Neon Genesis wrote:
The first early review of the first 15 minutes is out and it doesn't look good so far. https://thenerdsofcolor.org/2017/03/10/ ... ell-worse/
Alright this the sound like anything from the other I artical link. Who has saw also the 15 minute previews.
( In the first scene, Major (Johansson) dies en route to surgery, only to be born again into a robotic body. The sequence almost plays like the big-budget, PG-13 version of Johansson’s transformation in Under the Skin, complete with a milky white backdrop and full frontal nudity. Except here the nude body has porcelain Barbie-doll like anatomy. The stark transformation of odd looking metal into the curves and features of ScarJo deliberately blurs the line between ‘it’ and ‘she’, sexualization used to highlight just how human machines may become (a la Blade Runner & Ex Machina).
The camera deliberately lingers (slow-mo) over each stage of the transformation, fetishizing not just the final product but also each bit of metal, the exposed brain matter, the flaking white skin… Objectification is the point, reflecting how each character views the re-born Major as a ‘thing’ first and foremost. To Juliette Binoche’s Dr. Ouelet, Major’s a ‘major technical achievement’ and ”a miracle”, but to Binoche’s shady male science partner, Major’s just “a weapon.” Neither, though, acknowledges their creation as anything more than a tool either for science or force. Later, even Major herself questions if she’s anything more than circuits and wires, staring at the remnants of a dead AI, comparing and contrasting it with herself.
Johansson’s played this part before, as an alien uncomfortable in human skin (the previously mentioned Under the Skin) and as a disembodied AI voice in Her. Ghost in the Shell seemingly completes Johansson’s triptych of people/things uncomfortable within their own flesh (or lack thereof). There’s a reason though why Johansson keeps returning to these existential heroines – she’s really really good at it, conveying vulnerabilities and depth sans any dialogue. There’s no other actress today that can reveal as much using so little. The thought of watching Johansson recreate the ‘other-ness’ of her Under the Skin performance in a film twenty times the budget is easily the most exciting prospect within this new footage.
Image via Paramount Pictures
In the second revealed scene, set one year later, Major tries to prevent the assassination (“hacking”) of a smarmy businessman (played by the always welcome Michael Wincott). It’s the scene you’ve more than likely seen glimpses of in various trailers: Major on the roof of a building, geisha AI attacking a group of businessmen sipping tea, Major slow-mo diving off the building and then breaking through glass, guns blazing… Yes, you’ve seen this type of slow-mo set-piece a hundred times before since The Matrix; but with today’s shaky cam, quick-cut action aesthetic, it almost feels revolutionary to linger for more than five seconds without a cut or to have, god-forbid, a wide establishing shot. Overall it’s a marked improvement for filmmaker Rupert Sanders, whose previous feature Snow White and the Huntsman suffered from the aforementioned shaky-cam aesthetic.
It’s hard to tell from these twelve minutes how faithful (or not) this new live-action Ghost in the Shell will be to the manga, anime or animated feature(s). But it does appear to be exploring the same themes of individuality, consciousness, and the intersection between the two. If the rest of the movie is anything like these twelve minutes, Ghost in the Shell may well be the deepest and strangest big budget film of its ilk in quite some time. I, for one, can’t wait.
Ghost in the Shell opens wide March 31st.)