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DIRECTED BY: Kazuaki Kiriya
FEATURING: Yūsuke Iseya, Kumiko Asô, Akira Terao, Kanako Higuchi, Fumiyo Kohinata, Toshiaki Karasawa
PLOT: Dr. Azuma uses experimental cell-regrowth technology to resurrect his son Tetsuya, transforming him into a reluctant superhero and inadvertently creating a group of rebellious new humanoids who are prepared to destroy all of humanity.
WHY IT MIGHT MAKE THE APOCRYPHA: Ambitious to a fault, Casshern is glorious excess, ricocheting from elaborate action sequence to moody introspection and back again, all against one ornately decorated backdrop after another. Even in its most intimate moments, this is a film that aims big: in plot, in look, in performance.
COMMENTS: The year was 2004, and the digital backdrop was ready to make a splash. A quartet of films offered an early look at the green-screen extravaganza that would come to dominate the cineplex, each one of them in their own way showing a path to the future. One of them, Able Edwards, looks exactly like its $30,000 budget. Immortal captured our attention by emphasizing weird flourishes. Sky Captain and the World of Tomorrow opted for star power, plopping some of Hollywood’s biggest names in front of glorious sepia-toned Art Deco images and directly into the heart of one of the most boring movies ever projected. And then there’s Casshern, Japan’s entry in the digital sweepstakes and probably the film that best augurs the current state of the movies; creating a fusion of intense action, elaborately appointed CGI landscapes, and liberal doses of operatic philosophical discussions conducted with aching intensity. Each, in their own way, led us to “The Mandalorian.”
Casshern has so much plot. It’s adapted from a 1973 anime series and absolutely feels like it, with volumes of backstory condensed into short bursts amidst the action and impassioned reflection. For most films, the showdown between humanity and the new creatures it has unintentionally Frankenstein-ed into existence would be conflict enough. Shellshocked Tetsuya finds an appropriately flamboyant opponent in Burai, the white-haired leader of the Neo-Sapien revolution.The history here, however, just keeps going back and back: to Tetsuya’s father as the inventor of neo-cells, to the intractable war between the two great powers, to the coverup of the true origin of humanity. Sometimes, Casshern has so much it wants to explain that it feels like it’s retconning itself in real time.
It’s all very, very serious. Tetsuya and love-of-his-life Luna can barely take a moment for themselves without reckoning with all they have lost. The various powers manipulating the situation from behind the scenes are too bureaucratic and officious to waste a moment on mustache-twirling. Even Burai and his grand pronouncements of world destruction are weighted with pain and vengeance. You would think that dressing themselves in fabulous supervillain gear, donning a logo that looks like the Nazis co-opted a 45 rpm adapter, and stumbling with unbelievable serendipity into an old factory for constructing killer robots would merit at least a moment of wry acknowledgement. But no, there’s not a smile to be found.
Music-video veteran Kiriya puts together some spectacular set pieces, including a tense escape from a laboratory under heavy fire and an exciting sword duel on the grounds of a decimated city. He’s always careful to keep the story rooted in philosophical quandary, though, which means the film is wildly inconsistent in tone and pace. (Shiro Sagisu’s score, which often feels wildly out of sync with what’s happening on the screen, doesn’t not help.) What’s most curious about this mix of moods is that everything feels essential, but mismatched, as if two different takes on the same material had been stitched together. A North American edit supposedly tightens up the more philosophical sections (and reportedly makes the story less comprehensible in the process), but it’s hard to see how that would help. For all the introspective diversions, “too slow” really isn’t one of Casshern’s problems.
For a superhero film that, for its look and its weight, could sit comfortably alongside any number of MCU and DCU entries, Casshern is not particularly fun, but it is fascinating. If you wanted to show how an anime could become live action, this would be a strong point of comparison. If you wanted to demonstrate the full potential of digital set design to create impossible worlds, this film opens the door. If you just want to embellish familiar sci-fi settings with a layer of existential dread, this definitely does the trick. All these things and more are possible. However, you just might want to decide which of those things you want the most.
WHAT THE CRITICS SAY:
“… so stunning and strange to behold, saturating the screen with such rococo detail, that it is impossible to believe it was made for under 6 million US dollars… Casshern really does represent a spectacularly stylised mutation of the way we look at the world of war.” – Anton Bitel, Projected Figures
(This movie was nominated for review by Andrew Milne, who called it “utterly inscrutable and deliciously mad.” Andrew also recommended it to Tim Brayton at Alternate Ending, who got to his review long before we got to ours. Well played, Tim. Suggest a weird movie of your own here.)
