‘One Piece Film: Red’, review: the best of the classic story

In One Piece Film: Red, by Gorō Taniguchi, which opens on November 4, several things happen in parallel. On the one hand, Monkey D. Luffy must conclude an old personal story. In the other, he continues, of course, with his quest to become king of the pirates. But, between both things, he also decides with his crew to go to the concert of an extraordinary singer.

The historyfull of anime’s sense of humor and endearing quality, transfers to the big screen a narrative consistent with its spirit and identity.

It also ties into the well-known — and seemingly endless — tale of searching for One Piece with something more unique. He even takes the audacity to incorporate music. What gives the argument a unique and moving fluidity. One Piece Film: Red It has a very clear awareness of the long history that precedes and analyzes it, with a script that surprises for its solidity, its small singularities.

One Piece Film: Red

In Gorō Taniguchi’s One Piece Film: Red, several things happen in parallel. On the one hand, Monkey D. Luffy must conclude an old personal story. In the other, he continues on his quest to become king of the pirates. But, between both things, he also decides with his crew to go to the concert of an extraordinary singer. The story, full of anime’s sense of humor and endearing quality, brings to the big screen a narrative consistent with his spirit and identity. It also ties into the well-known – and seemingly endless – tale in search of One Piece with something more unique. He even takes the audacity to incorporate music. What gives the argument a unique and moving fluidity. The film has a very clear awareness of the long history that precedes and analyzes it, with a script that surprises for its solidity, its small singularities.


























Score: 4 out of 5.

One Piece Film: Red is a masterpiece for anyone

Definitely, One Piece Film: Red is created for red bone fans of Eiichirō Oda’s work. But at the same time it is wide enough to incorporate into a audience larger. The film is an ambitious staging that wishes to analyze the main obsessions of one piece as a set. From loyalty and love, to the strange group of pirates. However, it makes the brilliant choice to be more than just a pure entertainment vehicle between beloved characters and familiar storytelling.

One Piece Film: Red wants to tell his own version of an incidental event in his world. Something that many movies based on manga try, although without achieving the feeling that they are something more than a very long chapter of the original.

On the contrary, One Piece Film: Red finds its own language and elegant construction to support its individual character. A perception that makes the argument a curious mixture of styles and good narrative decisions.

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The importance of music in film

Uta, the diva with the formidable voice that has surprised the world, will offer her biggest concert. The non-canon character of One Piece Film: Red It is, perhaps, the most endearing addition in a narrative that seeks to surprise. It is a bold decision: incorporating Uta and her context implies that the musical section will be of considerable importance.

In fact, it has. One of the most surprising points of One Piece Film: Red it is the way in which it sustains a narrative in the oneiric and skirts the central premise. What would make a group of hardened pirates go to a concert? A talented artist for sure. But also that Uta is more than just a diva. She is a childhood memory of Luffy and, moreover, the daughter of the famous pirate Shanks.

The triple circumstance sustains a good part of the framework of One Piece Film: Red. Especially since Uta only appeared in chapter 1055 of the series as a silhouette in his father’s memories. So, despite the fact that everything the film tells does not impact on one piece as a whole, it is part of their extended mythology. A curious look at all the messy little bits of information that the manga holds and builds into something larger.

One Piece Film: Red

However, in One Piece Film: Red, the conflict is more interesting because Uta has a goal. A violent one and one that will take place at all costs. The narrative thread then skillfully links the character to the manga world, creating a sense of a cohesive whole.. But it’s the music — that mysterious territory that turns One Piece Film: Red into something surprising, emotional — the core of the entire film. An interesting perspective for a narrative that during its long history was distinguished by action scenes and a mocking perception of violence.

The script, by Tsutomu Kuwoira and Brooklyn El-Omar, also uses Uta to bring a notorious three-dimensionality to the classic Luffy. But it is especially Shanks who gets a new substance. Father, protector and, in the end, a slightly tragic hero, the character achieves a new dimension. Something that holds One Piece Film: Red as a flowing line of events that celebrates the identity of the story and also provides a brilliant stand-alone spectacle.

The voice, the danger, the alternate world

Uta’s show is, of course, the center of the plot. But, as soon as the concert begins, the film takes on a darker main character. The diva, the woman who hypnotizes with her voice, is also obsessed and determined to change the world. Do it, moreover, in a total way and without a point of return.

One Piece Film: Red then takes on a peculiar mix between a sinister air and an almost desperate look for a greater good. Uta is much more than a story resource to put pieces together. It is an element that weaves the film together with a mature discourse within the myth of sleeve.

One Piece Film: Red

Perhaps one of the greatest achievements of One Piece Film: Red be to use every point at your disposal to turn the show on screen into a celebration. Through its songs, the film celebrates the series’ usual ideals and conflicts. With a look at his characters — that big gang full of vitality — and their heartwarming backstory, One Piece Film: Red it is a triumph of the imagination. Far more than can be said for similar products, which fail to achieve the level of charm and playful self-indulgence of Gorō Taniguchi’s work.