C0MPL3X
09-15-2006, 02:42 AM
Title: Gankutsuou: The Count of Monte Cristo
Genre: Drama/Romance
Company: Gonzo/Media Factory
Format: 24 episodes
Dates: 10/5/2004 to 3/29/2005
http://www.animeacademy.com/pictures/revpics/gankutsuou-2.jpg
*edited a little bit*
Madams Messieurs, Bon jour. Disguised under the title of Count of Monte Cristo, my friend’s enigmatic entrance to Paris has captivated his enemies' attentions. No one has yet to discover who he is, nor of the relentlessly approaching visage, which their vices have given birth to. I have told my friend, to use the life he saved on the moon to sing the tale of their doom. However, that instrument plays too young and too beautiful…my friend only fears that his heart is merely numb, which may beat again at its playful melody.
After a brief poetic narration told in French like so opens an each act of Gankutsuou, a brilliant futuristic adaptation of Alexandre Dumas’ timeless novel, The Count of Monte Cristo. Despite Gonzo’s reputation for styles over substance, this gem has both of them in spades. Although credits must be given to such a fine literary source, it is essentially their bold yet carefully planned and executed decisions in direction, which were responsible for bringing about one of the most astounding tale of revenge and redemption.
There is a good reason why the story is not set in the time of French Revolution like in the novel. There are certain aspects of the novel such as the Count’s oriental status and knowledge that amazes the readers even though they are very common and trivial objects that we experience everyday. That's because the novel takes care with long and intricate details as to why these idle things would have appeared too wonderful to Parisian people at that time. To avoid this, Gonzo takes us into a futuristic universe that is far more interesting and unknown to contemporary audience. The Count’s aliens and ocean of treasures under the street of Champ-Elysee amazes us in anime, just as a Nubian slave and splendid oriental furnishings fascinated Parisian people in the novel. Yet many aspects remain true to the novel as if to show that some things in life are timeless, like the actively bright street of Champ-Elysee, one’s never-ending greed for wealth and power, and a man’s hunger for revenge.
Rendering this universe is an unprecedented and gorgeous animation style that came after bold experimentation and careful execution. Instead of solidly colouring inanimate objects such as hair and clothings, Gonzo uses glowing palette of elegant computer generated textures that remain static regardless of character’s movement. Mildly reminiscent of Gustav Klimt’s decorative style, these patterns arouse a spectrum of sensual feelings in particular settings and characters, whether it be a filthy rich man dressed in a sparkling gold ingot patterns, or lush textures that pulls us into the extravagance of Carnival in Luna. It’s also worth noting that a fashion designer Anna Sui had her hand of professionalism in elaborate costume designs to compliment this success in visual department.
And even after such creativity and technical brilliance, I can’t help but congratulate Gonzo for boldly manipulating original plot and characters of Dumas to present something so profound in the span of merely 24 episodes. Although the Count still remains the most complex and interesting character, focus of the story is given to Albert. He is in a sense, reincarnation of what the Count once was; young, innocent and happy. One moment we are feeling sorry for Albert who is victimized by unknown forces, and for the Count who has to watch his former innocent self betrayed by his very own hands. Sum of these emotions then intensifies our bloodthirsty satisfaction of revenge when the Count delivers those responsible for his suffering to living hell. What we experience as a result is a powerful and cyclic symphony of sympathy and vendetta that is not offered in the novel until near the end. Other praiseworthy changes are made to introduce new elements to the story, such as Franz’s sacrificial act of friendship that is more beautiful and sad than life itself. As an icing on the cake, these dramatic moments are delivered with beautiful classical compositions that are more than worthy of conveying such complex emotions.
All I ask of you is not to be disappointed at the anime for not being a very faithful adaptation, as it does sacrifice some of those qualities that made the novel shine. Yet it will take the novel's essence further in a bold flight of imagination, inviting you in a visually and emotionally enthralling ride of something more refreshing. I wish you madams and messieurs then, to appreciate what it is to suffer, avenge and love at the end of your journey.
