Avalon

This is a stunningly visual film which takes many of the best elements of the minor sub-genre of 1980s and 1990s sci-fi involving virtual reality, and blends them into an interesting story exploring social withdrawal, addiction, the nature of reality, and the value of life. The film does have a bit of new wave pretentiousness to it - using cliché hacker-names for the players of Avalon, etc, but no more so than many of its competitors (and a bit less than The Matrix). If this sort of thing doesn't appeal to you - and especially if you're the type who wants a film to simply entertain and tell you a simple story, don't bother to read any further.

The film uses a story-telling technique common in good literature but unfortunately under-used in film - that of intentional ambiguity. The best example of this is the main character - well played by Malgorzata Foremniak. You simply don't know what to make of "Ash". Though I found it easy to relate to this character, and I think I understand her, I am not sure most viewers will. In my opinion, Ash is best interpreted as a person with an iron-clad grip on reality, who nevertheless maintains a distance from the people around her, and prefers to keep her relationships "in-game". This is not at all an uncommon personality type, especially among women and mature males in the real worlds of virtual reality and on-line gaming.

The film focuses on Ash's ambitions to become the best player of Avalon - an ultra-real and sometimes deadly virtual reality game - in the world. Avalon is illegal and run on LANs which are set up in what looks like futuristic crack houses. To become recognized as the best, Ash has to complete a level which tends to put anybody who enters it into a catatonic state. She comes to believe that an old team mate of hers - Murphy - inhabits that zone, and wants to rescue him. But of course the designers of the game have other plans, and maybe Murphy himself does as well. Foremniak does a great job of playing this ambiguous yet sympathetic character. Ash, the carefully developed script, the excellent soundtrack, and the superb and beautiful visual effects, all keep you guessing until the very end. I never knew what to expect from this film, and I was very pleased by the way it developed its own concepts of logic and justice - remaining centered on Ash throughout.

Avalon was interesting enough for a second and perhaps a third viewing. I will update my review (if needed) after my next round with it. For now, I will only give it a very high recommendation to anybody who has read this far. After all, if you've read this far in the review, you're probably interested enough in the film to see it.

There is a lot to recommend this movie, including a richly-stylized world, exciting action, and excellent music. I will admit that I was first interested in this movie because I knew of the director Mamoru Oshii from the anime "Ghost in the Shell", so I wasn't surprised to find that the movie felt much like a very stylized high-quality anime movie. Indeed, I wasn't surprised that the Japanese director revealed (in an interview included with the DVD I watched) that his relationship with the Polish actress playing the main character Ash was much like his relationship with a character from one of his anime projects, since he could no more communicate personally with Malgorzata Foremniak than he could with one of his anime characters. To him, the actress was entirely her character, and it's intriguing to see what became of that very unusual relationship on film.

I'm always wary of getting carried away with a first reaction to a film, so I should admit that this film isn't perfect. I found myself wanting to know more about the background of the main character, and her family, and how she came to become the person we see in the film; certainly, Malgorzata Foremniak does a very good job of playing a character whose fantasy life (the life of her online RPG character) is more real than her 'real' life, but the lack of background detail makes her character Ash very much like a two-dimensional anime character, and that can be considered a weakness. Also, this movie bears an obvious similarity to "The Matrix" (which predated it), so most viewers will inevitably compare this movie to "The Matrix" and find it perhaps wanting in that it doesn't lay out the background of the virtual world of the Avalon RPG as clearly as "The Matrix" lays out the background of its world.

These factors notwithstanding, I still enjoyed "Avalon" and I recommend it to anyone with more than a passing interest in virtual reality stories, anime, or highly-stylized science fiction in general. In the aforementioned interview, the director mentions that his films tend to deal with a borderline between fantasy and reality, and it's quite apparent that Ash's 'real world' is somehow both grittier, and less real, than the world of the Avalon RPG which she's so obsessed with. The action sequences in the film (featuring real-world equipment from the Polish army, such as tanks and attack helicopters) are exciting in their own right, but the special effects of the film (such as explosions reduced to 2-D images and bystanders who disintegrate when shot) make it clear what is supposedly real and what is supposedly virtual. Also, the contrast between fantasy and reality is much more vivid here than in the Matrix movies - and that's especially apparent toward the end of the movie where the viewer is left to wonder just what (if anything) is ultimately real, and what is simply imagined. Also, I must say that the music of this film is extraordinary, including choral music that is downright eerie, but also beautiful at the same time. A world both real and unreal is conjured very effectively in this movie, and therefore I would recommend it to any fans of this sub-genre of science fiction in particular, and fans of highly-stylized film-making in general.

Avalon can be seen as part of a trilogy, the first installment of which would be Ghost in the Shell, the last, Ghost in the Shell: Innocence. Avalon contains many direct references to Ghost in the Shell, and shares a lot of its motif of philosophical search for the self. They also share the cyberpunk imagery, and the fact that the main heroine is an impassive female warrior. I mention all this because I think it's inadvisable to watch Avalon if you haven't watched Ghost in the Shell (and pondered on it a bit). Avalon can be extremely heavy at times. This movie does not make you think; watching Avalon is like trying to decipher a zen poem, which I think can be done, but not through intellectual decoding.

