Innocence

With Major Motoko Kusanagi missing, Section 9's Batou is assigned to investigate a string of gruesome murders—seemingly at the hands of faulty gynoids, or sex robots. But when a faulty gynoid leaves Batou a cryptic message, he begins to question the cause of their malfunctions. Suspicions of politically motivated murder and an illegal "ghost" quickly crop up, drawing Batou and his partner Togusa into a perilous web of conspiracy.

As their investigation goes on, the line between man and machine continues to blur, and reality and perception become indistinguishable. Confronting strange and dangerous foes, Batou and Togusa explore a futuristic world filled with machines and living dolls but utterly devoid of humanity.

[Written by MAL Rewrite]

Batou Main

Ootsuka, Akio Japanese

Togusa Main

Yamadera, Kouichi Japanese

Kusanagi, Motoko ing

Tanaka, Atsuko Japanese

Aramaki, Daisuke ing

Ooki, Tamio Japanese

Ishikawa ing

Nakano, Yutaka Japanese

Kim ing

Takenaka, Naoto Japanese

Haraway ing

Sakakibara, Yoshiko Japanese

Crab Man ing

Lin ing

Arm Doctor ing

Suzuki, Toshio Producer

Maseba, Yutaka Producer

Ishikawa, Mitsuhisa Producer, Planning

Nishizawa, Masatomo Producer

Reviews

Oct 23, 2008

Vurtox

Recommended

No one can ever know to understand.
They can only hope to understand.

What is life, what means reality? Why does man pursue the creation of artificial life? Where do we draw the line between human and machine? What classifies the perfect species?

Ghost in the Shell: Innocence might very well fare as a compendium of philosophy due to the manifold questions it not only brings up but most often also provides the viewer with unique - maybe obscure at times - in any way thought-provoking arguments.

The movie depicts a state of cold surreality in an eerie and sterile environment. The distinction between the organic and ... inorganic, between actual experience or artificial memory is of central significance.

"The imperfect nature of human perception causes the incompleteness of reality." As we perceive the world, we create our personal reality which holds neither absoluteness nor can it be considered concrete. However, because it is a product of the mind and hence incomplete, we consider it real, our own - instead of an externally imposed artificial scenario. Yet, there's no way to distinguish one from another. "You'll only ever realize later on. It's impossible to know you're in a dream when you’re dreaming."
Would we want to wake up from a dream if it was so much more beautiful than that which we consider genuine, just to seek truth?
"The mirror is not a tool for realizing the truth, but for obscuring it." And so is our consciousness. There's no verification of the truthfulness of the impressions that affect us, the memories we have, the interpretations and conclusions we come to. We are obscuring reality to make it fit our individual creations.
They definitely dwell on this subject matter. Not least due to the creepy dolls that lurk everywhere. "The doubt over whether that which looks alive is actually alive - on the contrary, the doubt that things without life might be alive" is something that's continuously played with - and the transition to another intriguing theme. The definition of life - or rather human.

"When people think 'Humans are different from robots', it is no more profound than thinking 'white is not black'." Why does man try to create machines in the image of the ideal human body? None other than a cyborg makes the quite unorthodox and controversial approach to answer this by creating an analogy between children and dolls. A child playing with a doll is essentially the same as parenting. The child substitutes the doll.
The macabre intellectual argument is taken even further. The 'content' of a child is different than that of a human, yet it is human-shaped. Therefore parenting is closest to the creation of androids which is the intent to conquer nature that created us.
A very factual and coherent argumentation - but devoid of emotion. That is obviously where the machine is lacking. And Togusa, closest to being a human in the whole movie, reacts emotionally.

Interestingly enough, about the only time the atmosphere transcends the abstract sterility of the plot is when Batou returns home to his dog. In an absolute contrast to the usually dialogue-driven story we're reduced to our visual perception and enjoy their reunion. While at first it may not seem special enough to be mentioned, the dog clearly stands out.
It is perhaps the most lively and intimate creature we're presented with. Hugging Batou from behind, scratching him with his paw in eager anticipation of the food, Batou carefully putting its ears around the feeding dish and in the end sleeping in his lap - unconditional love in a setting that otherwise shows an utter absence of this emotion.

The science that explains and defines life ultimately produces fear - "…the fear that humans might merely be the sum of simple clockwork tricks and components, in other words the fear of the phenomena called 'human' is essentially vanity."
Is the imitation of a human complete by putting a soul into a doll? Or is the existence of such a doll superior? The hacker Kim who has turned himself into a complete machine argues that either no consciousness or infinite consciousness makes a species complete and that can only be realized in dolls. "If there were such a thing as a truly beautiful doll it would be flesh and blood without a soul."

While the cyborgs might be the most complete form of existence, they are treated as inferior to man which is allegorized by the girl sacrificing the 'life' of dolls in order to be found. They are ignorantly treated as things despite the absence of a clear definition for life (which could disqualify them).

"You cry for bird's blood,
but not for fish blood.
Fortunate for ones with voice.
If the dolls had voices,
They would have screamed,
'I didn't want to become human!'"


This is by no means shallow entertainment or easily digestible. The story moves solely by its highbrow dialogues which are in a way mentally exhausting, yet quite rewarding.

Whereas the first movie impressed with detailed hand-drawn sceneries, this time around they made heavy usage of 3D CG. Although it was flawlessly executed and did not necessarily feel out of place, I could have lived with less of it. The love for detail remains nevertheless and it certainly adds to the somewhat sterile - almost clinical - atmosphere of the futuristic setting. Highly recommended.

