cbarley

Initially, what attracted me to Gankutsuou, was the idea of an Anime version of Alexandre Dumas' "Le Comte de Monte Cristo," but upon seeing the previews, I fell in love with the whole concept. The art, to say the least, is breathtaking, if not revolutionary; to that, the animation is flawless as well - one can only guess at the expense that went into creating such a visual marvel. While Gankutsuou doesn't follow Dumas' story as religiously as some would have it, what is important is that Dumas' intent in the story was held sacred. All too often is Edmond Dantes portrayed as being right in his quest, a true hero; nothing could be farther from the truth. Dumas' Dantes was a Satanic Hero like no other, if only perhaps Heathcliff from Bronte's "Wuthering Heights." Cruel, malicious, and bloodthirsty, Dantes is one with whom the audience is meant to sympathize and pity, while at the same time despise passionately. We can understand his motives, even support them, though we know innately we shouldn't condone them; Dantes is, in his truest nature, the incarnation of both ultimate love and ultimate hate, and was Dumas' tool to show that there is little difference betwixt the two. Gankutsuou stays true to this endeavor of Dumas' in all ways. The Count is everything he was in the novel - to both men and women, he held an (for lack of a better term) erotic visage about himself, something men wanted to aspire to, and women fell to. Frigid, calculating, with a gift to bend the wills of others, Dantes proved that one who has nothing to lose, yet does not allow himself to sink into depression (but rather finding purpose for your life) and thus has no fear of death or repercussions at all, is the most alluring; people are drawn to such darkness, such demonic power. But the beauty of this story doesn't stop simply at the creation of the ultimate sinister character - to create such a character is simple; what Dumas did, and Gankutsuou respected and embellished upon, was that despite the obvious horrific nature of the character, his reasons for being so are understandable. Aristotle said that one cannot create a truly tragic character without establishing fear and sympathy within the audience first; without Catharces, tragedy has no impact. While watching the story of Gankutsuou unfold, we begin to wonder if we, too, aren't capable of such atrocities, especially if under similar conditions. In our society, we sympathize with, if not often condone secretly, crimes of passion; but to what extent can we stretch out sympathy? Perhaps revenge of this nature is too extreme, that the Count is wrong in his hellish plans; but if we were betrayed by our best friend in so horrible a manner, who can say that, given the opportunity, we would not do the same, if not worse? Sympathy we have for Edmond's position; but fear becomes the all-consuming emotion we have while watching this, as we come to realize the extent of the atrocities we ourselves are capable of, given the chance and motive for them. For any Anime fan, or for any fan of cartoons or Dumas' works, Gankutsuou is by far one of the most astounding pieces you will ever see: true to the nature of the book like no other screenplay has been, and breathtaking in its visual nature, and musical score (opening theme not withstanding), Gankutsuou is a must-see, a beautiful testament to the power of hope and love, as well as an unmatched plunge into the darkest parts of the human soul.

In every way, this film is an affirmation of faith; not simply religious faith, but faith of any kind. In no other way has a film of such simple storytelling been so well received nor powerful. At the same time, there is a measure of realism here not seen many other highly-praised movies.

The Godfather, The Return of the King, The Seven Samurai; all incredible movies, but the one flaw residing over all three is this: In very little ways are the protagonists in these true-to-life. A Mafia Don, a would-be King, warriors of old - they are larger than life; they have a quality to them that raises them above all others - and the films, thus, retain a quality in the realm of the fantastic that sully the realism they wish to portray.

The Shawshank Redemption is not in the like. Not one of the characters could be called "larger than life;" in no way are any of the characters "good" or "evil" - the boundary is so grayed that it no longer exists; they're simply human, with sins, hopes, loves, and fears. In a way no other film has ever been able to, Shawshank perfectly reflects a story of humanity and hope. It comes to be that we do not begin to see these people as characters, but begin to think as they do, to become them.

If you really want to see a film of limitless power and beauty, a film that you truly become delved into, with characters that you feel perfect sympathy and empathy towards, The Shawshank Redemption is it.

Out of all the Scooby movies that have been made over the years (including the two live action ones), Zombie Island is by far the best; the characters are older, the plot line is much more sophisticated than previous attempts, is even a little scary, and by far LOOKS the best (even though it was a direct-to-video movie, it has the quality of a major motion picture, a big plus). Although Scooby and Shaggy haven't changed much, Fred, Velma, and especially Daphne were revamped - Velma is still calculating, but suspicious to a fault; Fred takes shotgun to Daphne as the leader, and "is in denial," about supernatural things; Daphne is no longer just the pretty face of the group, she's also intelligent, brave, completely independent, and the undisputed leader. Had Hanna Barbera and Warner Bros. actually kept up with this kind of material, Scooby would still be alive and kicking more so than it is; but, alas, they copped out for the "bad guy wearing a mask" routine, reverting the characters back to their original archetypes. Maybe someday someone will recreate the show using the characters and basic events, but for now, Zombie Island remains the absolute pinnacle of the Scooby World.