Paprika
Details
- Directed by: Satoshi Kon
- Produced by: Jungo Maruta, Masao Takiyama
- Screenplay by: Seishi Minakami, Satoshi Kon
- Based on: Paprika by Yasutaka Tsutsui
- Music by: Susumu Hirasawa
- Cinematography: Michiya Katou
- Edited by: Takeshi Seyama
- Production company: Madhouse
- Distributed by: Sony Pictures Entertainment Japan
- Release dates: September 2, 2006 (Venice); November 25, 2006 (Japan)
- Running time: 90 minutes
- Country: Japan
- Language: Japanese
Synopsis
From MyAnimeList:In the real world, she is the renown and highly intelligent Dr. Atsuko Chiba. In the dream world, she is the spunky redhead Paprika. Thanks to a new technology developed at Chiba’s lab called a DC Mini, Paprika is able to jump into people’s dreams with the ease of a driver switching lanes. The dream machine allows her to see into the dreamers’ deepest thoughts by entering and analyzing their dreams, then using that information to resolve emotional and psychological issues. Even the inventors aren't sure of the true extent of the power of the DC Mini.
Just imagine the world of good this kind of technology can do… unless it falls into the wrong hands.
A prototype DC Mini has been stolen, and Paprika is on the case. It’s up to this dream detective to track down and stop the thief through the psychedelic backdrop of people’s dreams. Paprika will need to hurry, before the dream machine does some serious damage.
Story
At first glance, does it remind you of
Inception? Paprika was released in 2006, which in turn was based on the
original novel in 1996 written by Yasutaka Tsutsui, long before Inception even
was conceived in the mind of Christopher Nolan. Nolan admitted having drawn inspiration from Paprika, as we can see the similarity between Dr. Chiba and Ariadne.
Paprika, is for the most part, a fast-paced action film. Yet, at the same time, it's also a slow-paced drama film. I was immediately drawn to the story from the beginning, especially about the whole identity of the thief. The main conflict is well-established at the beginning, but be wary though, Paprika is not as a naive and predictable film as you think it is.
The most disturbing yet superb scene for me is the part where the chief spouting nonsense in the middle of a conversation between him, Dr. Chiba, and the chairman, apparently having a delusional patient’s dream implanted on his subconscious, making him experience the nightmare like his own. A very accurate representation of the state of mind of an insane mind: chaotic yet pleasing one's innermost desire.
There is no problem with pacing and plot progression, as it has a subtle and smooth scene progression, thanks to the visual style direction of Satoshi Kon. The climax feels rather satisfying, but a little bit unexpected and most certainly surreal as hell.
Along the way, as the border between dreams and reality begins to blur, you will begin to have doubts. What is real? Who is real? This is a question that you will repeatedly ask to yourself. Don't worry though, Satoshi Kon gives us a firm grip to hold onto as we begin descend down to the spiral of subconsciousness.
I really like the portrayal of the Chief, as he is shown as the first one who suffers from the dream implant. Even though I think he was a highly intelligent person with an easy-going personality, seemingly a high-esteemed figure, in the end he was just like the rest of us while he was dreaming: vulnerable and nonsensical.
The reasons for inner struggle within the Captain Konakawa and Dr. Chiba are not explicitly stated, but are along the way unfolded. They have the examples of good characterization, giving us a solid background for these characters to feel or do their things. Kon manages to hide bits of clues along the way, if you are able to see them.
Paprika, is for the most part, a fast-paced action film. Yet, at the same time, it's also a slow-paced drama film. I was immediately drawn to the story from the beginning, especially about the whole identity of the thief. The main conflict is well-established at the beginning, but be wary though, Paprika is not as a naive and predictable film as you think it is.
The most disturbing yet superb scene for me is the part where the chief spouting nonsense in the middle of a conversation between him, Dr. Chiba, and the chairman, apparently having a delusional patient’s dream implanted on his subconscious, making him experience the nightmare like his own. A very accurate representation of the state of mind of an insane mind: chaotic yet pleasing one's innermost desire.
There is no problem with pacing and plot progression, as it has a subtle and smooth scene progression, thanks to the visual style direction of Satoshi Kon. The climax feels rather satisfying, but a little bit unexpected and most certainly surreal as hell.
Along the way, as the border between dreams and reality begins to blur, you will begin to have doubts. What is real? Who is real? This is a question that you will repeatedly ask to yourself. Don't worry though, Satoshi Kon gives us a firm grip to hold onto as we begin descend down to the spiral of subconsciousness.
Visual
The style used in Paprika is realistic, a kind that I
couldn’t help but feel familiar to. Checking the production company name, which
is Mad House, I wasn’t too surprised upon seeing Devil May Cry as one of its
releases, as their style was similar. I was quite pleased with the cinematography because it allows the film to focus on its thrilling action pace, yet it doesn't lose focus on the story.
But, the most genius and awesome thing of Satoshi Kon is his blending of reality and dream by the usage of cuts and transitions. You wouldn’t know for sure if
the characters are speaking in the real world or in the subconscious. Satoshi Kon demonstrated his mastery over progression using simple techniques such as match cut but woven with enough care and the right amount, you will get a smooth silk. The opening scene of Paprika features 5 dream, each connected seamlessly just using match cuts. To see more about his genius work as an editor, you can watch this video by Every Frame a Painting:
Audio
I was also startled to hear when the music started to play
in the intro, for it reminded me of Akiko Shikata’s soundtrack in Ar Tonelico.
But, as it turned out, it was done by Susumu Hirasawa. If you don't know, Susumu Hirasawa is the composer for Berserk, mainly known for his use of electronic music. The most memorable score is the parade scene. The lyrics are nonsensical, but it works as a great accompaniment of the catchy orchestral piece. I have no complaints with the score, as electronic music is a match with this kind of film.
Characters
Most of the characters are well-defined. We can see the contrasting nature between reality and dream in the life of Dr. Chiba, when she is awake as herself or when dreaming as Paprika. There is a romantic subplot, but it's very faint and will only be unraveled at the end.I really like the portrayal of the Chief, as he is shown as the first one who suffers from the dream implant. Even though I think he was a highly intelligent person with an easy-going personality, seemingly a high-esteemed figure, in the end he was just like the rest of us while he was dreaming: vulnerable and nonsensical.
The reasons for inner struggle within the Captain Konakawa and Dr. Chiba are not explicitly stated, but are along the way unfolded. They have the examples of good characterization, giving us a solid background for these characters to feel or do their things. Kon manages to hide bits of clues along the way, if you are able to see them.