In Avalon, a lone hunter in a virtual reality game shares her life with a basset dog, and all her activities seem to be centered around getting better in the illegal, dangerous game and getting food the dog with the money she earns there. The game is illegal because you can die playing it; "really" die in the concrete, bleak urban world that Ash, the main hero, lives every day. However, apart from the possibility of virtual death, the game offers a secret - the highest level, Avalon. The legendary Avalon is the "Isle of the Blessed", where King Arthur lies in eternal sleep. In the movie, it is a mystery, which haunts Ash ever since the deaths of her last player team.

The search for Avalon is depicted in the most beautiful cinematography. The plot is very symbolic and should be considered so; the search for the gate to Avalon can mean many things, and the nature of the quest changes as Ash is getting closer. However, like Ghost in the Shell: Innocence, the movie is heavy and long, and the characters engage in philosophical discussion every time they can. With all its beautiful cinematography, interesting acting (very automaton-like, but intentionally so), and a set of intriguing philosophical questions, this movie suffers from heavy-handed imagery and symbols, sometimes. Hard science fiction pushes the science as far as possible; Avalon is an example of hard cyberpunk, where the confines of the conceptual world dreamed up by the director are explored fully and unremittingly.

If you are ready to take a film not as only entertainment, but also a challenge to your thinking power, Avalon, like all Oshii's movies, is a thrill. However, beautiful, intellectually rewarding science fiction does not have to be longish and heavy, as Avalon is at times. Watch Ghost in the Shell before it, watch Ghost in the Shell: Innocence after it, and approach this movie at your most relaxed, for it to be a rewarding rewarding experience; it can wear you down, otherwise.

One more thing: if you're Polish, watch the Japanese dub with English subtitles. The Polish lines were translated literally from the Japanese, and they are very often almost gibberish (and the Japanese voice-acting is better, too). Also, do not let the fact that the movie's virtual world seems to be set in your local K-mart detract from your watching experience.

Firstly I was amazed at the effect that this film has on people. After reading other comments here, it does not take long to note that reviewers are either full of praise or downright critical, with little in between. Not many movies are so provocative. I stumbled onto this film late one night at the local video rental and it was like my last option, so I had little or no expectations to be deflated. I was pleasantly surprised. The sombre ambiance of the surroundings (Poland) enchanted me, and the sepia black & white film stock simply added to the mystique of the setting. Indeed I have not experienced such a rich atmosphere in a sci-fi film since Blade Runner!!! The SLIGHTLY low-tech special effects were incredible in that they seemed to add authenticity to the fact that this was a "video game" NOT "reality", unlike a lot of sci-fi where the special effects are merely another prop. The insular existence of the lead character due to her obsession with her virtual world is perhaps very poignant today more than ever with the advent of cyber space, computer games etc and their potential for social alienation. Perhaps the films shortcoming is that it may not appeal to the younger set who have grown up on a heavy diet of Hollywood Blockbusters where there has to be the mandatory car chase and subsequent sex followed by a gratuitous helping of ultra violence, but for me that was part of this very artistic films charm.

I think many of the complaints about this movie are by those that overlook one of the most obvious statements of the movie... that day to day life is boring & tedious, (walking hallways, taking lonely boring train rides, feeding your dog, watching an annoying person eat) all the while the visual world (read spiritual, artistic, visionary, higher level, etc.) is breath-taking. None of the characters of this world are privy to the visual poetry we are being exposed to as viewers... and that is part of the point, they are blind to it... yet it's a reminder that technological obsessiveness, or material obsessiveness, blinds everyone from simple visual beauty. The lighting alone in the movie was incredibly inventive, variations of sepia tones that went from red to green to blue during the course of the movie... overall the lighting and photography in the movie was amazing. You could take any given frame of this film and have a very beautiful photograph. There is a lot of CGI work in this movie that many nay-sayers called "low budget" and didn't even notice. Watch at the very end of the movie how the ghost's mouth wavers, almost like the Mona Lisa, from sad half-frown into a smirk, and this was done in post. I'm sure many people missed very subtle and beautiful touches like this on first viewing. If someone were to critique it for lack of complexity, I would agree... Blade Runner was not "deep" in the same way... but both, upon multiple viewings, remain almost timelessly poignant while being very reflective of when they were made, and I'm sure in 10 years this movie will seem as striking, as Blade Runner is to me now over 20 years since it's release. This will be one to watch over and over again every 6 months.

One caveat... the Miramax version is rubbish. The translations are horrible and stupid. Literally you lose half the meaning of the film. At one point Ashe is talking to the Gamemaster discussing Avalon (the mythic island) and discussing Odin and the helmet of forgetting... right as she puts the VR helmet on. In the Miramax version... the Gamemaster just says "be careful it's dangerous in there"... etc. Not even close, it's like they didn't bother even attempting a real translation, pathetic.