Shôjo kakumei Utena: Adolescence mokushiroku

Utena is a title that goes beyond an institute within the grades that put your consideration in this particular film, which I mean, There is a part where Utena took the sword chest of Anthy in the first duel; states that Utena frees Anthy from the yoke of previous sexual Winner,Saijonji.

All the characters in the film have problems related to sexuality, own adolescence: Utena has enormous emotional vacuum, which makes it sometimes confuse your feelings; Anthy feels guilty for the death of God, his brother, Akio, the degree of left manipulate and to a certain extent abuse it; Touga was a child raped by a man, Juri is a lesbian girl, repressed by society, Saionji is an inappropriate social Miki and Kozue face incestuous a problem, stemming from a possessive love; Shiori is a girl who woke up pretty soon their sexuality, and it is quite early, not to mention being by the death of his Prince and know that it is desired by another woman ... Akio is a man incomplete from the point of view inside, and looking to fill this vacuum with sex ...

Has no filler, the animation is fine, the aesthetics is surprising: the poses shadow of girls, until the color of hair and eyes of Utena have a meaning ... the movie is a journey of opium, is full of symbolism and what you suggest for "real" is not always so. Adding insult to injury is the most confusing climax scene in the entire history of anime (!). It is described as a metaphor for one must leave the comfortable but at the same time confusing world of adolescence (Represented by the school Ohtori).

The first time I saw this movie, my eyes nearly popped out of my head. I'm a great fan of the TV series, but the movie was really another thing entirely. The new character designs were just a bit startling, especially in the case of Anthy. Everyone's hair is longer, with the exception of Akio. (I wonder why they cut his cool little ponytail off.)

The visuals in this movie were stunning, just as much or more so than in the show, especially the dance scene. Like the art, the music was really entrancing. 'Toki Ni Ai Wa' is now one of my favorite songs, both to sing and to listen to.

Although it looks fantastic, Adolescence Mokushiroku really isn't for someone who hasn't seen the series. It's very emotional in some parts, and in many places incredibly bizarre. Even to those who've seen the movie, some of it just makes no sense. Still, it's one of my favorite movies.

Adolescence Mokushiroku is the New Testament to the TV series's Old, a welcome addition to the concept's canon, and a work that is sure to be hotly debated by Utena fandom for some time to come. It is director Ikuhara's third theatrical film, and his first completely original work. It is a devastatingly beautiful, state of the art, intensely kinetic film.

Adolescence has a powerful pedigree of luminous craftsmen behind it: Director Kunihiko Ikuhara, who brings it all together, was awarded the Kobe Award of Japan for up-and-coming best new anime talent of 1997, the same year the Utena television series took the Kobe for best series. Chiho Saito, upon whose manga the film was based, has a distinguished career as a girl's comic author. Souchiro Kobayashi was not only the art director for the original series but also of the cult-classic OAV "To-Y" as well as the legendary Mamoru Oshii art film "Angel's Egg". Character designer Shinya Hasegawa is widely renowned for his work on Shin Seiki Evangelion as well as the original Utena; screenwriter Yoji Enokido was also a formative figure in the development of Evangelion and the original Utena television series. These are literally some of -the- most current and talented creators in the Japanese animation world brought together; their names alone should ensure this film a place in anime's hall of fame.

It's clear that the film had a large budget and that every bit of it ended up on screen- its flowing imagery is both oddly erotic and beautiful, creating a luscious feeling of being enclosed in sensuality. Sound too is exquisite in the film, grounding the surreality of its visuals in crunchy actuality; swords sound like real swords, and each strike of weapon against weapon resonates like thunder. Every ping, every detail is precise. Music too is exquisite- at least the background musics. This reviewer finds the duel themes disappointingly hollow and flat. Still, there's plenty of instrumentals and some choice vocals by Masami Okui that more than compensate.

As any good story should, Adolescence hits the ground running, with a dazzling display of the 'new' Ootori Gakuen, and it doesn't stop to take a breath (or let the audience breathe) from there. The movie creates its world from the first frame, and never falters in its vision. However, like a perfect jewel with a single splitting flaw, Adolescence Mokushiroku relies too heavily on exploiting its audience's presumed knowledge of the storyline of the television series. This brings the film closer to the realm of a brilliant fanfiction rather than an original, all new work; I'm not sure the creators intended, or ever wanted it to be such. But I think any writer could attest to the fact that it's nearly impossible to step outside one's work and view it with 'new' eyes; this may be an unavoidable flaw. It is also the only -major- flaw in the film's design.

