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Written by Mamoru Oshii (the director of the cult favorite
Ghost in the Shell) and directed by Hiroyuki Okiura (a key animator on
Akira),
Jin-Roh: The Wolf Brigade offers a violent but compelling vision in animation. The story is set in a fictionalized version of the recent past, when a repressive Japanese government is battling the Sect, a violent revolutionary organization that uses adolescent girls they call "Red Riding Hoods" as couriers. During a raid, Capitol Police Constable Kazuki Fuse (pronounced "foo-seh," voice by Michael Dobson) balks at killing Nanami Agawa (Maggie Blue O'Hare), one of the Red Riding Hoods. She commits suicide with a powerful bomb. While Fuse undergoes retraining, he meets Nanami's older sister, Kei (Moneca Stori), and initiates an odd romance. Soon both characters are caught in a web of plots and counterplots that center on the possibility that Fuse may be a "wolf," a member of a secret cabal within the Capitol Police.
Jin-Roh is drawn in a comic book style that recalls the work of the popular graphic novelist and film designer Jean "Moebius" Giraud; Okiura's skillful cutting and striking imagery transcend the limited animation. Although anime continues to grow in popularity in America, it's rare for a Japanese feature to receive even a limited theatrical release, as this one did: a dark, brooding film of exceptional power, Jin-Roh deserves to be seen by a large audience.
Suitable for ages 18 and up: considerable violence, profanity, and tobacco use. --Charles Solomon
Additional features
The special edition of this dark, compelling feature comes with a CD of Hajime Mizoguchi's excellent score, which is unavailable separately in the states. The "extras" disc includes Japanese and English trailers, a selection of pre-production drawings, and an eight-part set of interviews, primarily with writer Mamoru Oshii and director Hiroyuki Okiura.
Jin-Roh began as a video series based on an earlier
manga by Oshii but gradually developed into a theatrical feature. As Oshii was "swamped" on
Ghost in the Shell, Okiura was asked to direct. He accepted but insisted the film tell an original story with a romance at its center. Although Oshii praises Okiura's work, he regrets not directing the film himself. These interviews lack the tone of friendly banter that pervades American making-of discussions: the two artists like and respect each other but seem reluctant to admit it.
--Charles Solomon