DIRECTOR: Katsuhiro Otomo
ASPECT RATIO: Widescreen 1.85:1
DURATION: 124 mins
Akira (stylized in Japan as AKIRA) is a 1988 Japanese science fiction action thriller Anime directed by
Katsuhiro Otomo, written by Otomo and Izo Hashimoto, and featuring the voices of Mitsuo Iwata, Nozomu Sasaki, Mami Koyama, and Taro Ishida.
The screenplay is based on Otomo's manga of the same name, focusing mainly on the first half of the story.
The film depicts a dystopian cyber-punk version of Tokyo in the year 2019, and focuses on teenage biker Tetsuo Shima and his psychic powers, and the
leader of his biker gang, Shotaro Kaneda. Kaneda tries to prevent Tetsuo from releasing the imprisoned psychic Akira.
While most of the character designs and settings were adapted from the original 2182-page manga epic, the restructured plot of the movie differs considerably
from the print version, pruning much of the last half of the manga.
The film became a very popular cult film in the West and is widely considered to be a landmark in Japanese animation.
Akira is an odd film. Some like to believe it a riddle that if you can just get a crowbar into, you might crack it open and spill itís meaningful contents.
And while it is certainly a dense film, there is a more topical edge to it that is often overlooked.
At its core the relationship between Kaneda and Tetsuo works as a metaphor for the lost youth of a post atom bomb Japan. It is this lost youth that Japan
has been afraid of since 1945, because the new generations have increasingly abandoned their traditions and become adrift culturally/socially.
And what choice do the kids have? It is the youth that are perhaps the most victimized during and after wars. And Otomo has built an entire film and volumes
of a manga series upon the metaphors for this lost youth of Japan.
If there is anything to take away from Akira it should be that the youth are suffering because no one cares about them. They are basically shuffled
from school to
school till they can be expelled and then they become thugs and mobsters. The future isnít bleak or non-existent for these youths, they simply donít care
if it is there or not. You canít take from me what I never acknowledged existed, right?
At the heart of Akira you have a story about young friends lost in a future world, but itís their circumstances that are still relevant. Having no where
else to go, the teens are united in motorcycle gangs that run all over Neo-Tokyo. Now, no one expects that teens are going to secretly activate psychic
abilities and terrorize the future, but there has been some major shifts in Japanese culture since America dropped A-bombs on Hiroshima and Nagasaki in 1945.
Itís these shifts and changes that leads to the motorcycle gangs that are the only thing protecting these kids and giving them structure. But it didnít develop
Japan was shaken post-1945, and rightfully so, a giant Earth shaking bomb annihilated two cities. That isnít something you just get over. It carries
weight with it.
Today the bombings are history to us and thus is discussed rather non-chalantly, but for the Japanese it is not just history, it is a part of their way of life. Perhaps
Japan and itís peoples can not shake the spectre of the bomb, and who would ever expect such an inhuman reaction.
The 1950ís saw many changes for the Japanese, the biggest being the rise of car factories as car sales surged. This windfall allowed the Japanese a surprising
and fast economic recovery after World War II. It should be no surprise that the Japanese were primed to become a dominant economic figure in the world.
However, at home, the teens were running wild as the old ways faded. The youth of this time complained of loneliness, and disenchantment with both authority
and tradition, a theme carried out in countless Anime and manga even today. They felt left behind and stranded.
Angry, disaffected, and unsatisfied with Japanese society the teens from the lower socio-economic areas and backgrounds began banding together around a new sensation:
The motorcycle became a symbol of individuality, even though the teens ran in groups called Bosozoku
(meaning ďviolent running tribeĒ in Japanese).
The teens would alter their bikes to reflect what the rider felt was cool or important Ė often, this involved removing the mufflers from bikes so they sounded
like thunder as they peeled down the highways.
The riders would often wear worker jumpsuits and sport headbands with phrases or symbols recalling Imperial Japanese power. Not to mention all the badges
and insignia they wore on their person, they also put similar on their bikes.
Otomo captures this perfectly with Kanedaís biker gang The Capsules.
