Avalon

There is an interesting parallel between The Matrix and Avalon. The first is heavily based on Manga/Animee style, in visual dynamics much more than in pace as well as storytelling, the latter IS an Animee movie without the animations - in fact, Avalon is a VERY typical Oshii film in every other aspect going.

It's slow. It has to be. It either bores you stiff or chains you to a subtle, incredibly intense way of visual storytelling - takes you back to a time when the attention span as well as the will required to catch a drift - to hold a thought and work on it - lived longer than a few seconds.

On the surface, this movie is what one could call a cyberpunk poem. For that alone it already claims a unique position amongst whatever one might want to compare it to at first glance. A chillingly dark and detailed as well as beautifully crafted ballad of a heroine seeking much more than sense between realities and illusions. She seeks the home we all desperately try to cling to in belief for lack of knowledge.

As always in Oshii's movies, one has to be prepared to be drawn into the unsettling realm between suffocating rules of conduct and complete uncertainty to get at the tiny grain of hope hovering so painfully close to the wheels that try to grind you.

The dialogue doesn't tell us much. In fact, the more wordy the explanations get, the more they deflect us from what we see and feel. That's pretty much what Ash has to cope with as well to find the way to HER reality as well as illusion.

To call the acting understated, slow and painfully introverted would be an understatement in itself. To call it bad for that would be the most idiotic conclusion. Malgorzata Foremniak (Ash) is a true discovery. The intensity and sheer impact she can give to 'silence' alone makes her the ideal Oshii actress. There is no empty move, no hollow gesture, no shallow expression in her entire performance. Quite an accomplishment if one keeps in mind that Ash leads a depressingly empty, hollow as well as shallow life on the surface.

It's an equally depressing fact that this incredible Polish actress will stay in obscurity as far as the billion dollar mainstream movie world is concerned.

The cinematography and lighting by Grzegorz Kedzierski is nothing short of exquisite. So is Barbara Novak's production design. Budget-wise, this is a B-Movie, but they all turned that restriction into a virtue.

One last praise has to go to the composer as well as the musicians. The title track 'Avalon' alone, a grand piece for orchestra, choir and soprano, is nothing short of a masterpiece.

As I said, this movie is a poem. Take a quiet place, wind down from the hassle of your day and let yourself sink into illusions which might even show the occasional glint of YOUR reality.

* 10 out of 10

Schogger13

I think many of the complaints about this movie are by those that overlook one of the most obvious statements of the movie... that day to day life is boring & tedious, (walking hallways, taking lonely boring train rides, feeding your dog, watching an annoying person eat) all the while the visual world (read spiritual, artistic, visionary, higher level, etc.) is breath-taking. None of the characters of this world are privy to the visual poetry we are being exposed to as viewers... and that is part of the point, they are blind to it... yet it's a reminder that technological obsessiveness, or material obsessiveness, blinds everyone from simple visual beauty. The lighting alone in the movie was incredibly inventive, variations of sepia tones that went from red to green to blue during the course of the movie... overall the lighting and photography in the movie was amazing. You could take any given frame of this film and have a very beautiful photograph. There is a lot of CGI work in this movie that many nay-sayers called "low budget" and didn't even notice. Watch at the very end of the movie how the ghost's mouth wavers, almost like the Mona Lisa, from sad half-frown into a smirk, and this was done in post. I'm sure many people missed very subtle and beautiful touches like this on first viewing. If someone were to critique it for lack of complexity, I would agree... Blade Runner was not "deep" in the same way... but both, upon multiple viewings, remain almost timelessly poignant while being very reflective of when they were made, and I'm sure in 10 years this movie will seem as striking, as Blade Runner is to me now over 20 years since it's release. This will be one to watch over and over again every 6 months.

One caveat... the Miramax version is rubbish. The translations are horrible and stupid. Literally you lose half the meaning of the film. At one point Ashe is talking to the Gamemaster discussing Avalon (the mythic island) and discussing Odin and the helmet of forgetting... right as she puts the VR helmet on. In the Miramax version... the Gamemaster just says "be careful it's dangerous in there"... etc. Not even close, it's like they didn't bother even attempting a real translation, pathetic.

Avalon is a beautiful movie, but not for everyone. If you mainly like action or fast-paced movies you may be turned off by some of the slow scenes during the movie. Avalon has action though, and explosions galore. Some of the story is a little ridiculous and hard to follow, but that isn't necessarily a bad thing at all.

This is the only film I know of that was a co-production of both Japan and Poland. Directed by Mamoru Oshii, but filmed mostly in Poland and in the native Polish language.

