A good film adaptation should be done in three aspects: the picture, the spirit, and the carrier.
When the carrier of literary works changes from static to dynamic, the problem is not only the expansion of 2D to 3D, the participation of time makes the communication between the work and the audience have a qualitative change; when the form of expression changes from animation to real person, Creators need to fill in more sense of logic, sense of reality, and better narrative flow; and in the process of this series of adaptations, the same story depth, character level and thought height should be the same.
And when the scope of our discussion is specific to animation, especially Japanese animation works, this problem will become particularly prominent. The impact of two different cultures, from the audience structure to the ideological structure, will easily lead to the loss of a large amount of information in the "translation" process.
We have seen a lot of failures in the past, and of course there is no shortage of winners. The horror of "Dragon Ball: Evolution" is lingering, but the unrecognizable "Edge of Tomorrow" has received a lot of praise. However, "Akira", which has been difficult to give birth after ten years and changed hands again and again, has not yet seen the shadow of being born.
The mystery of each is intriguing.
In 1995, "Ghost in the Shell" directed by Mamoru Oshii had epoch-making significance. In Japan, after the Miyazaki Tsunami incident, many animation works represented by "Ghost in the Shell" and EVA led the re-emergence of the Japanese animation industry in the late 1990s with adult themes and profound depth of thought; internationally; , "Ghost in the Shell" is one of the first Japanese animation films to go to the international stage and has received wide attention and recognition. With its obscure but solid philosophical thinking and shocking artistic level, it directly influenced and guided cyberpunk in the world. The revival of Hollywood in the new millennium has created the most important science fiction movie at the turn of the century-"The Matrix."
Of course, no one wants to see such a landmark Japanese animation film, after turning into a real-life science fiction movie, it has become extremely clichéd.
Even, as long as you don't smash the signboard, this is the bottom line we can accept for this movie.
And Hollywood's "Ghost in the Shell" can only be said to barely suppress the bottom line.
The 2017 version of "Ghost in the Shell" brings extraordinary sensory stimulation, with dazzling visual effects. It can almost be regarded as a hybrid of "Blade Runner" and "The Fifth Element". It is an amazing The visual feast. However, 18 years after the release of "The Matrix", this sci-fi masterpiece, which should go back to its origin, makes people feel disappointed.
"Ghost in the Shell" by Mamoru Oshii in 1995 is avant-garde, which is not only reflected in its artistic style, but also in the portrayal of the characters. The seemingly three-nothing Motoko has a clear behavioral logic corresponding to it. You can easily discover the turbulence in the character's heart, which can logically lead the audience to explore the world and the huge secrets hidden in itself. And Scarlett Johansson’s Mila Killian is just another expressionless and boring "Scarlett Johansson-style" image of a girl who beats a girl, which is not the same as "Super Body" and Black Widow. Any essential difference.
The reason for this difference may be that the hastily production ignores the essence of story design. Director Rupert Sanders did not let the film get rid of the lacklustre and shallowness. Although the key scenes of the animated version were restored, it introduced cliché elements that were significantly different from the original temperament, such as the cliche identity crisis-"Total Recollection" "Come again, "Robocop", and "Ghost in the Shell" now.
We can only say that this "Ghost" doesn't seem to know what "Ghost in the Shell" is or what "Ghost in the Shell" wants. The finished film is just a universal science fiction action film about transforming people.
This is not the "Ghost in the Shell" live-action movie we want, nor the "Ghost in the Shell" live-action movie that inspired the "Ghost in the Shell" that inspired the "Matrix".
In short, if you are not familiar with the original materials of "Ghost in the Shell" or are unable to appreciate the driving core of "Ghost in the Shell", then the live-action version of "Ghost in the Shell" will be a gentle and plain, sometimes interesting and sometimes interesting. A boring science fiction movie.
But for those audiences who have more than a basic understanding of "Ghost in the Shell", you may spend the entire film's time thinking about it. If you don't plan to inherit the spirit of the original, why bother to spend too much time on Shao Zuo. It's for nothing.
The answer is always money.
