Director: Makoto Bessho,
Starring: Mikako Takahashi, Lindsay Seidel, Yui Ariga, Apphia Yu, Yuka Iguchi, Jad Saxton, Daisuke Hirakawa, Todd Haberkorn,
Running Time: 300 minutes
Certificate: 15
When your protagonist starts the show released from prison and kitted out in schoolgirl attire, you have to wonder where exactly this is going. Although it certainly hints at some kind of exploitation, SHANGRI-LA is more concerned with its plot, than sexualising its main character. There are still some shots that come dangerously close to going up the skirt, but for the most part it’s a show that restrains itself from needless fan service. SHANGRI-LA is more concerned with its political and social messages which are of course exaggerated, but still pertinent to society today. After being released from a Girl’s Correctional Facility, Kuniko returns to her hometown, a poor and rundown area outside the walls of Atlas.
Atlas is a staggering metropolis where you have to be either rich, or chosen by lottery to live there. In this world, society has actual divides between the rich and the poor. Despite the poverty, the lower income towns on the outskirts of Atlas are surrounded by huge forests that are simply stunning to behold. Drawn beautifully, they represent the harsher elements of life, but also the wild vitality that each inhabitant exerts. Despite having their privileges, the stylish upper classes are constantly bathed in darkness. It’s a simple technique to juxtapose both sets of people, but it works very well.
The whole “freedom fighters vs. terrorism” plot is one that is often used in anime, and although it can be tiring, it also always allows for great exploration of the characters. Two such characters in SHANGRI-LA are a pair of transsexuals who fight against Atlas. They are given their own quirky personalities, but when one finds themselves allowed into Atlas it creates an interesting contrast between values and security. Although it looks at the majority of characters in a fair light, it also leans heavily towards the downtrodden. I just find it a bit too easy to constantly remind us of the violence and crimes of the working government in order to portray them as evil.
Beneath the surface is a more complex plot that gradually develops and may lose some of its viewers. However, it’s about time more anime had the confidence to resist the urge to dump massive amounts of exposition in rushed prologues and simply let the story tell itself. The main plot may be quite predictable, and it does take a while to really get going, but there’s enough in this first collection to delve into and become completely lost in the wonderfully animated worlds. And when the show hits its darkest notes, there’s a sense of powerless dread that will hopefully become more prevalent.
SHANGRI-LA is released on DVD on 18th November via MVM Entertainment.
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