While watching this movie you get a feeling of a very unique quality. It was filmed (or altered in post) to resemble an old Sepia toned film, but still with the high-resolution of today's film standard. This adds a very bleak and depressive visual style to much of the movie. That's a good thing, because this is not a happy movie in the least.

Avalon relies heavily on CGI throughout the movie, due to the "cyber game world" that the movie is largely dealing with. Much of the CGI effects are quite interesting to watch. You can often tell they are CGI effects, but it's obvious that it's a computer dominating world with players inside it.

Another effective element to the film was the excellent music score by Kenji Kawai. This has to be one of the most beautiful and engaging film scores I've heard in a long time. It ranges through many different forms, even to the operatic. Very layered and complex, yet easy on the ears. Recorded with the Warsaw Philharmonic Orchestra, tons of people played the various musical instruments in the recording of the score, according to the end credits. I would compare it in a sense to Christopher Young's otherworldly and haunting score for the first two Hellraiser films. It's a shame that the soundtrack to Avalon is currently only available as an expensive import CD.

Even if you dislike the film, you must watch it once just for the amazing music...it really is that good.

Firstly I was amazed at the effect that this film has on people. After reading other comments here, it does not take long to note that reviewers are either full of praise or downright critical, with little in between. Not many movies are so provocative. I stumbled onto this film late one night at the local video rental and it was like my last option, so I had little or no expectations to be deflated. I was pleasantly surprised. The sombre ambiance of the surroundings (Poland) enchanted me, and the sepia black & white film stock simply added to the mystique of the setting. Indeed I have not experienced such a rich atmosphere in a sci-fi film since Blade Runner!!! The SLIGHTLY low-tech special effects were incredible in that they seemed to add authenticity to the fact that this was a "video game" NOT "reality", unlike a lot of sci-fi where the special effects are merely another prop. The insular existence of the lead character due to her obsession with her virtual world is perhaps very poignant today more than ever with the advent of cyber space, computer games etc and their potential for social alienation. Perhaps the films shortcoming is that it may not appeal to the younger set who have grown up on a heavy diet of Hollywood Blockbusters where there has to be the mandatory car chase and subsequent sex followed by a gratuitous helping of ultra violence, but for me that was part of this very artistic films charm.

There is a lot to recommend this movie, including a richly-stylized world, exciting action, and excellent music. I will admit that I was first interested in this movie because I knew of the director Mamoru Oshii from the anime "Ghost in the Shell", so I wasn't surprised to find that the movie felt much like a very stylized high-quality anime movie. Indeed, I wasn't surprised that the Japanese director revealed (in an interview included with the DVD I watched) that his relationship with the Polish actress playing the main character Ash was much like his relationship with a character from one of his anime projects, since he could no more communicate personally with Malgorzata Foremniak than he could with one of his anime characters. To him, the actress was entirely her character, and it's intriguing to see what became of that very unusual relationship on film.

I'm always wary of getting carried away with a first reaction to a film, so I should admit that this film isn't perfect. I found myself wanting to know more about the background of the main character, and her family, and how she came to become the person we see in the film; certainly, Malgorzata Foremniak does a very good job of playing a character whose fantasy life (the life of her online RPG character) is more real than her 'real' life, but the lack of background detail makes her character Ash very much like a two-dimensional anime character, and that can be considered a weakness. Also, this movie bears an obvious similarity to "The Matrix" (which predated it), so most viewers will inevitably compare this movie to "The Matrix" and find it perhaps wanting in that it doesn't lay out the background of the virtual world of the Avalon RPG as clearly as "The Matrix" lays out the background of its world.

These factors notwithstanding, I still enjoyed "Avalon" and I recommend it to anyone with more than a passing interest in virtual reality stories, anime, or highly-stylized science fiction in general. In the aforementioned interview, the director mentions that his films tend to deal with a borderline between fantasy and reality, and it's quite apparent that Ash's 'real world' is somehow both grittier, and less real, than the world of the Avalon RPG which she's so obsessed with. The action sequences in the film (featuring real-world equipment from the Polish army, such as tanks and attack helicopters) are exciting in their own right, but the special effects of the film (such as explosions reduced to 2-D images and bystanders who disintegrate when shot) make it clear what is supposedly real and what is supposedly virtual. Also, the contrast between fantasy and reality is much more vivid here than in the Matrix movies - and that's especially apparent toward the end of the movie where the viewer is left to wonder just what (if anything) is ultimately real, and what is simply imagined. Also, I must say that the music of this film is extraordinary, including choral music that is downright eerie, but also beautiful at the same time. A world both real and unreal is conjured very effectively in this movie, and therefore I would recommend it to any fans of this sub-genre of science fiction in particular, and fans of highly-stylized film-making in general.