Cutie Honey: Tears (2016)

In a world that is split into the rich, living in ultra-modern skyscrapers, and a poverty-stricken underclass consigned to the lower levels of a multi-storey city, an unlikely hero arises in the form of a beautiful android. In a dramatic opening scene we see a tense confrontation on a precarious walkway high above the city. Hitomi (Mariya Nishiuchi) is being taken to safety by her “father”, the professor who created her. Lady Jiru (Nicole Ishida), who has seized control of the city, is hunting down the pair for reasons that will later become apparent. Following a fall to the city streets below, Hitomi begins working to fight the “Sodoms” or military police that terrorize the citizens of the lower levels. She soon meets the journalist Hayami (Takahiro Miura), who is involved with a resistance movement. He explains to her that the AI that controls the city is causing the pollution on the lower levels and they intend to bring it down and end the tyranny of the Lady Jiru.

The character Cutie Honey first appeared in the manga by Go Nagai. This film is a huge departure from earlier incarnations of the characters, and almost unrecognizable from the Cutie Honey portrayed in Anno’s earlier live-action adaptation. Hitomi’s ability to change into any form means the film fits more into the superhero genre, though science-fiction and cyberpunk are also major elements. Cutie Honey: Tears does a good job of creating its world, and contrasting the dismal lower quarters with the pristine upper class lifestyle of the villains. It owes a debt to Metropolis (with the opening scene in particular a possible homage to the end of that film) and includes many ideas seen in other films, drone cameras and mass surveillance, Artificial Intelligence, inequality and the darker side of technological advancement. Director Takeshi Asai is clearly a fan of the genre. Cutie Honey: Tears makes use of some great sets, with gritty urban cityscapes and near-future high-rises creating visually interesting environments for the action. Occasionally, the world building feels a little haphazard, sometimes perfectly evoking a sense of place, and other times forgetting rules it has previously established. Mariya Nishiuchi is charismatic as Hitomi/ Cutie Honey, and I wish there had been more martial arts sequences as she sells the fight scenes well. Nicole Ishida plays the cold-hearted counter-point to Hitomi’s sympathetic protagonist with suitable hard-edged style. The climactic battle between the two women, an archetypal struggle between a rational, calculating villain and our warm-hearted, determined hero, gives both actresses a chance to shine in their acting and action roles. The special effects are good for the most part, though the CG effects lack polish at points. It is good to see a lot of practical effects and the design of the Sodoms, the costumes of Hitomi and Lady Jiru, and other details are great.

The film’s central plot is familiar to many science-fiction stories. Essentially a divided society in which the wealthy elites live in a rarefied world while those below struggle. The film ties in an ecological message to strengthen this point as it is the high-rise dwelling rich who are poisoning the lower classes with noxious fumes from their new AI technology. While nothing new the film does contain a fair amount of action and excitement and Hitomi is an interesting protagonist. There are few twists or surprises, save one shocking turn in the final act, and for the most part it is a by-the-numbers science fiction film. However, fans of this kind of anti-capitalist cyberpunk will find things to enjoy here.

Cutie Honey (2004)

An office worker by day, Honey Kisaragi (Erika Sato) has the extraordinary power of being able to change her appearance at will with a press of her heart necklace. She keeps her power up by eating copious amounts of her favourite food: onigiri. Her alter-ego Cutie Honey is a powerful crime-fighting superhero who as well as being able to transform into various costumes and disguises is virtually indestructible and fairly handy in a fight. When the Panther Claw group, led by Sister Jill along with her four supervillain underlings, Gold Claw, Cobalt Claw, Scarlet Claw and Black Claw, appear causing trouble, Cutie Honey steps in to save the day. She is assisted by Natsuko Aki (Mikako Ichikawa) and Seiji Hayami (Jun Murakami).

Directed by Hideaki Anno (Love and Pop), the film revels in a hyperactive comic-book style. Rather than attempting to turn the fantastical premise into a real-world drama, it instead embraces its origins in manga and anime. The manga was written by Go Nagai and later adapted into several television series. The opening scenes, with outlandish costumes, wacky special effects-driven fight sequences, frenetic editing, and ridiculous levels of destruction setthe stage for much that is to follow. The film is an out-and-out comedy and there is rarely any serious threat or emotion on display. Cutie Honey is a likeable lead. Kisaragi is absent-minded, obsessed with onigiri, while Cutie Honey is strong, resourceful and more than capable of taking on the bad guys. A great performance and Erika Sato excels in both roles. There are also nods to the somewhat exploitative anime version with former model Sato either in the bath, or in her underwear. The supporting cast gleefully ham things up in this comedic melodrama. Cutie Honey is full of surprises, unrestrained by a desire to be realistic, such as when one villain introduces themselves with a song and dance number. The extravagant costumes of the villains show an attention to detail and a desire to faithfully recreate the feel of a live-action anime.

Cutie Honey has some great visual gags and is clearly aimed at a younger audience. An entertaining protagonist and the film’s sense of anarchic freedom gives it an exciting edge. A lot of live-action adaptations shy away from the silliness of their source material, whereas Anno embraces it, attempting at every turn to outdo the original and utilising every tool in his arsenal to do so. The character has a good, if predictable, message about friendship and doing the right thing. But it is surprisingly fitting for the character, whose admirable qualities outshine her apparent naiveite.