Akira - Script review of live action remake

This review of the Akira script is from Latino Review. Let me know your thoughts on it.

According to the trades, Warner Bros. will turn anime artist Katsuhiro Otomo's six-volume graphic novel "Akira" into two live-action feature films, the first of which is being fast tracked for release in summer 2009. Each feature will be based on three of the books in Otomo's series. The story takes place in New Manhattan, a metropolis that was rebuilt after being destroyed 31 years earlier.

Dr. Strangefist is a huge fan of the 1988 anime and recently took a look at the script by Gary Whitta. He chimes in with his thoughts below.

I am not anti-remake. They do not incense me like they do some people. In fact, I kind of like the idea when they’re done well, even if that’s not all that often, and when they are bad I generally subscribe to the notion that the original is still out there for you to watch and the remake can only increase awareness of it amongst the general movie-going population. So no harm no foul. Still, I can’t help but be a little skeptical, or at the very least nervous, when I hear that a film I love is being remade, or a book I love being adapted, and so on. Even if a remake isn’t ultimately going to take away from its source material I want it to do it justice and maybe even turn out to be something good in its own right. So as I’m sure you can imagine I was pretty damn skeptical approaching Gary Whitta’s screenplay for a live action American version of Akira, a personal favorite and easily one of the best and most influential anime films of all time. Many of you will probably be surprised to hear that the verdict is overall positive, or at least not altogether negative. In fact it’s pretty firmly somewhere in the middle.

The story takes place in a burgeoning new metropolis of the future, several years after a cataclysmic event destroyed the old city that once stood in its place. Unbeknownst to most of the populace, the real cause of the event was a small boy with incredible psychic powers, part of a top secret government program attempting to harness such so called “Espers” as weapons. The project is deemed too dangerous, and the young boy – AKIRA – is put in cryogenic stasis in a secret underground facility to prevent such a disaster from ever occurring again. In probably the most significant change and the only one that really bugged me, the events of this version are shifted from Tokyo to New York – but after the city is destroyed and the United States’ economy collapses, burgeoning superpower Japan buys the devastated island to construct a new city to house their ever expanding population. So the film will still technically be set in New Tokyo, but on the island of Manhattan, and with about half the characters being American and the rest remaining Japanese. It’s a somewhat odd way of appealing to American audiences and fans alike, and feels somewhat awkward, but does allow for some up to date political commentary.

In the ruins of the surrounding boroughs live KANEDA and TRAVIS, two young men who became good friends after being orphaned by the disaster and have since looked out for each other. They are now part of a biker gang called the Red Devils, which tries to maintain the peace in the lawless, neglected, impoverished outskirts they call home. KANEDA is the cocky leader, like a big brother to restless TRAVIS. Following a run-in with a rival gang and a chance encounter with some people smuggling a strange young boy out of the city, TRAVIS inadvertently unlocks dormant psychic abilities and KANEDA gets involved in a resistance movement attempting to stop the resurrected Espers research program, headed by the military and Vanguard, a Blackwater-esque private military contractor. SHACKLETON, an army colonel who was part of the original experiments, mainly wants to contain these powerful psychics and protect the city, while NELLIS, defense secretary in the pocket of Vanguard, wants to restart the weapons development side of the program.

With the help of his new allies RAY, former Vanguard employee and leader of the resistance, and KAY, one of their former test subjects, Kaneda attempts to rescue Travis, who has been taken into custody by Shackleton and his team. Travis’ new powers are so powerful that they awaken the mind of the sleeping Akira, and Shackleton fears a repeat of the cataclysmic event that destroyed the city so many years before. Travis finds himself inexplicably drawn to Akira, and, his ego and powers spiraling out of control, he escapes from captivity and goes on a rampage of destruction trying to reach the secret facility where Akira is kept. The story becomes a race to stop him – Kaneda, Kay, and Travis’ girlfriend KAORI wanting to bring him back alive and sane, and Shackleton intent on destroying him to prevent another apocalyptic event. True to the epic scope of the original, this is only part one of two planned movies, so the script ends with a huge but intriguing cliffhanger.

The people out there who demand faithfulness in adaptations and remakes should be pleasantly surprised, even if not outright delighted by this script; sure, a few elements are slightly watered-down, Hollywood-ized, Americanized – but there is no outright wrecking, ruining, or childhood raping going on here. All things considered it is shockingly faithful to the source material, at times reading like a flat-out transcript/description of the animated movie, and even incorporating aspects of the original manga that were left out of the anime version. It is faithful not only in plot and character details, but in tone. It retains the darkness, the violence, the epic qualities and even some of the themes, though they’ve been tweaked, Americanized, and updated to apply to current events. They are also maybe a bit less complex, but still this is admirable. This adaptation actually retains a lot of the style and, more surprisingly, substance of the original. If you are already a fan, you will probably like this adaptation, because a lot of the same things are good about it.

The other side of that coin, though, is that it’s not bringing many fresh ideas or perspectives on the material to the table. What I love about good remakes or adaptations, what in fact makes some of them good, is that they are opportunities for artists with distinct voices and visions to take already existing works and re-interpret them, pay respect to them but use them to say new things and make them their own. There is very little of that happening here. Don’t get me wrong, as much as I’m talking about how faithful it is, a lot of that reaction is due to my surprise that it’s not a complete bastardization. We’re not exactly talking Gus Van Sant’s Psycho levels of slavishness here. But it’s not a particularly fresh take either. Neither infuriatingly dumbed-down nor invigoratingly creative and exciting, it just kind of exists - at least as a script.

The big, looming unknown that remains now is if the quality of the filmmaking can not only do justice to the words on the page, but ultimately to help justify the whole thing’s existence. The original is known as much if not more so for being a stunning visual feast as it is for its story and themes, so if this project fails in that regard it will probably be a disappointment regardless of how true the script is to the source. And at the same time, I think what I’ve said above applies to currently slated director Ruiri Robinson just as much as it does to the writer; if he just apes the visual style and shots of the original it’ll get points for being faithful but won’t be very exciting or interesting. It’s going to need to look just as good, but at the same time different to really stand apart from the other version, at least in the eyes of this fan.

Having said all of this, I’ll add that I’d still rather have a finished product that hews very close to prior incarnations and maybe doesn’t have a lot to say on its own than one that hopelessly dumbs down or simply discards everything that made the original a classic – and of course, that all depends on how things pan out in part two. If this script is an indication of the direction in which this project is headed, and if it indeed stays on this path, than I think it will yield something that fans will find satisfying overall and which also potentially has a lot of appeal to newcomers. I’m trying to put myself in the shoes of someone who hasn’t seen or maybe even heard of Akira before and I’m thinking that this would strike me as pretty awesome stuff. As a remake it may not be necessary, but then again what really is when we’re talking about entertainment?
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