Urusei Yatsura (film series)#Beautiful Dreamer
Urusei Yatsura 2: Beautiful Dreamer (Japaneseうる星やつら2ビューティフル·ドリーマー) is an anime movie from 1984 This is the second of six films to anime television series Urusei Yatsura, based on a manga series of. Rumiko Takahashi is based. The animation studio Studio Pierrot produced the film.
Action
The film begins with the construction of a theater piece from the Second World War in the Tomobiki - school, which was to take place the next morning. But the day will not end, and as the teacher Onsen - Mark, Ataru, Lum and her friends want to go home, they can not achieve their goal. The teacher who arrives home, sees there grow mushrooms and notes that there was years must have elapsed. In school, but against the further preparations and the day will not end. It happened more mysterious events at the school and soon flee the friends to soon learn that only Tomobiki exists on the back of a giant turtle. Only Atarus house is left to them of their homes and they begin their isolated world to explore. It gradually disappear more characters.
Finally Mendo finds out that all of this has arisen from the dream Lums to live together with Ataru and his family. The dream spirit Mujaki has so fulfilled this wish. The friends summon the Dream Eater Baku, to rid them of the dream. But this Ataru falls first in a series of other dreams. This Ataru finally wakes up, he must be a person say that he loves the name. When he called Lum, he is finally redeemed and wakes up.
Analysis
In contrast to the first film and the television series of the title plays an important role for the film.
Beautiful Dreamer is inspired by the Japanese tale Urashima taro in which a fisherman spends time in a palace under the water and when he returns are passed in his village many years. Even more archetypal images from Japanese mythology are used.
Production
The film was produced by Studio Pierrot and directed by Mamoru Oshii. The artistic direction had Shichiro Kobayashi stopped and the music was composed by Katsu Hoshi.
This film is the last of was animated by Studio Pierrot and Mamoru Oshii has directed. Because Mamoru Oshii was dissatisfied with the first film, he chose to go his own way in the second film, and thus rejected the original script by Rumiko Takahashi.
Synchronization
The Japanese dubbing was produced by New Japan Studios.
Publications
Urusei Yatsura 2: Beautiful Dreamer came in Japanese theaters on February 11, 1984.
Later, the film was released on VHS and laserdisc. The first DVD release came out in 1998 with the English publisher Central Park Media, 2001 release in Japan a DVD release, with the difference that the footage has been newly restored from the negative and the aspect ratio to 16:9 is present, ie the original cinema format. A Blu-ray should have appeared on 20 March 2009, but Toho stopped the sales on January 26, 2009.
The film also appeared in France, Italy and Spain.
Reception
Reactions
Mamoru Oshii's version, which differed widely from Rumiko Takahashi's presentation earned him severe criticism from fans. This went so far that some settled their letters to him razor blades.
Analysis
According to Susan Napier found in the film, the elegiac form of Japanese culture along with the apocalyptic again. Overcoming the transience is a central theme of the film. He keep with the festive component of the television series and so create a unique such beautiful work. The celebration of friendship and fellowship adopted by Takahashi is supplemented with an apocalyptic undertone and a poetic narrative structure. In its action, the film opened at the same time a refuge from the hustle and bustle of modern society and shows that refuge at the same time on a problem. The film will combine such apocalyptic scenarios with exuberant, joyful behavior of the protagonists. Ernst and drama are held through the plays of parodies and comedy, but it seemed all the more subtle. Beautiful Dreamer is therefore a perfectly successful post-modern work in which Lum self-centered desire leads first in a compassionate way to a surreal but attractive world until the viewer back wishes into reality in front of alienation and fragmentation. The film could also be seen as self-reflection of the anime: a festive, beautiful and the dream of another, whose transience makes it all the more seductive.