Is she your pheasant element? No, she is your Mila Kilian.
To some extent, the appearance of "Ghost in the Shell" represents the film industry has realized a cycle of its own, but it is not necessarily better or worse.
(Worse, of course it is worse.)
(The court confrontation of "Yihai Xiongfeng"? GONE. The intertwining and entanglement of "Magnolia"? GONE. In this era we are in now, there are only minimalist and flat styles left. , Endless screen "heroes" and flashy dreams)
We have seen influences from a variety of different sources in this live-action movie, William Gibson's "Neuromancer", Ridley Scott's landmark " Blade Runner" and an animated visual experience. Rupert Sanders tried to solve the impact of "albino" by introducing a multi-ethnic cast of actors. But in any case, there is a hurdle that can't be circumvented.
To be fair, Scarlett Johansson taking over the role of Shao Zuo is a logical and inevitable choice in his career, but it is far from the best choice "Ghost in the Shell" should have. However, Shaozomila Kilian in the live-action version of "Ghost in the Shell" is just a black widow influenced by cyberpunk, playing with the oriental-style actions and gun skills of "The Matrix".
"Ghost in the Shell" has the potential to become an excellent movie. The 1995 animated version used philosophical and religious tools to discuss the human soul and meaning of life, not just confined to personal identities and predictable networks. And Rupert Sanders tried to discuss the role of personal memory in the process of personality formation in the live-action movie. He borrowed some ideas from Oshii Mori's version and Kamiyama Kenji's "Ghost in the Shell SAC", but was not The superficial quotations are not organically connected. A jagged and chaotic script is used to weaken and simplify the depth and level of the "Ghost in the Shell" world to suit the acceptance of mainstream audiences in Europe and the United States.
So we got such a "Robocop" in cyberpunk skin. In fact, if you have watched the original version of Robocop in 1987, you will find an unusual sense of familiarity in Ghost in the Shell-and this feeling shouldn’t exist in Ghost in the Shell. In the world.
In this unrecognizable and familiar film, the only thing that really deserves attention is the highly personal symbolic Kitano Takeshi.
In short, if you are really interested in "Ghost in the Shell" (IP) but don't know anything, then this movie can satisfy your curiosity. But after that, Shirou Masamune, Oshii Mamoru and Kamiyama Kenji, who are more worthy of your curiosity, are waiting for you.
And if you just pass the time/fans show loyalty, why waste time in the moment.
"Ghost in the Shell" drew a lot of elements from many comics, movies, and TV series, but the most regrettable thing is that this visually stunning live-action remake does not provide anything beyond a normal science fiction movie, nor does it Bring any new ideas to the entire "Ghost in the Shell" world. In this near-future sci-fi movie, the visual effects of Weta Digital Swordsman are gorgeous, and the action scenes are also remarkable, but what really lacks is heart and humanity.
At this point, "Ghost in the Shell" and Rupert Sanders' first feature film "Snow White and the Hunter" appear arrogant and empty, with lack of connection in the plot and lack of emotion in the characters. The bad guys are bad, the good guys are good, and there is little self-seeking. Everyone is struggling, but these contents are highly passive and lack interaction. The myths and moral topics set by the script's default have not been explored. The series of high-profile action scenes and vague and contrived dialogues seem to complete the task just to complete the task. In the end, the movie gave up its soul and was content with its gorgeous shell.
Similar to last week's "Power Rangers", "Ghost in the Shell" seems to have made no obvious mistakes, but nothing will be memorable. The former braved the stupidity of giving up thinking from the inside out, and there were too many slots to give up treatment, and the actions and special effects were extremely perfunctory; the latter spent most of his time on the glamorous flesh and blood, but only forgot what can be "qi" Zihua".
Twenty-two years have passed, and "Ghost in the Shell" has fallen from the height of inspiring "The Matrix" to the level of "Total Memories"-still a remake of 2012.
If even this perfunctory popularization can be tolerated, I can only use the old saying: You are true love, true love is invincible.
As for what it is to love, it is certainly not the movie itself.
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