Initially daily but now sporadic blog about anime and world animation with a specific focus on the artists behind the work. Written by Ben Ettinger.
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Archives for: April 2012, 10

Tuesday, April 10, 2012

12:26:00 am , 1878 words, 6177 views     Categories: TV, Lupin III, Studio: Tokyo Movie, 1980s, Director: Osamu Dezaki

The first five Lupin III TV specials

I already wrote about the first Lupin III TV special, Bye Bye Liberty Crisis, which was better than I'd remembered the TV specials being thanks to Osamu Dezaki's sharp directing. Dezaki directed the next few on and off, so I was curious if they were as good. I checked them out, and as expected, it's a mixed bag.

Special #2 1990 Hemingway's Papers

Lupin finds himself up against an army as he tries to find Ernest Hemingway's buried treasure.

The second special retains the Dezaki touch in terms of the presentation of the material, with layouts that feel distinctly Dezaki, but the visuals aren't as highly worked and pleasing. The drawings feel looser and lighter. It's like they didn't have as much time to do this one as the first one. It still holds together well enough thanks to the pleasing directing by Dezaki and the good script by Hiroshi Kashiwabara, but it's not quite as strong as the first TV special.

This time, it feels like a TV special. You can sense that the quality is starting to slip a bit. The drawings of the characters hold up throughout thanks to Noboru Furuse's nice lanky and well-balanced designs. The guest protagonist Maria is designed in a pleasantly cute way that's not obnoxious. This was his second and, alas, last Lupin III TV special.

There are bits of nice animation here and there. The part where Maria runs away from the two soldiers on the hillside has some splendid movement - some of my favorite in any Lupin III, in fact. I like every drawing and every little movement in this sequence. It's very different from the movement in any past Lupin III. It's a style of movement that's distinctly the product of this period in its sense of timing and the style of the drawings. I thought maybe it might be Seiji Muta, since he worked on Akira a few years earlier and the movement seems influenced by that whole Nakamura/Utsunomiya post-Akira style with the doll-like treatment of limbs and sharp sense of form, but it seems more likely to just be the obvious first guess, Masahiro Ando, since he's known for action animation.

Special #3 1991 Napoleon's Dictionary

Lupin is hunted down by the G7, who hope his grandfather's treasure will pay for their recent Gulf War misadventure.

Despite a witty story skewering recent global events, the third special is rendered nigh unwatchable by its unprecedentedly bad production values. It is hands down the worst animated Lupin III I've seen. It's remarkable how consistently badly drawn it is. Many of the shots look like bad fan art. It's the Yashigani of Lupin III. Not even the throwaway episodes of the second series, which had some substantial ups and downs in quality, were ever this badly drawn.

The film is a shambles. I don't know what happened, but it feels like TMS forgot they had to do another TV special and only remembered a month before airing. Shots feel wrong in every way: the drawings, the layout, the coloring. The drawings ruin what might otherwise have been a fairly fun treasure race story that feels like an updated and more sociopolitical version of It's a Mad Mad Mad Mad World. Hiroshi Kashiwabara writes again. Kashiwabara is good at creating plots that are international in scale, placing the characters within a grander scheme that gives the proceedings more weight than a mere caper. His competing factions are often based on obvious real-life analogues, giving his work a satirical edge.

Surprisingly, there is a brief movement when it looks like good animation is trying to peek through. It's the bit where Lupin looks up the word impossible in Napoleon's dictionary and splits the car in half. I think the same animator might have done the next scene, but it's a fascinating mess. Occasionally there will be one shot that has a little bit of nicely timed movement, but the next shot will revert back to horrid drawings. The chaos of the animation in this scene seems to hint at chaos on the production floor. The timing of the animation of Jigen's hand in this scene for some reason reminds me of the timing of the movement in the scene in special #3 I mentioned above, so I wonder if it might not be the same animator.

It's sad that this TV special is such a disaster, because it's one of the few that featured Yasuo Otsuka in any capacity. He was the 'Mecha Design Supervisor'. Obviously he was brought in because of his love of cars. There are a huge variety of classic cars in the film, but sadly although they are drawn accurately to the makes, they are not particularly well drawn, and there isn't anything remotely resembling a good action scene. It would have been nice to have one special allowing Yasuo Otsuka to really revel in his love of classic cars.

Interestingly, this special doesn't have a director. Only a supervisor (Dezaki). There are five storyboarders and two enshutsu or technical directors. I'm sure there's an interesting story behind why this special turned out the way it did.

Incidentally, by way of contrast, Dezaki storyboarded the first two specials himself, as he usually does when he directs something. There is no enshutsu credit on these films (only assistant enshutsu), so presumably Dezkai did his own processing.

It's surprising how bad the animation of this special is when you see names like Takashi Hashimoto, Masahiro Kase and Tadashi Hiramatsu at the top of the key animation credits. Studio Curtain receives a credit at the end of the key animation credits. Plus, Ryutaro Nakamura was one of the storyboarders.