Reviewer’s Rating: 9

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Oct 31, 2017

TeKSMeLater

Mixed Feelings

The Palme d'Or is one of the most prestigious awards in the world of film, coming from the highly respected Cannes Film Festival. For a film to get nominated for the prize is in and of itself a great merit that deserves praise. Within the few of several animated films that bring about a huge influential force within the industry and art itself, there's only been one Japanese animated film that was ever nominated for the said award.

Regarded as even more dense and rich in philosophical detail than its predecessor, Mamoru Oshii's follow-up to the widely successful Ghost in the Shell, Innocence, is a visual ... feast of intricate design and narrative. With a nine-year difference between the two films, it could be said that Innocence was a highly anticipated sequel. Yet with as much consensual praise it garners from film critics, on top of it a coveted Palme d'Or nomination, what exactly makes this film any different from your above-average anime?

In the same ways, it delivers like the first film, with Oshii's slow but methodical approach in setting scenes to build up suspense and evoking a rising curiosity to the viewers. Ghost in the Shell 1995 exemplifies scenes like the long, calming pause before the conflict arises, or the climactic chase scene with the Puppetmaster to emphasize the Major's internal existential crisis. This way, the slow-burner aspect of the film is justified as it allows the viewers to immerse into Kusanagi's thoughts as a human-slash-cyborg.

This film delivers none of those.

The snail pace of Innocence isn't really something that is as appealing as the first film's, and as a matter of fact it hinders the possibility of giving the film progress. Imagery...and long, establishing shots that take 30 seconds onwards without giving proper character conflict makes this time for the viewers to ponder completely baseless. The film does not allow us to relate or get into Batou's mindset, nor does the meandering moments help. It's something that makes the visuals and the narrative so out-of-sync it becomes flat-out boring.

The first half fails to captivate the audience with the "suspense" it should contain, and I couldn't really immerse myself into the film when all I see is Batou feeding his dog. The plot itself isn't bad—a string of murders by sex robots occur, but a particular one leaves a message that falls under Section 9's prying eyes. But if this two-hour film was a mini-series divided into two episodes, most would have dropped it after watching the first one. It drags on needlessly and unnecessarily, and only a few interesting moments happen. Not to mention the innumerable quotations from other forms of literature that makes me wonder if Oshii was writing a script or a reference list.

The story only really starts to kick in by the second half of the film, where we get into a convoluted but intriguing hacking sequence and from then onwards becomes a thrilling action-packed final act balanced with excitement and the same feeling that made the '95 film so interesting.

Whereas the story failed in execution but had enough steam to keep it going, the character aspect of the story had less appeal but were delivered well enough. Batou comes across as a ruthless character that the viewers would have a hard time relating to while Togusa sets a foil, becoming his voice of reason. We also see how these characters react as the intensity of the plot builds up, but it honestly doesn't have the approach GitS (1995) nailed with Kusanagi's unique characterization.

More or less, Kenji Kawai's helm in Innocence's soundtrack remains the same, although it becomes much less as a topic of discussion, just like the first film. It doesn't overpower, but it doesn't do anything to stand out as well. On the other hand, the sound effects and the voice acting remain one of Ghost in the Shell's strong assets.

CG animation, for the most part, does not blend well with anime—especially in a time like 2004. However, Innocence makes it all look natural, and its aesthetic (yet baseless) sequences help complement the otherworldly feeling the film's story and theme addresses. Whether it compares to the first film or not is up for debate, but in my opinion the animation utilized for Innocence and GitS 1995 are apples and oranges.

The Ghost in the Shell film series remains an overrated part of anime, both inside and outside the community. Don't get me wrong, I'm not stripping them of its merits—what GitS has done remains a groundbreaking move for anime cyberpunk. However, it is not without its flaws, and is nowhere near perfect. What is considered as a thought-provoking, introspective and philosophical form of visual art lauded by many is surprisingly straightforward, and doesn't really have that many meta-narrative interpretations that can be attached to it. Does it deserve the Palme d'Or nomination? Maybe so, but I'd like to think Ghost in the Shell 2: Innocence just happened to be there, and if I was given the chance to pick another animated film that best represents the medium in of style and substance, I would.

Reviewer’s Rating: 6

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Sep 5, 2011

Spagglespook

Not Recommended

GITS Innocence is very much spiritual successor to the original GITS film, at least in of presentation of storyline and interspersion of philosophy.

Innocence is a film that will appeal to some people, but others will either find the story too lacking or smothered with philosophical guff. To be perfectly honest I found the story to be extremely simplistic and shallow, there really isn't much depth here unless if you look to the quotation of classics or philosophy as depth. Almost all of the dialogue in the film is devoted to quotation, it becomes quite tedious after a while - not least because ... there isn't much necessary framing for those quotations.

The supposed point this endless quoting is to question artificial concepts that have no real bearing on our world, so it ultimately feels rather pointless.

Visually the film is... inconsistent. The 2D artwork is beautiful and fluidly animated, yet it is constantly at odds with ugly 3DCG artwork. Normally I wouldn't be quite so bothered about this, my complaint here is that excessive screen time given to ugly 3DCG panoramas and sweeping shots of things-which-aren't-very-interesting. Long story short, Innocence is not as visually impressive as the first GITS film.

It's a shame that this is such a disappointing film, but if you really want to try something deep try reading the many works cited in this film.

Reviewer’s Rating: 3

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