But, specifically, Shotaro Kaneda is the epitome of Bosozoku culture. He is young, smart, and pissed. His clothes are a mix of worker jumpsuit and
red leather motorcycle jacket, an iconic look to Akira fans Ė anyone familiar with Akira knows Kanedaís outfit.
But, his outfit isnít as memorable as his bike. An odd bike of the future with itís pod like shape emblazoned with decals, insignia, and stickers (isnít it
funny that the bike itself sort of resembles a capsule?). While the meaning behind them isnít the point, what is lies in the fact that Kaneda thought
them important so he stuck them on. This is how the actual Bosozoku behave. They sport
badges and insignia that are distinctive.
no one else in Akira has a sticker that simply says ĎCITIZENí on it, or dress like him exactly. But what is interesting is that the
wear worker jumpsuits, and wave Japanese imperialist flags, as the teens race through the city streets and suburbs of Japan. Does this sound familiar?
It should, itís the start of Akira. In one of the best scenes of the film, the Capsules (Kanedaís
Bosozoku) ride through the city at dangerous speeds, causing mayhem as they do it.
At one point they blow a car up that stalled out on the highway. But, itís a mistake to think it anarchy or angry. This is the teens at their most
joyous. Itís the only time that Kaneda and his friends seem happy.
In fact, this could very well be mirroring Japanese society. The Bosozoku did begin as a way for
teens to deal with the complex emotions of growing up post-bomb. Angry, lonely, lost. The teens of Japanese society seemingly had no choice but to
band together to survive and find a sliver of relief from the hardships of Japanese society.
Even in something as anarchical as the Bosozoku, there is still a hierarchy. For instance, in
Akira there are two gangs we meet: The Capsules and The Clowns, run by Kaneda and Clown, respectively. Right there we see it.
The gangs have leaders (senpai) that the younger members must defer to.
As a matter of fact, during these runs through the city (called Shinai Boso) the leader can not be overtaken on the road. We see this in the
introduction of Clown who is flanked by two clown riders, but both stay poised behind him, never ahead of him. Same with Kaneda. No one ever
overtakes him during the run. They come close to paralleling him.
Now, the obvious exception to this is Tetsuo, but we will get to that.
So, how do the adults of Akira deal with these kids: physical abuse. As we see the kids are forced at school to answer for their run that ended with
Tetsuo taken away by some secret army.
Instead of respect, each gang member wears a look of spite and impatience. They donít care that the men in the room are elders, teachers, principals,
or coaches. Seeing this, the principal has the coach beat on the kids, then send them away. Ostensibly they have ďlearned their lessonĒ.
But, this is the same problem between Kaneda and Tetsuo. As we see in flashbacks later, Kaneda has always been the stronger of the two and thus Kaneda
protects Tetsuo quite often it is alluded.
But, as we see in the start of the film, Tetsuo doesnít respect Kaneda because he wants to be Kaneda. This is shown in the scene were we first meet
Tetsuo, he is playing with Kanedaís bike, a mix of both jealousy and awe. Further showing Tetsuoís place, when Kaneda comes upon him, Kaneda chides
Tetsuo for not being powerful enough to ride it. Something Tetsuo is obviously hurt about.
As they ride, at one point, Tetsuo overtakes Kaneda and goes a different path. While on the same highway, the men are on different paths. The
two boys only understand the world one way: power.
But, this reveals the eventual fate of the Bosozoku...
It is hard to have a hierarchy in an anarchical institution like the Bosozoku. After all,
they did not band together out of love for Japan or motorbikes. They did it because they needed it and the world showed itself to them as one of
power and dominance. Something that would lead to in-fighting amongst the Bosozoku, and
something that would play out throughout Akira.
Currently, the Bosozoku are a dying phenomenon in Japan.
At their height, there was close to 50,000 members in Ď82. Now there numbers are barely 5,000. This is in part due to newer laws in Japan
restricting the Bosozoku, but also, as some Bosozoku
will admit, there is a crumbling inner integrity to the culture.
The newer teens joining the ranks are not adhering the code of conduct and respect, established early on in the beginning of all
While in the 80s there wasnít much of this, Otomo seemed to see where it was headed and used it as a plot point. If it were not for the rivalry
between Tetsuo and Kaneda, the whole movie would have never gotten underway.
(English Subtitles embedded in Mkv file)