So that new Satoshi Kon film then. It’s an adaptation of the novel of the same name by Yasutaka Tsutsui. Prototypes of the DC-MINI, a machine designed to allow psychotherapists to analyse dreams from within the dream itself, are stolen and the scientists responsible for the device try and track down the culprits. Meanwhile a detective, receiving therapy from the “dream detective” Paprika becomes involved.
I really liked the detective’s story. In fact I liked it better than the rest of film. Which is not to say the rest of the film is poor, it’s very good. It’s just the cop’s narrative holds together better and the message of that part of the film is a lot clearer.
Interestingly, that part of the film contains some of the least ambitious animation. It was more about the true nature of dreams. Of waking life impinging itself on your sleeping subconcious, a remix of thoughts and experience. And it’s also clearly saying something about the the relationship between our dreams and visual entertainment like film. The detective dreams in the framework of film, and if feels very staid and confined compared to the wilds of the other dreams we glimpse in the film. But are those dreams wilder just because we don’t really get the same background as we get for the cop? If we knew the background, would they seem just as rooted in reality? Or is it because those dreams are dreams run wild, invading other dreams and ultimately the physical world? When the mystery of the detective’s dreams are revealed, at first it seems a little cliche, but I think it’s more honest and believable than the larger narrative at play.
The sci-fi thriller part of the story is less rewarding, and while the mystery it offers is on a larger scale, it’s revelation isn’t as satisfying as the mystery of the cop’s dream. What it lacks in narrative coherance it makes up for impressive visuals. The climax may lack a great deal of sense and explanation, but it does have some truly memorable scenes of animated madness. It’s somewhat similar to the climax of Paranoia Agent, except there you had a clear idea of the WHY, you just lacked the HOW. Here the HOW is obvious, it’s the sci-fi McGuffin, but WHY it’s happening is somewhat at the periphery. You get hints here and there, but it’s not really explained all that well. Which makes me think that possibly it’s the character progression of the two leads that is the real story rather than the whole theft narrative.
The lead character of Dr Atsuko Chiba and her alter ego Paprika brings both the storylines together, and she too undergoes a character progression similar to the detectives, however it feels a little uneven. It’s all back loaded, and when she comes to certain realisations, we get flashbacks to earlier scenes, but to parts of the scenes we didn’t actually see then. It strains belief a little and feels rushed, but I think it still just about holds up. Would it have worked better if it had been foreshadowed better? I don’t know, outside of Paprika we don’t really see any of Chiba’s own dreams, if we had more would it have distracted from the detectives story? Would it have made the thriller part more garbled?
One quesion that sprang to mind while watching is does if Kon direct to Susumu Hirasawa’s soundtrack or does Hirasawa soundtrack to Kon’s visuals? I kind of hope it’s the first, no offense to Hirasawa who turns in another great soundtrack, but I really admire animators who match their visuals to music.
Megumi Hayashibara turns it what is my favourite performance I’ve seen of hers in the lead role. Nice to see her in sizable role in something that isn’t Pokemon or Detective Conan too. I’m curious to how the dub will sound, as it’s a role that requires an actress who can do two distinctly different voices and performances. Akio Ohtsuka as the detective, Konakawa, is also awesome. I’d kind of overlooked him as a performer, until I realised he was Blackbeard in One Piece a few months back, and then I realised he was everywhere, and wherever he was, he was great.
One last thing, I really liked the conceit of having the director and the author as the barmen in the dream website, and then have them play an active role in the climax.
All in all a great film, though I don’t think it’s necessarily Kon’s best work in terms of story. And it wasn’t the best anime film of 2006 either, for my money that’s still The Girl Who Leapt Through Time, which was also based on a story by Tsutsui.
The DVD release is due in the autumn through Sony.
Free mp3 tracks from the soundtrack @ Susumu Hirasawa’s website
Paprika Homepage