“Beautiful Dreamer” skews even additional in the direction of Mamoru Oshii’s pursuits than the collection ever did. Oshii loves army know-how, and so the movie encompasses a Leopard tank in addition to a Harrier jet. As actuality deteriorates in Lum and Ataru’s closed universe, characters sink into puddles and dissociate in darkish alleyways. The native highschool mutates into an MC Escher realm of shadows and stairs. Ringing furin bells, debilitating summer time warmth, and crumbling buildings impart a way of unease. Years earlier than Satoshi Kon blurred the road between actuality and dream in Japanese animation, “Beautiful Dreamer” laid the groundwork for what which may appear like. It was the primary of Oshii’s filmography to be recognizably that of Oshii the auteur. “This movie,” Oshii stated to Central Park Media, “grew to become my revenge.”
At the identical time, “Beautiful Dreamer” is extra than simply an Oshii movie. You cannot have “Urusei Yatsura” with out character designer Akemi Takada. Other distinguished expertise from the collection, like Kazuo Yamazaki and Yuji Moriyama, got here onboard to ship their finest work but. A notable new addition is the movie’s artwork director Shinichiro Kobayashi. Kobayashi was already one of many medium’s biggest artwork administrators again then, and would go on to design the worlds of classics like “Revolutionary Girl Utena” and “Berserk.” He introduced a way of surreal magnificence and decay to “Beautiful Dreamer” that hadn’t been seen in some other “Urusei Yatsura” entry as much as that time. The workforce’s wildest concepts, just like the picture of Lum and Ataru’s neighborhood floating by means of area on the again of a large turtle, would merely not work with out an artist of Kobayashi’s caliber on the helm.