Tekkonkinkreet
It’s strange that Studio 4 Degrees C have made very few inroads to the Western DVD markets in comparison with the likes of Madhouse, Ghibli and Gonzo; I don’t know about you guys but it’s hard to name many well-known releases they contributed to with the possible exception of the Animatrix anthology. Which is a shame because in my limited experience they seem to be a prolific and innovative studio that often show leanings towards the Superflat Manifesto; perhaps this is why they’ve escaped the notice of ‘maintream anime fandom’ (is that a contradiction in terms?). When it comes to bringing stuff to the screen though, these guys sure as hell know how to innovate.
Along with Satoshi Kon’s Paprika, the other significant title that was coincidentally released here in the UK on the same day, Tekkonkinkreet is one the most startling and visually refreshing efforts we’re likely to see this year. Its experimental style is deliberately very stylised and almost sketchy, with the result of hardly looking like anime at all. If it weren’t for the Japanese language track you’d be forgiven for thinking it was just a cool-looking animated movie, made by some overlooked European film maker - indeed, the director (if not the rest of the rest of the staff involved) actually hails from a Stateside CG company. Nevertheless, it is a quintissential 4 Degrees C movie, in that it deliberately steers clear of the usual cliches in character design and art style.
A view of Treasure Town
Tekkonkinkreet’s visuals, in addition to being its greatest strength, are ironically its greatest potential weakness. This too is a shame because quite a lot of would-be viewers would miss out on a great story that plays out in front of a vibrant and detailed setting, just because it looks so unusual. The story itself on the other hand is based on a manga series and isn’t out of the normal movie territory either: two delinquent orphans, known as Kuro (Black) and Shiro (White), live on the streets of the run-down Treasure Town. Their personalities are, as their names suggest, polar opposites: Black is the calculating, violent and streetwise one while White is a philosophical and detached individual whose behavioural traits are those of a kid below that of his true age. Between them, they have earned considerable notoriety and, in some cases, the grudging respect of the rest of the city’s inhabitants, who comprise of a mixture of ordinary people and a subculture of down-and-outs and criminals. Their real struggle (as if being two homeless kids isn’t tough enough for them) begins when developers move in to oust the lawless inhabitants and turn the place into an amusement park.
Meet Black and White
I’m repeating myself in waxing lyrical about the visuals again because they really are quite extraordinary. Unlike the typical anime movie that’s set in a crumbling rural environment, there are no enormous skyscrapers or high tech robots or gadgetry; rather, it looks like a run-down inner city area of the present day. The animation is also really fluid and polished and comes into its own when Black and White are running over the roofs of buildings and vehicles; it is at the same time quite a dialogue-heavy piece that contains a pretty hefty amount of symbolism for those of us who like to over-analyse and read between the lines (we know who we are, right? *grins* ).
In addition there’s a whole subplot going on featuring the various gangs of the town, all made up of colourful characters who, despite being marginalised due to the main story and the time limits of a feature film, still grab the viewer’s attention. Whether it’s the merciless thug who has a sudden rethink of priorities when he learns he’s soon to become a father or the old timer Yakuza who longs for the good old days, they and their lives wouldn’t look out of place in a decent gangster film that portrays times that are changing but people who are having a hard time in coming to terms with it. There’s a lot going on in the confines of the narrative, which makes it fall into a similar trap as Rintaro’s adaptation of Metropolis: it tries to simultaneously convey complex ideas and introduce a rich cast of characters but ends up staggering under the weight of it all.
Just your everyday, friendly, local Yakuza
The dynamic between the two leads however is the anchor of the story that holds everything together then the other aspects falter. Their contrasting personalities, much like the Ying and Yang symbol on the back of a jacket that Black wears at one point, compliment one another: neither can survive on his own. In one of his monologues which so often lurch between childlike babble and profound philosophy, White notes how much he depends on Black and vice-versa: in his own words, he holds the missing pieces to his companion’s heart. The most painful scenes involve the two of them being separated, during which time White becomes introverted and distressed while Black goes on a violent and directionless rampage.
Troubled times for our young heroes
In Summary
Tekkonkinkreet is a refreshing break from the norm that dares to experiment. For the most part, the dare pays off: the muddled sections of storyline, especially the unsatisfying deus ex machina ending, are compensated for by the two compelling protagonists, the cast of supporting characters and art style that is brimming over with individuality. By all means give this film a chance, if only for the reason that it looks unlike anything else you’re likely to have seen.
Posted on October 4th, 2007 @ 12:55 am
Oooh, I forgot that this was being released. Thanks for reminding me!
Posted on October 4th, 2007 @ 1:35 am
@Nick: no probs.
It could well turn out to be an overlooked sleeper title, which I really hope won’t happen. I wouldn’t call it the ‘best evar’ or anything, but it’s an engaging story that deserves a wide audience. The visuals are fantastic but it was bond between Black and White that made the film so enjoyable for me.
Posted on October 12th, 2007 @ 3:08 pm
It looks great!! Straight to my must see list!