Lupin the IIIrd: Mine Fujiko no Uso
Lupin the Third: Fujiko Mine's Lie
LUPIN THE IIIRD 峰不二子の嘘
Fujiko Mine is on the run with Gene, a boy who knows the location of a stash of $500 million dollars that his deceased father embezzled from the company Godfrey Mining. The boy is targeted by Bincam, an assassin hired by Godfrey Mining with a mysterious ability that allows him to bend a person’s will. (Source: ANN)
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Fujiko Mine is on the run with Gene, a boy who knows the location of a stash of $500 million dollars that his deceased father embezzled from the company Godfrey Mining. The boy is targeted by Bincam, an assassin hired by Godfrey Mining with a mysterious ability that allows him to bend a person’s will. (Source: ANN)
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Daddy-O
September 24, 2019
Takeshi Koike continues to churn out stylish, high-quality Lupin flicks. The recent main-line seasons (Part 4 and 5) have been chugging along at the higher end of mediocre, so Koike's intermittent additions to the franchise at the very least provide a breath of fresh air. Unfortunately, the new film loses the perfect simplicity of its predecessor (Goemon's Blood Spray) and regresses back to everything that was wrong with Jigen's Gravestone. That is, an overly-convoluted plot and obnoxious rape fetishism. The Koike film series prioritizes high drama over the usual adventure-comedy tone that Lupin III is typically appreciated for. This works in Goemon's Blood Spray because Koikemanaged to craft a gorgeous, hyper-violent action flick; the plot stops mattering when the audience is engrossed in meticulously-animated choreography. Either the budget or the work ethic of the studio took a sharp drop during Fujiko's Lie, because those meticulous scenes are no more. To compensate for the comparative lack of real eye candy, we have Fujiko stripped and assaulted in various ways that apparently aroused the writers if no one else. Needless to say, this is a mark against the film. The theme of Fujiko's Lie generally works, despite distractions. Fujiko gains the trust of some fellow in order to get at his cash stash, as is typical. However, thrown into the mix is the guy's son. Various challenges occur along the way of Fujiko's quest to bag her cash, and hints of a maternal nature appear in the cold-hearted femme fatale. On the surface, she's just using the boy to get at her treasure, but brief moments of motherly affection and sympathy are depicted quite genuinely (although a bath scene has an unfortunate pedophilic undertone to it). Of course, Fujiko returns to her purely materialist lady-bandit lifestyle after it's all over, but the brief glimpses of something deeper and purer in her character were nicely done. Whereas Goemon's Blood Spray worked as a stand-alone masterpiece—despite its mystifying plot—Fujiko's Lie begins the attempt to tie the Koike series together. Shocker: the various antagonists of the films are connected by a secret organization. I hate to break it to you writers, but no one is getting excited by this mystery. We saw The Woman Called Fujiko Mine's pay-off after all of its own secret organization build-up. Let's just say, it wasn't exactly satisfying—and I have no hope that these writers (as great as Koike is) will surpass it. Mamo was hinted at in Jigen's Gravestone, but does anyone really want to return to that absurd science-fiction mess? Now, now, it's still a solid Lupin film. The animation is still high above the main-line seasons and Koike's style remains brilliant. The antagonist's arc may have ended up lame, but his design and supernatural power carried my interest for most of the film. Though Goemon and Zenigata are sorely missed, the characters are all done right—no political screeds got shoehorned into this Lupin flick. While the cliff-hanger leaves me cold, I'm still very excited to see what Koike does next with Lupin and Co.
