Title: Paprika Director: Satoshi Kon Aspect Ratio: 1.85:1 Studio: Sony Classics Genre(s): Thriller Rated:       (For violent and sexual images)   Buy From Amazon.com: Not yet available.

CONSUMER ADVICE

Parents, aside from some mild violence and nudity this is an otherwise fine PG-13. Recommended for ages 13 and up.

Yesterday I went to the Asian Art Museum in San Francisco to see a special presentation of Tezuka Osamu, the godfather or anime and manga.  At the museum I was awed at how much of an impact Osamu really had on the anime medium.  The man created the first anime TV series in "Astro Boy," the first full length anime movie, he made anime commercially viable, he was the first man who attempted to share his medium outside of his own country, and his stuff was loved by all ages.  In many ways, Tezuka Osamu was the Walt Disney for Japan.  Osamu died in 1989 from stomach cancer, but his legacy speaks volumes.  After spending close to five hours pouring over his life, I went to see "Paprika," from anime director Satoshi Kon, and was flooring by the experience of the movie.

What a wonderful movie to watch after spending an afternoon looking up the history of Japanese animation.  Reading about how Tezuka Osamu was always looking for new ways to make animation emotionally involving and daring made "Paprika" give me tears.  The movie revolves around a group of scientists who are panicking because a new invention called the DC Mini, a device that allows people to enter into someone else's dreams and subconscious, has been stolen.  In the wrong hands, the person could use this device to control anyone through means of their dreams and warped realities.  Dr. Chiba is one of the scientists who helped invent the DC Mini, but she also has an alter ego that goes by the name of Paprika, and can enter dreams and warped realities as if she was turning on a video game. 

This talent comes in handy because as Paprika, Dr. Chiba can help protect people who have come under control by the DC Mini.  Into the dream world Paprika goes, to discover worlds and sights that seem to jump out of the screen and surround us, giving us an "out-of-body" experience that just adds to the experience of this movie.  Like Paprika herself, we find ourselves diving through worlds that feature walking dolls, talking frogs, and backgrounds that warp and shift before our eyes.  Not only do the dream worlds give surreal experiences to the viewers, they give the characters different perspectives of their biggest fears and hidden demons that they must eventually face.  Occasionally a catchy tune by the name of "Mediational Field" will play in the background, which, coupled with the images on the screen, will give you the sensation that you may in fact be flying and watching your own dream unfold before you.

"Paprika" is a reminder of what good animation is.  It's a reminder of what good movies are.  It's a reminder of what storytelling is.  It's a unique package that oozes with style, substance, and heart.  It reaches for the sky, goes beyond the stars, and brings us safely back to Earth when the journey is over, giving us an experience we rarely ever get to have.  The visuals and the music make us feel lighter then air, while the story engages the mind like a pinball machine, sparking our mind with activity and fun lights.  When the movie was over I wanted to experience it again, and again, and again.  Keep in mind, this is an engaging movie that has larger then life images that you aren't going to find in other movies currently in theaters.  I saw "Transformers" a few days before I saw "Paprika," but find myself amazing how different the movies are.

While they both offer larger then life images, "Transformers" seemed more interested in knocking our hearing out rather then showing off a craft.  On the contrary, "Paprika" feels like it's more interested in using it's craft and visuals to engage the audience.  It's the kind of experience Tezuka Osamu was most likely aiming for when he made all those movies.  Whether he imagined this high or not is up for debate, but I believe if Osamu could see this movie he would smile at his fellow animators and pat them on their backs like a proud father would his children.  If Disney could see this movie though, chances are he'd give his animators a pep talk and tell them to get back to the drawing board.