albums. The track “Lounge” and “Welcome ot the Circus” are beyond Hirasawa’s realm of standard faire (he hates jazz, making “Lounge” that much more remarkable). Without argument, “Parade”, “Girl from Byakkoya” and “Meditational Field” are his most prominent and memorable works in Paprika. You cannot hear “Parade” without picturing the pandemonium parade in your mind or hear “Meditational Field” without picturing Paprika darting in and out of billboards and computer monitors. Hirasawa gained many new fans with the release of Paranoia Agent and understandably more with the release of Paprika.

    While Paprika will most likely be admired for its animation (some scenes took three months to complete!) and remarkable soundtrack, most people will continue to be turned off by the incomprehensible storyline and lackluster characters. It is true that there are no memorable characters except perhaps Paprika herself, but to say there is no character development is wrong. Nonetheless, it is by fault of having so many characters critical to the plot that the development seems to suffer.

    However, the fault lies with the viewer who puts too much emphasis on secondary characters. The main characters are, as Satoshi Kon points out in a commentary, those who are bathed in light instead of covered in shadow. People assume Atsuko Chiba is the main character and should have more development, but in actuality there are three main characters — Drs. Chiba and Tokita, as well as the detective Konakawa. Since Dr. Chiba is actually two characters — herself and her alter ego Paprika — there’s even less time to spend developing the characters. People tend to praise Perfect Blue because so much time was spent developing the main character that they could accept the lack of development of all the other characters in the movie. This time around Satoshi Kon spends more time defining and developing multiple characters using subtle references.

    If you feel a character in Paprika does not have adequate development, you probably aren’t paying enough attention to the dialogues and background scenes. The same is true of the plot. Satoshi Kon deviated from his norm when drawing up the storyboard. Each scene is connected by a shared background feature. He tells us to keep an eye out for this transitional effect in the opening credits when Paprika darts in and out of billboards across the city.

    The most glaring and perhaps hardest to follow transition is when Dr. Shima starts ranting in disjunctive thought then runs down a hallway, crashing through a window wihle laughing madly. That’s when reality and the dream world first mesh in Paprika. The effect on the brain at that point is jarring. People these days expect a narrative, but Kon denies us that privelege and instead uses dialogue to hint at the story. In the beginning of the film, Paprika explains the first half of REM sleep is like an artsy film, while it’s not until the later half that things become coherent. When the real world and dream world merge, the world enters conciously into the early stage of REM sleep, thus rendering reality into an artsy film. In this way, the plot remains coherent and developed, much unlike my review.

    Overall, Paprika is an intriguing spin off of a famous Japanese story with an exceptional soundtrack as one expects of Susumu Hirasawa, but with a predictability that Satoshi Kon fans would notice. Such predictability is not a bad thing, but rather makes the film that much more enjoyable to fans of his earlier works.

    Story: 4/5
    Soundtrack: 4/5
    Characters: 4/5
    Visuals: 5/5
    Overall: 4.5/5

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  • Vincent
    (Sunday, Dec 21. 2014 10:01 AM)
    Watched Letters from Iwo Jima again. Ken Watanabe is a great actor.
  • gedata
    (Sunday, Dec 21. 2014 09:32 AM)
    Note that it’s not just regular AIDS, which is definitely treatable if caught early, it’s some dtug resistant SUPERAIDS that the character in question got from a blood transfusion soon after being born
  • gedata
    (Sunday, Dec 21. 2014 09:29 AM)
    It’s not that the disease being AIDS is really all that important. You could even replace with anything, even Sudden Moe Death Syndrome from Clannad and the emotional impact would still be as blunt and forced.
  • Emma
    (Sunday, Dec 21. 2014 07:02 AM)
    Oh for fucks sake sword art? You put HIV drama into your show?
  • Emma
    (Sunday, Dec 21. 2014 06:57 AM)
    Pretty much looking forward to the next two episodes and hope it gets more seasons too.
    I also liked how bleak it was.
  • Emma
    (Sunday, Dec 21. 2014 06:55 AM)
    *how twisty
  • Emma
    (Sunday, Dec 21. 2014 06:54 AM)
    . I was told to stay away from story six. Story seven was the most developed and ambitious of the selection but I feel mixed on it and didn’t really get into it until midway or so.
    Still I do love weird tales anthology stuff and this all fit the bill for me.
  • Emma
    (Sunday, Dec 21. 2014 06:54 AM)
    The first story even I have to admit was genuinely horrifying, uncomfortable and got under my skin and of the selection it still stands out as having the greatest impact. The second one was good social commentary but doesn’t really give me much I didn’t already know. Stories three and were the most emotionally investing for me. I thoroughly enjoyed who twisty, twisted, truly nasty and cruel story five was and it is my second favourite of the lot.
  • Emma
    (Sunday, Dec 21. 2014 06:54 AM)
    I did however feel that some of the dialogue and acting could have done with some very very slight tweaking in parts/some segments.
  • Emma
    (Sunday, Dec 21. 2014 06:53 AM)
    Okay even though I don’t watch western tv shows all that much I finally properly spent whole day going through black mirror. For the larger part this is creative, unpredictable, well thought out/written, varied, I like the technological end of it, the stories manage to fit into the short film runtime without ever feeling like they needed more time and its clear that Charlie Brooker has a lot to say with this and is very intelligent man, some of it does ring fairly true.

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