Casshern - Reencarnado do Inferno

Lat ANYBODY watch ANY 5 minutes of the movie and they will say "holy sh**t that is amazing". And at least back in 2004 it was mind-blowing what Casshern delivers in visuals and style. The director was a fashion designer or something and by all means: that shows. Casshern is a beauty.

But a beauty that feels like 6 hours and has nothing interesting to say. At some point you just end up being exhausted and bored. And it really is a pity.

We need Dario Argento to make an European cut with 75 Minutes runtime and have a blast with the outcome.

Having received my copy of Casshern from CD-wow today,my thoughts were to hang on till the weekend to view this movie!But for some reason,my thoughts were telling me to watch it NOW,Tonight never mind the weekend and my god how right was i to trust them.I cant think of any film in my 20yrs+ of movie watching that has left me stunned and speechless!This is cinematic genius,and master-craft in narrative,visuals,soundtrack&meaning.From the CGI shots a plenty to the rounding up of the meaning using simple camera visuals,i simply cant recommend this film enough,my only gripe is that I know need to see this baby on the biggest screen possible.To all you film fans out there don't sell yourself short,leave everything behind and lose yourself in this film.This is for all you who believe,trust me!!!!

I saw "Casshern" yesterday at a packed theater and I was blown away. I went in looking for a black-and-white head-busting superhero flick, but I got a lot more than I bargained for.

First off, the photography is gorgeous--as director, cinematographer, and editor Kazuaki Kiriya makes excellent use of color and grain in his film. At times it's a fuzzy, glowing dream, while at others it's stark, black-and-white sandpaper on your brain. It's an ingenious device to change the mood of the film instantaneously.

There are hints of any number of films here--Metropolis, Frankenstein, Mononoke Hime, Terminator, Tetsuo--and yet the film definitely stands on its own. By no means a slavish adaption of the original animated series, it does contain a number of nods to elements of the original that fans will surely recognize (I leave it to other viewers to catch these for themselves). I was particularly impressed by the first appearance of Luna, who looks like she stepped out of a painting by Tatsunoko alumnus Yoshitaka Amano in that scene.

The action scenes are backed by a driving rock score which reminded me of "The Crow" for some reason. Hardcore action fans who are hoping for a "Matrix Reloaded" bumper-to-bumper slugfest will be sorely disappointed, though. The fight scenes actually run counter to the message of the film--that, as one character states, "War makes humans inhuman." There is a long tradition in Japanese fiction--and animation, in particular--of the hero becoming what he hates to triumph over his enemy. The perfect example of this is Devilman, who becomes a demon to do battle with other demons. There is also a saying in Japan, "kokoro wo oni ni suru" or "steel your heart with resolve," and "Casshern" proves that some decisions will indeed set us on the road to having the hardened heart of a demon. In the end, most conflicts can never be won--even if you win, you lose, as you have more than likely sown the seeds for the next conflict.

I have no idea how foreign audiences will take to the message in this film, but I could hear a number of people crying in the darkness around me, and the crowd was uncharacteristically silent as they left the theater. As a translator, I hope this gets the treatment it deserves when it gets subtitled--the dialog isn't particularly difficult for those with a moderate knowledge of Japanese, and there are vast stretches of film with no dialog at all, but there are also a number of nuances that might be lost. The omnipresent Chinese and Cyrillic characters of the Asian Federation create an oppressive mood that'll be difficult to convey--the nearest example I can think of is the subliminal messages in John Carpenter's "They Live." Some of the other devices used in the film, such as multiple voices repeating portentous words "You don't know what war's like," might also be difficult to convey with normal subtitling. Nevertheless, I hope to see this film made available to a larger audience soon.

Casshern sacrifices narrative continuity in favour of aesthetic grandeur. Kazuaki Kiriya made his feature debut with Casshern and had previously devoted his time to music videos, the influence was overbearing. Soundtrack motifs played in crescendo to action sequences throughout the film, intense colour and CGI made the film visually intense but shot to shot and scene to scene continuity suffered. I found it difficult to follow the story often lost in a mess of fragmented shots and incoherent animations. The plot itself was no linear transgression of events, the film resolves instead on a message rather than a resolution. Kiriya places emphasis upon metaphor rather than storytelling which is unusual. Hollywood fans like myself will probably find the film too messy to deal with, Casshern leaves many loose ends which some may find intriguing. Casshern does offer stunning visuals with big budget action sequences and fresh looking CGI. For die hard 'Art film' fans, the film was so enigmatic and metaphorical, fans of narrative cinema like myself may fall asleep!

If I hadn't already seen Zhang Yimou's Hero the previous week, I would have had to say that Casshern is one of the most beautiful-looking films I've seen in years (or ever). However, it'll have to suffice with second place. The CGI is highly stylised, with some green-screen shots looking purposefully false, but the real joy is in the production design - very evocative of Metropolis. Visual references are also made to the Nuremburg rallies of the 1930s, the Holocaust, Orwell's 1984 and those retro wind-up robots. A massive twenty-storey building is suspended in the air by hundreds of propellers like some overgrown zeppelin, and there's shots of a train so wide it requires five strips of rail side-by-side to accommodate it. The battle scenes are particularly awesome, and the combat scenes between Casshern and the Neo-Sapiens equally sharp.

However, the story primarily revolves around the drama of two families and there's very little affinity made with the main characters. Perhaps it was because the action scenes were so bombastic, but I found it very difficult to spur my interest in the character-driven moments, and this consequently made the two-and-a-half-hour running time feel a tad too long.

The final closing message, which runs contrary to the adrenalized mid-section of the film, is presented rather clumsily. But in true Japan-fashion, you can't help but be charmed by the sincerity of the whole thing.