The Sky Crawlers (Blu-ray) (Collector's Edition) (First Press Limited Edition) (Japan Version) Blu-ray Region A

But wait, much of this technical praise could be said of, Katsuhiro Ôtomo's equally well crafted Steam Boy, yet that one was a failure due to overly convoluted and stilted story telling. The narrative of The Sky Crawlers may be cool and deliberately paced for a film with designs on a gigantic canvas, but that dovetails beautifully with the story Oshii is trying to tell (call it the antithesis of Hayao Miyazaki's similar setting, but radically different Porco Rosso). Make no mistake, this is social science fiction, and tonally controlled storytelling at its finest.

The world of The Sky Crawlers is a social and geographical fusion of 1950s America, Japan and Western Europe that favours propeller styled fighter planes along with satellite television, large multinational corporations and genetic science. While it is a time of apparent peace and prosperity, the large corporations conduct "real wars" (mostly over the border ocean zones), televised of course, to placate any unrest or rebellion from the masses. Contrary to Orwell's 1984, where London is a perpetual war wreck and society fragmented and controlled, Oshii (and the writer of the original novel, Mori Hiroshi) postulate that for the most part, this "perpetual war" has actually benefited society. Wars and equally importantly, all the social problems of an idyll, purposeless populace, involving real people can be avoided if they are fought in a fully manufactured way which has "real consequence" built into the equation. The fighter pilots that fight for their parent corporations are of a genetically modified race who never age, fittingly called Kildren. Set in state of perpetual adolescence, they live to fight and pilot the fighter planes, and die for the entertainment and attention of the world's citizens. The fact that this race is immortal otherwise, only ups the ante and the dramatic spectacle of flaming angels falling from the sky from the fantastic machines.

The story revolves around one of the bases of Kildren and the little ecosystem in which they inhabit. Yuichi arrives to a new posting for the Rostock Corporation. The pilots there are kept under tight wraps from their base commander Suito Kusanagi (a fellow Kildren) and the lovingly stern chief mechanic (and "adult human"), both of whom immediately have an eye on Yuichi. This sets Yuichi on edge along with the stories of the non-Kildren ace pilot, a Red Baron type named "The Teacher" who fights for the "enemy" Lautern Corporation. The first half of the film focuses on the ecology of the air-base with a few combat laden sorties to get the adrenaline flowing. The drinking and sexual exploits of Yuichi's roomate pull Yuichi into a few encounters of his own that strike odd chords of familiarity. This leads to Yuichi questioning his bosses mysterious past while the Rostock Corporation plans its biggest offensive to date. The findings of Yuichi in regards to his bosses and himself are the engine of the plot, but really not the films chief concern, and thusly the storytelling is not the least bit concerned with "twist endings" or other high-concept gimmickry so often favoured within the genre. I’m betting the early lovers of what Paul Verhoeven was doing with Starship Troopers are going to latch onto the (admittedly quite different) vibe of The Sky Crawlers.

Like Kazuo Ishiguro's wonderful novel Never Let Me Go, Oshii does not bury the mystery or secrets of the narrative so deep that a careful observer may have things figured out within the first quarter of the film. But the joy here is in how things reflect and refract current social trends, and draw commentary and observation into the forefront of the storytelling. The film is postulating some big questions in amongst the lives of pilots, war melodrama and stunning action set-pieces. It is a film concerned for the future, while not necessarily nostalgic of the past. There is a character, one that goes unnamed, in the film (in the background really) that sits alone and silent on the front steps of a diner. The Kildren all look at him, but never make any real contact. This old man weeps for the world as it is, a peace bought at a curious price of static non-progress and cyclic stagnation. A moment in the film when another adult human, the lively cook and bartender at the diner, joins the old man in his silent withdrawal. This moment resonates. At 57, Oshii is obviously concerned with the consequences of toys, distractions and general white noise of modern Japanese society, which can leave many young folks in a state of perpetual adolescence. He has constructed a curious epic that is evocative of history, while starkly original in tone and execution. A message movie that is subtle, urgent, and most certainly worthy of your time and consideration.

by Kurt Halfyard - Twitchfilm.net