The Car Door is Miyazaki
The Castle of Cagliostro is better than I expected, even knowing its reputation. What struck me after seeing it — aside from how reminded I was (and with good reason) of Cowboy Bebop: Knockin’ On Heaven’s Door — was how imperfect the movie was. How imperfect Lupin seemed, in comparison to how he might have been. After all his effort and his skill and lucky chances, he, indeed, in a move which must put a gleam in Robert McKee’s eye, fails his mission.
This is part of the standard screenplay arc; the hero must rise to a height, then fall so he might rise again. See any boxing movie ever made, and note the moronic misunderstandings every couple must face three-quarters of the way through a romantic comedy, just so the man can make it up to the woman and they can realize how stupid they were for acting like completely different people just long enough to create tension. The difference here is, although we have a pretty good idea that Lupin will succeed, somehow, in the end, it never is certain. When he does succeed, he does it not because the plot demands it (although again, it does) so much as because he has earned it: not because he must, but because he might.
This works because we see him fail. Lupin is a flambuoyant man. He swings for the ropes, and although he knows what he’s doing, there’s a certain element of risk built into this behavior. Sure, Lupin can control himself — but that’s different from being in control. And with as small a window of success as his stunts need, if it’s not one darned thing it’s another.
Take a look at the episode on the rooftop, where Lupin intends to cross the several hundred yards of empty space, to a tower. He has one plan; life has another. That he is rescued by a sight gag — should we always be so fortunate — does little to dampen the near-disaster he put himself into. By the time Lupin does so suddenly, and arbitrarily, fall, we are prepared for it. We aren’t prepared in that we expect it; just in that it comes from somewhere. Yes, these things happen — and oh damn, he almost made it. It feels unfair, and frustrating — because we know on another day he might have succeeded. Chances are, he would have. Those are just the odds. What is all the more upsetting is that it is not until then we fully realize all that had been riding on Lupin. Even his archantagonist, Zenigata, had been on his side; with Lupin’s failure comes that realization so many antagonists come to: that without the protagonist, they have no reason to be.
The solution, then, is to stack the odds. The rest of the movie plays out much as one might expect: all the characters play to their strengths; the world is set to its normal order, perhaps a little wiser, perhaps a little sadder. We get perspective on the unending battle of the TV series. We feel wistful. And the oddly-silent credits roll.
Still, what we got is better than it need be. Better than, maybe, it should be, for what it is. A movie based on a long-running cartoon: this ain’t the kind of place you expect to go looking for truth, much less of the standalone sort. The characters jump into play with no real introduction; if you don’t already know the cast, why would you be watching a movie like this? No introductions are really needed, though. Relationships are implied, and used to the extent that the movie implies them. No one needs announce himself, as the personality is evident. One look from Lupin, and you know who Fujiko is — even if you don’t, really. She isn’t in the movie enough for it to matter, anyway. If you’re still burning for information, she clarifies the matter towards the end, saying nothing that first look didn’t.
I don’t know if I need to see this a dozen times. Then, for what the movie is, maybe it would be a failure if I did. It is worth the time, however.
Oh, and Konami almost certainly borrowed from this when designing Castlevania.