The time is the near futures, and a group of scientists and psychologists has developed the DC Mini, a device that allows a person to enter, record, interact with another’s dreams. But someone--most likely an insider--has stolen the device and is using it to influence the dreams of its developers, and the resulting overlap of dreams has deadly consequences.

nmDr. Atsuko Chiba, the therapist in charge of the DC Mini project, and Detective Konakawa Toshimi, who is haunted by dreams of a murder suspect he has yet to apprehend, partner to catch the person who stole the DC Mini and bring an end to the destruction caused by the expanding dream state.

CRITIQUE

I’m not going to pretend I know exactly what’s going on in Paprika, the latest feature from noted anime director Satoshi Kon, the man behind Perfect Blue, Millennium Actress, and Paranoia Agent. I have an idea, but fear of sounding like a complete fool prevents me from sharing it. This movie is a riddle wrapped in an enigma wrapped inside a dream. It’s the sort of movie you experience more than watch, as the plot here is secondary to the tone and overall effect. It will likely annoy just as many (if not more) viewers as it pleases, but those who are down for its heady mix of ideas and imagery will find much to enjoy.

The movie is loosely based on a ‘90s novel by Yasutaka Tsutsui (which was originally serialized in, of all places, a women’s magazine), and Kon, who also co-wrote the script, has stated he was more interested in the dream aspects of the story than he was the plot itself. In adapting the novel he devised the movie’s dream sequences first and then built the plot around them. This explains both the movie’s strengths and its weaknesses. The first seventy-five minutes or so, during which the dream sequences dominate the proceedings, are wondrous. Huge robots wander the landscape. Parades of giant toys wander through the streets. Toshimi seeks refuge in memories of the movies he enjoyed in his youth. And a mysterious young woman named Paprika flits in and out of people’s dreams. On a purely sensory level, this part of the movie works incredibly well.

But then comes the obligatory plot wrap-up, and the inventiveness of the preceding hour-and-change is chucked out the window. The final showdown with the villain is perfunctory, resembling the finales of countless other anime tales. And the villain’s motives are obvious and clichéd; they may have been surprising back in the early days of sci-fi, but these days they’re beyond old hat. Underwhelming climaxes seem to be the norm in otherwise ambitious stories in this genre, and I suppose I should be used to them by now, but is hoping that filmmakers actually take it all the way too much to ask?   

The animation itself is stunning. I’ve been an anime fan for the better part of the past three decades, yet I never stop being amazed at the fluidity and attention to detail in the medium. The animation here was created by Madhouse, Inc., and it’s wonderfully, vividly alive. It’s a combination of traditional cel animation and CG work, but it’s blended in a way that rarely seen. I hate it when CG elements stand out against their cel counterparts, but that’s certainly not a problem here.

Here’s my suggestion: watch the movie up until the point a certain character is swallowed (you’ll know it when you see it). Then use your remote to bump the movie up to the final scene. It works better that way.

THE VIDEO

The 1.85:1/1080p transfer comes very close to achieving perfection, but is marred by some minor color banding (a common flaw in transfers of animated material); it doesn’t pop up often, and it’s not a terrible distraction, but it is noticeable. On the plus side, colors are bold and impossibly vivid, and blacks are very deep. Every detail in the animation, both cel and CG, is clearly visible.

THE AUDIO

The primary soundtrack is a Japanese Dolby TrueHD 5.1 track. The mix is exceptionally active, particularly during the dream sequences. There is plentiful low end action, and dialogue sounds excellent. The only problem involves the surrounds, which at times sound hollow compared to the front of the soundstage. I suppose you could argue this is meant to add an eerie, disconnected quality to the dream world, but I found it quite distracting. An English Dolby TrueHD 5.1 dub is also included (you’ll want to steer clear of this one), as are French, Cantonese, Mandarin, Thai, Portuguese, and Spanish Dolby Digital 5.1 tracks. English, French, Spanish, Korean, Chinese, Thai, and Portuguese subtitles are available.

THE EXTRAS

The audio commentary by director Satoshi Kon, composer Susumu Hirasawa, and associate producer Morishima (he goes by only one name) is fairly interesting. The technical discussion isn’t so hot (if you’ve heard one, you’ve heard ‘em all), but the talk of the dreams and philosophy that influenced the movie is.

Tsutsui and Kon’s Paprika (30 minutes) is a very good making-of featurette. It begins with Tsutsui discussing his novel and then segues into Kon’s struggle to adapt it. After that there’s a fairly comprehensive look at the production itself, begin with planning and design and continuing on through the voice over work and the first screening.

A Conversation about the “Dream” (29 minutes) is a discussion between Tsutsui, Kon, Megumi Hayshibara (the voice of Dr. Chiba), and Toru Furuya (the voice of Tokita, the DC Mini’s designer). They talk about their own dreams, their interpretations of the movie, and their favorite scenes.

The Dream CG World (15 minutes) covers the movie’s CG animation, including a look at how it was integrated with the cel animation.

The Art of Fantasy (12 minutes) concentrates on the work of Art Director Nobutaka Ike.

Closing out the extras are storyboard comparisons for three scenes.

FINAL THOUGHT

Paprika, for the most part, is one hell of a ride, and is recommended for anyone’s who up for the trip. Those who are unsure are advised to rent it first.