Mystery of the Hemingway Papers
The histrionic giggle, the cigarette in the mouth, the ready joke and the easy gun, a vaguely monkey-like appearance and the ability to never give up. Lupin III also presents himself like this, as he can present himself in many different ways. It is difficult to think of a more histrionic and more exploitable character in the commercial and non-commercial fields then Lupin the Third. Thus he witnessed the proliferation of gadgets and merchandising of various kinds, but also the creation of a surprising number of television specials. The second in this long series is precisely "Mystery of the Hemingway Papers", released by the skilful direction of Osamu Dezaki ("The Rose of Versailles", "Tomorrow's Joe", "Aim for the Ace!" and many others).
Unfortunately, as always happens in these specials, it was decided to differentiate them from the television series, to the point of transcending the very idea of the group and Zenigata's eternal hunt. Given the greater time available (compared to a normal television episode) one would expect a similar increase in the typical aspects of this work. Unfortunately, these aspects are instead reduced to make room for an innovative formula that doesn't work. Like a poorly fueled engine that proceeds sputtering and spluttering trying to make us understand that it assures us nothing. Unfortunately, in this case, the promise is fully fulfilled. It's okay that you can't rest on your laurels, but you won't change the winning formula. Already having an excellent and tested basis on which to work, the point of view has changed, making everything a bit blurry and not perfectly enjoyable.
As often happens in the "Mystery of the Hemingway Papers", the four protagonists do not form a fixed group but end up meeting (as friends and sometimes enemies). So you can find the usual Fujiko purring at the bad guy on duty, and then launch into a double game of "short" memory. Jigen and Goemon pursue their own personal goals which, lo and behold, will lead them to the same island. Is there really the need to always have to start from different locations and then meet again at the beginning of so many different episodes?
What need is there to have to introduce elements that only increase the level of unhappiness in the story ?
However, there are also diversifying elements. In this episode Lupin III is much more protagonist than usual, leaving the role of simple supporting actors (almost) all those who would normally be the co-protagonists.
The inevitable sketches that have led to love Lupin III, which have become one of its main trademarks are effectively eliminated. Zenigata plays such a marginal role that it can easily be mistaken for an extra. The figure of him is tossed about by the script and brought up only when it is really necessary, because he has to be there by contract and therefore every now and then it is better to give the audience a sop. The same audience that has always watched with amusement Zenigata and his feats, tried and tested and successful sketches that have been set aside here. In favor of nothing.
Lupin III sets out on the trail of Mystery of the Hemingway Papers, an unpublished work that is said to hide the map to a fabulous treasure. Jigen has to take revenge for a wrong he suffered and the object of his revenge is entangled in the treasure. Goemon must be able to break the only object that his sword is unable to break, the box that contains the cards. All very sad!
Like a perfect interlocking game the facts of the plot fit together. Unfortunately, like in a puzzle, the story that will come out is already known at the beginning. Starting from these assumptions, it can only lead to a flat and thin plot, where everything proceeds according to the pre-established tracks, up to the inevitable final clash that hides nothing of interest.
The idea of putting the original goal of the research in the background to think about the various characters and make everything fit together in the end is not bad at all, unfortunately it is implemented in a very poor way.
However, Dezaki's direction comes in handy. The author has a remarkable sense of the spectacular and, especially at the beginning, one will have the impression of being carried away by the images. Very pleasant sensation.
Going through numerous designers Lupin III and singing company have changed face several times, usually settling on good levels. Usually! Unfortunately, the drawings of this special are nothing exceptional, on the contrary, especially when it comes to people's faces, it seems to be witnessing a bad copy of the "classic" trait (if we can speak of a classic). The speech regarding the backgrounds or the mechanical means is much better, but it is too little.
Usually the soundtracks of the various episodes are also very satisfying, and, strange but true, even in this case they are. The rhythms and melodies that are dear to the ears of any good Lupin fan will accompany the viewer like a sweet dirge, supported only by itself.
The video quality is good and in Dynit standards, and even in the busiest scenes the fluidity of the images is always satisfactory.
Difficult to find a Lupin III special that is able to keep the viewer glued to the screen, difficult to find a special that is able to entertain as much as an episode of the television series. We change, and we change for the worse, and we persevere. And this is not understandable.