The film is tongue-in-cheek in places, bordering on self-parody, but also sincerely earnest and heartfelt. Ikuhara and company went in saying that their intent was to strip some of the mystery from the original storyline, and to make their point clearer, to lay the underlying truths bare with this film. Indeed, some mysteries from the series are explained away clearly within the story. Other, newer mysteries cause the long-term viewer to squirm, forced to consider the entirety of the canon in a new light.

None of these changes are bad; Utena's 'flaws' in this film may actually make her more sympathetic to those viewers who originally found her 'too perfect' and 'inaccessible' in the TV version. Other characters have also been tweaked, notably the erstwhile Rose Bride, Himemiya Anshi, the Student Council President, Kiryuu Touga, and the Fencing Club captain, Arisugawa Juri. Other characters have only minor onscreen time or are completely omitted.

The final sequences of the third act have the potential to be the most misunderstood part of the film. Yet these sequences are also the most innovative and emotionally engaging part of the movie. Just when you thought they couldn't find another way to make an essentially psychological conflict interesting beyond the Duels, they do it- and do it well. However, the sheer spectacle of it was enough to make audiences laugh with disbelief at the several fan-screenings that followed the film's release on video.

Is Adolescence Mokushiroku ultimately a good movie? Yes. Is it a brilliant film? In the swiss watch precision of its design, and its tightly compressed execution, yes.

Can it succeed in the international market, leaving its comfortable world of Japanese fans and US niche market supporters to revolutionize the global animation community? That remains to be seen.

For all its numerous strengths, Adolescence Mokushiroku can not escape its own demanding nature; it may simply ask too much from those that are not already familiar with Ikuhara's style. The movie probably will acquire a cult status- much like the original series itself. For any Utena fan familiar with the whole series, however, this film is a long-awaited resolution, reward, and release. It makes clear many aspects of the original story, while opening up a new horizon of mysteries to ponder in the future.

Consider yourself warned that this movie operates on the assumption that viewers are familiar with the TV series. If you aren't already aware of the relationships between the characters (as I'm not) you're outta luck, because very little of it is explained here. And from what I've heard, things are a bit murky even then.

What makes this movie great is that it really doesn't matter. Utena is a visual smorgasborg--the backgrounds alone warrant it a high rating, impossibly lush and frequently reminiscent of art nouveau. The characters are equally wonderfully drawn. Visually, it's brilliant; the floating castle that seems to constantly rearrange itself is an astonishing feat of fantastical architecture. All in all I'd have to say this is the most gorgeous animation I've ever seen.

As for the plot...I've seen this three times now and still don't entirely get it. I have some vague theories about what's going on and why, but without the series' background I can't verify anything. The movie operates on a very surreal, symbolic level--and it's full of the eccentricities of anime, as well (not that that's a bad thing, just different--a giant car wash machine that rises out of a field of roses figures prominently in a later scene). If you go into this expecting cut-and-dry western cinema (doubtful, as by and large I expect only anime junkies would even hear of it), you're up the creek without a paddle. Even granted the contextual uncertainty, though, there is clearly a resolution. What it means is certainly debatable, but the point is that there IS a narrative here discernible in the end, if that actually matters. In this case, I don't think it does. The movie exists in its own world and can't be expected to always adhere to our rules.

Utena is awe-inspiring in its visual beauty and imagination. As a would-be fantasy writer myself I found my mind spinning off on dozens of tangents after watching it. And for one work of art to inspire another to create is perhaps the highest recommendation there is.

This movie truly is a masterpiece. No matter what way I look at it, there is always something new to see; which is exactly what a masterpiece should be. I have seen this movie about 11 times I think and there were still things I was noticing that I didn't before. The animation is simply gorgeous for this movie. It is even better than the TV series, which in my opinion was pretty amazing, the colours are vibrant, the backgrounds are amazing. The character design is amazing and gives the movie the get go it needs in establishing itself. There is a certain melancholy in everyone's eyes in this movie that I have not seen anywhere else before. Just a close up of a character's face tells you a lot about them and where they fit in.

The sound is just amazing in keeping with all the things the movie wants to be, Toki Ni Ai Wa is just amazing with the motif of floating roses. Zettai Umnei Mokushiroku goes so well in the sequence it is and the story just flows by. The story, seemingly random, is the most complex one I have seen. It is even more complex than the series as so many elements are touched upon in such a short time period. All in all this is truly amazing.

This anime has the most value and enjoyment as well since you have to see it more than once to get the full story and it is enjoyable no matter how many times it is seen. No one should miss it.