Grade: 9/10
Genre: Drama/Romance
Company: Gonzo/Media Factory
Format: 24 episodes
Dates: 10/5/2004 to 3/29/2005
http://www.animeacademy.com/pictures/revpics/gankutsuou-2.jpg
*edited a little bit*
Madams Messieurs, Bon jour. Disguised under the title of Count of Monte Cristo, my friend’s enigmatic entrance to Paris has captivated his enemies' attentions. No one has yet to discover who he is, nor of the relentlessly approaching visage, which their vices have given birth to. I have told my friend, to use the life he saved on the moon to sing the tale of their doom. However, that instrument plays too young and too beautiful…my friend only fears that his heart is merely numb, which may beat again at its playful melody.
After a brief poetic narration told in French like so opens an each act of Gankutsuou, a brilliant futuristic adaptation of Alexandre Dumas’ timeless novel, The Count of Monte Cristo. Despite Gonzo’s reputation for styles over substance, this gem has both of them in spades. Although credits must be given to such a fine literary source, it is essentially their bold yet carefully planned and executed decisions in direction, which were responsible for bringing about one of the most astounding tale of revenge and redemption.
There is a good reason why the story is not set in the time of French Revolution like in the novel. There are certain aspects of the novel such as the Count’s oriental status and knowledge that amazes the readers even though they are very common and trivial objects that we experience everyday. That's because the novel takes care with long and intricate details as to why these idle things would have appeared too wonderful to Parisian people at that time. To avoid this, Gonzo takes us into a futuristic universe that is far more interesting and unknown to contemporary audience. The Count’s aliens and ocean of treasures under the street of Champ-Elysee amazes us in anime, just as a Nubian slave and splendid oriental furnishings fascinated Parisian people in the novel. Yet many aspects remain true to the novel as if to show that some things in life are timeless, like the actively bright street of Champ-Elysee, one’s never-ending greed for wealth and power, and a man’s hunger for revenge.
Rendering this universe is an unprecedented and gorgeous animation style that came after bold experimentation and careful execution. Instead of solidly colouring inanimate objects such as hair and clothings, Gonzo uses glowing palette of elegant computer generated textures that remain static regardless of character’s movement. Mildly reminiscent of Gustav Klimt’s decorative style, these patterns arouse a spectrum of sensual feelings in particular settings and characters, whether it be a filthy rich man dressed in a sparkling gold ingot patterns, or lush textures that pulls us into the extravagance of Carnival in Luna. It’s also worth noting that a fashion designer Anna Sui had her hand of professionalism in elaborate costume designs to compliment this success in visual department.
And even after such creativity and technical brilliance, I can’t help but congratulate Gonzo for boldly manipulating original plot and characters of Dumas to present something so profound in the span of merely 24 episodes. Although the Count still remains the most complex and interesting character, focus of the story is given to Albert. He is in a sense, reincarnation of what the Count once was; young, innocent and happy. One moment we are feeling sorry for Albert who is victimized by unknown forces, and for the Count who has to watch his former innocent self betrayed by his very own hands. Sum of these emotions then intensifies our bloodthirsty satisfaction of revenge when the Count delivers those responsible for his suffering to living hell. What we experience as a result is a powerful and cyclic symphony of sympathy and vendetta that is not offered in the novel until near the end. Other praiseworthy changes are made to introduce new elements to the story, such as Franz’s sacrificial act of friendship that is more beautiful and sad than life itself. As an icing on the cake, these dramatic moments are delivered with beautiful classical compositions that are more than worthy of conveying such complex emotions.
All I ask of you is not to be disappointed at the anime for not being a very faithful adaptation, as it does sacrifice some of those qualities that made the novel shine. Yet it will take the novel's essence further in a bold flight of imagination, inviting you in a visually and emotionally enthralling ride of something more refreshing. I wish you madams and messieurs then, to appreciate what it is to suffer, avenge and love at the end of your journey.
Grade: 9/10