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Rating: Scissors scissors, rock rock, net net, net scissors.
The laws of physics, particularly the force of gravity, centripetal acceleration, and centrifugal acceleration, have always been subject to interpretation within animated films.
I have always been fascinated by the solutions developed by two particular "schools of thought" in this particular interpretative art. One is American and includes representatives such as Walt Disney and, to a greater extent, Warner Bros. Perhaps more than interpreters, it would be more accurate to call them reformers in this case. The laws of physics have been "improved" in the way milk is improved in A Clockwork Orange, and verisimilitude with reality has long been bid farewell. The standout figure, in my opinion, is Wile Coyote, on whom gravity only has an effect when he realizes he lacks ground beneath his feet. Unawareness would make him capable of flying, with Superman's visionary abilities looking childish by comparison.
Then there is Miyazaki's more subtle school of thought: artist, animator, director and, among other things, Japanese and unknowingly bearing a physical resemblance to Cofferati. Miyazaki likes to play with the laws of physics always on the edge between reality and the implausible, heavily relying on the use of fabulous settings and always spectacular, sometimes exaggerated perspectives (wide-angle perspective).
Lupin and Jigen, aboard a modified yellow Fiat 500, rush to the aid of a bride-dressed girl who, driving a Citroën 2CV, is trying to shake off a handful of dark individuals themselves aboard an armored car of unknown make. The first impression is that it doesn't seem to be a matter of infidelity.
To succeed in their intention, the two comrades often risk breaking that thin line that makes the laws of physics as we know them still apply in their world. The Fiat 500 is constantly driven on the verge of losing grip. On some occasions, the two perhaps pull that string a bit too tight, and the Fiat 500, leaving the main road, can then proceed transversely on a steep slope beside the road, without falling.
The cars dance on the edge between the possible and the impossible, in a chase that could be elected the most beautiful in the history of animation, rivaling the motorcycle one in "Akira". From my point of view, this chase is also a perfect example of one of the main secrets of Miyazaki's art: the skillful use of slight licenses taken with respect to the natural order in service of the beauty and elegance of the sequence of images.
Throughout the film, there are several occasions to witness the enactment of Miyazaki's game with the laws of physics I mentioned: races down very steep roofs and leaps into the void between spire and spire, ninja ambushes as they are no longer made; numerous, organized, fast, lethal, and above all silent, graceful flights of stubby flying machines visibly tethered with all their weight to their propellers, and more.
In this world, in only one case is the line between real and implausible blatantly crossed, and it happens with the physics of the cigarette pack. Tobacco shops do not sell straight cigarettes, yet it is possible to purchase immaculate packages with perfect geometric lines. Do not be fooled though, they will always contain 20 crooked cigarettes.
In the story, there are some common elements with an episode of the first Lupin series dedicated to the counterfeiter Microfinger: the presence of a counterfeiter, the watch, the castle, and a device inside the more complex clock mechanism whose activation causes quite a bit of carnival. Even then, Miyazaki was in the command cabin, so it could be supposed that the film is a reworking of the episode, but I do not have information on this matter.
I know I have left out some important things and have no intention of fixing that: I have not talked about the plot, I didn't feel like it, and anyway, it would have been pointless effort, there's Wikipedia for that, always so exhaustive.
I haven't mentioned the characters in the story. It doesn't even cross my mind that there is someone in Italy who needs an explanation of who Lupin III and his gang are. Instead, I take this opportunity to offer a personal appreciation to Monkey Punch for having created four superb and perfectly accomplished characters (five with Zazà) (my favorites: Jigen and, of course, Fujiko).
The Miyazaki and Lupin of this animated film are amazing. Lupin is the undisputed protagonist, and perhaps in this, there is also the only flaw I see in the film, the little space given to the other characters.
Lietta Tornabuoni, a splendid film critic, appreciated both the director and the film. Miyazaki probably doesn't know it, but despite the world never failing to recognize him, this appreciation is one of the greatest proofs of his talent.
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