Special #4 1992 From Russia With Love

Lupin finds himself pitted against Rasputin's grandson, a mystic with a magic finger he has a habit of putting into strange places, in a contest to uncover the hidden treasure of the Romanovs.

This time Dezaki returns to directing and storyboarding, though there are now two enshutsu. The film is one more step down from special #2 - vaguer directing and weaker drawings. There are still lots of Dezaki touches, but they feel a little more sloppy and less convincing. There are a few too many triple-takes and harmony shots. The film doesn't really come together as a film. The characters aren't particularly compelling or interesting. It doesn't leave much of an impression. Putting aside the disaster of special #3, it feels like the quality declined steadily until by this point we're getting close to the forgettable feeling that seems to characterize most of the specials.

The drawings of this special aren't bad per se, but they're not particularly impressive. There are four sakkans, and the drawings feel very half-hearted, without any conviction. It's as if, lacking someone with a distinct design sensibility like Noboru Furuse to lead them anymore, they fell back to doing a pale imitation of his template.

The name Hidekazu Kamemoto 亀本秀一 at the end of the key animation credits is probably a hybrid of Hajime Kamegaki 亀垣一 and Hideyuki Motohashi 本橋秀之, the Studio Z5 animators who worked on Part 3. Hajime Kamegaki would go on to be the mecha sakkan of the next special. Hisashi Eguchi (NOT the manga artist) did his first Lupin III work here as an animator. Thus the team behind the animation of the next special came together here.

Special #5 1993 Order to Assassinate Lupin

Lupin steals a nuclear sub in an attempt to bring down an arms smuggler.

This special shook up the pattern of the first four specials. This one feels nothing like the specials up until this point. The director is different, the designs are different, and the tone of the film is different. Despite that, it's a pretty successful little film. In fact, this film is responsible for keeping the TV specials going. The specials were going to be canceled due to declining ratings, but the success of this special ensured their survival.

The director is Masaaki Osumi, who directed the seminal first Lupin III TV series in 1971 before regrettably being replaced by Hayao Miyazaki and Isao Takahata due to low ratings. Here TMS pays him the long overdue respect of bringing him back to direct Lupin III again, and allowing him to do it the way he wanted.

The previous TV specials kept the atmosphere and characterizations pretty well close to the feeling of the TV series that had came before - serious but silly, never getting too heavy. Osumi here takes things back to the feeling of the early episodes he directed, when the characters were more ambiguous, not just lovable rogues, and the atmosphere was more serious and less goofy. Osumi's Lupin III stories were erratic like the original and not smoothed over and adapted to conventional anime storytelling rhythms. For this special, Osumi ordered Yasuo Yamada not to ham it up, to play Lupin more straight. Yamada's playful improvisations were a big part of what made the show so much fun, but they were out of place in Osumi's more hard-edged vision of Lupin III. No lecherous googly-eyed Lupin here.

The film has the feeling of a classic James Bond film. The protagonists must play a game of wits to defeat a formidable and cunning opponent with dastardly geopolitical aims. We slowly learn the truth behind this history between Jigen and the beautiful nuclear scientist kidnapped to drive Lupin's sub. And all the while, a ruthless hired killer tracks down the Lupin gang. All of the characters have well-defined and believably played personalities.

The directing is detail-oriented. When Karen tries Jigen's magnum, Jigen advises Karen not to shoot single action, but to cock it first, because otherwise the aim may stray. When Karen takes the magnum, it's so heavy she has a hard time holding it.

Studio Z5 animator Hajime Kamegaki is the mecha designer, and under his guidance, the weapons and vehicles are meticulously drawn and animated, giving the film a realistic feeling. He was involved in four episodes of Part 3. Episode 15 in particular was storyboarded, directed and sakkan'd by Kamegaki.

After floundering for a few years, they decided to be decisive and try a completely new designer. Hisashi Eguchi's character designs abandon the elongated Lupin face of the previous specials and return to the more rounded Lupin of Cagliostro and Fuma. The guest character designs are a bit strange, with the mouth placed close to the nose, and not particularly appealing or well animated, but the character acting feels stronger, probably because of Masaaki Osumi's unique style of directing. Like Takahata, he doesn't draw, but provides instructions to a storyboarder/director. The characters are more grounded and their emotional palette is more subtle. Osumi's roots outside of the anime industry help him create characters who behave in a more self-consistent way free from anime conventions.

The screenplay is again by Hiroshi Kashiwabara. It's obviously a re-working of the story he wrote for episode 50 of Part III, which also involved Lupin stealing a nuclear sub. He has added characters and otherwise reworked the story for feature length. The story was originally conceived for a feature film, so perhaps this is closer to his original idea. The sub is not as central a component this time. Rather than spy agencies competing over the Russian sub Ivanov, Lupin competes against smuggling ring Shot Shell.