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Lupine III: First Review

Lupine III: The first is the first computer-generated entry of a long-standing franchise about the adventures of the grandson of the famous French thief Arsène Lupine and the thief of his hilarious Frenemy band. And while the story is a bit over-retreading the old ground, it’s well equipped with a new 3D animation style. Lupine III: First is not far from its roots and relies heavily on long-standing franchise staples, but offers a serviceable chat without compromising its welcome. The latest in the series is directed and written Takashi Yamazaki, an expert on such things, directed Stand by Me Doraemon in 2014. This is another CG that inherits Japan’s long-standing franchise. There is no doubt that the film’s critical and financial success has influenced, at least in part, the production of this film. The transition of Loopin to CG works in the same way this time.

The new visual style actually pops the detailed textures of movie vehicles, clothing, and other objects off the screen. Yamazaki seems to be aiming for something more cartoonish rather than perfect realism, and some of the best shots look almost like fluid clay animation. Lupine has always aimed for a leap against gravity, but this animated style fits perfectly. As he flies around the screen, Rupin’s body is distorted and stretched — not enough to lose all of his weight sensation, but enough for him to remain clearly Rupin.

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However, there is an important point that computer-generated animations are not completely present. It’s a face. On some shots, the narration does not exactly match the lip flap. Fans of 2D animation are quite familiar with this phenomenon, but it becomes even more noticeable when rendering characters in 3D. On other shots, the face is too expressive. Even a sentence by Zenigata inspector and Fujiko Mine mysteriously bounces in 10 different directions. Lupine III’s model may be the worst criminal here: his grin flies all over his face and feels grin, too, well. That said, it’s fun to see the old Lupine staples play in 3D format. This is good as Yamazaki pushes them out one after another. This movie is virtually the biggest hit of Lupine’s material — if you’ve seen it before, it’s here.

Lupine was born 52 years ago as a flashy manga by Kazuhiko Kato (also known as Monkey Punch), and 50 years have passed since the series was first animated, Godzilla-ya Sazae-san. Its many adaptations, supported by screenwriters and directors’ revolving doors, left Rupin in a semi-blank state, similar to James Bond in the west. You are free to inject as long as the director does not go too far. A franchise with a unique sensibility and style.

Of the many prominent directors who have cracked Lupine III over the years, Hayao Miyazaki has left the most striking mark. Miyazaki introduced the audience to the kinder and gentler Lupine III, whose love for the maiden in the movie, which was suffering without killing anyone, was completely chaste.

Obviously, this version of Lupine was what Yamazaki had in mind when creating Lupine III: The First (yes, the title sounds strange when read out loud). Recent takes, such as The Woman Called Fujiko Mine and the Lupine IIIrd movie, have brought Lupine back to his gritty roots, but The First, for better or for worse, is head-on with the family.The maiden wrote the up-and-coming Indiana Jones in Bresson’s diary because an archaeologist killed by the Nazis during World War II refused to abandon the secrets contained in her diary. It is a type of Laeticia (Suzu Hirose). When Laetitia tries to steal the diary, the movie starts about 20 years later (Lupin points to Yamazaki for setting the movie in the pre-digitized time frame where it works best). She is being manipulated by her grandfather, a rather ominous-looking companion associated with a group of exiled Nazis, and the Führer is confident that he is alive in South America. As the film progresses, the novice thief Laeticia teams up with master scammer Lupine to learn the truth about the diary. This is, after all, tied to the past of both characters.

The resulting chatter is fun, but not so surprising to anyone who has gone through the movie-watching blocks several times. In particular, the last third of the film makes a very clear reference to Indiana Jones and the Last Crusaders. Perhaps Yamazaki calculated that most young children had never seen it and that their parents would forgive it as a loving compliment. It feels good for my beloved hero to see the Nazi clock again.

However, the most screaming movie to date was the Castle of Cagliostro in Miyazaki, which included the ending theme song, which meant that the movie was very deliberately evoked. .. After all, Cagliostro is the best of all Lupine III films, and for the first CG Romp of the famous thief, it makes some sense to cling to the best of the franchise.

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