Ghost in the Shell: Original Soundtrack (1995)

Ghost in the Shell: OST (1995)

Composed by Kenji Kawai

Kenji’s use of modern synthesised technology spliced with traditional Japanese instrumentation captures the very essence of the GitS film.

A female choir sets the tone on the opening track, but what follows is primarily minimalist, reliant on sparse percussion, chimes, bells, and an oddly eerie atmosphere. The feeling of floating in a sea is an apt analogy to describe the ominous embrace and peaceful, enveloping serenity of it.

It's both emotionally sombre and spiritually beautiful, which seems like an impossible contradiction to me. But I adore beautiful contradictions.

Return to the Planet of the Apes (1975)

Return to the Planet of the Apes (1975)

13 episodes, approx. 30 minutes each.

An animated TV Series that borrows characters from some of the previous Planet of the Apes live action productions but is nevertheless its own thing, requiring no prior franchise knowledge.

The ape-world is more technologically advanced than we'd seen before, with concrete buildings, televisions, and automobiles with internal combustion engines, putting it closer to Pierre Boulle's original 1963 novel than any of its film or TV predecessors had come.

The means by which the three human astronauts — 

Jeff Allen (Austin Stoker), Bill Hudson (Tom Williams), and Judy Franklin (Claudette Nevins) – get to the titular 'planet' is similar to how it was for Taylor and Brent in Films 01 and 02, respectively.

The relationship that the trio of astronauts have with chimpanzee scientists Cornelius (Edwin Mills) and Zira (Philippa Harris) is reminiscent of how it was with the human-sympathisers and Taylor, making it feel like some kind of parallel timeline.

Stray Cat Rock: Films (1970)

Stray Cat Rock: Films (1970-71)

Dirs. Yasuharu Hasebe / Toshiya Fujita

There are five movies in Nikkatsu's Stray Cat Rock / Alleycat Rock series, but they aren't connected in any meaningful way other than being thematically similar and each one having actress Meiko Kaji in a lead role.

In the first, 01. Stray Cat Rock: Delinquent Girl Boss (1970 / Dir. Yasuharu Hasebe) a group of street-savvy women, really just 'chicks' with knives and razor blades, fight for a purpose when a sukeban (delinquent girl) rides into town and provides guidance.

It's interesting seeing the traditional roles of the sexes reversed in a 70s setting, and exploring how rules are applied and disregarded in the contrasting arenas of the street and the boxing ring, but, ultimately, Delinquent Girl Boss is 80+ minutes of style over substance played out to a soundtrack of funky jazz and psychedelic rock. If Dir. Hasebe had further indulged his willingness to explore a film frame's role in the telling of a story, then things might've been better.

He-Man and the Masters of the Universe (1983-84)

He-Man and the MotU (1983-84)
Dirs. various | Seasons: 02 | Episodes: 130 (total), approx 23 mins each.

In theory, writing about the original MotU TV series should be a simple task because it isn't a difficult series to describe —  it's a mix of High Fantasy and Science Fiction, wrapped up in a 1980s bun — but the characters and their world have been such a defining part of my life that finding the words is proving to be difficult. It'll probably sound ridiculous, but if I could reach deep into my soul and paste that onto the page, much of what's there would be MotU-shaped.

Within the colourful blobs of joy would be identifiable forms. There'll be one that looks like a stone castle with a skull entrance. Next to it would be a jagged mountain with a giant snake wrapped around it. Elsewhere, you'd see a large cat the size of a lion, but green with orange stripes, and red armour on its back and head.

And there would be heroes, different in temperament but each one cut from the same cloth, standing together, poised to defend, strong in spirit and steadfast in purpose as they do their utmost to prevent the forces of evil from realising their selfish goals, lest the innocent suffer. A cliché it may be, but it's a cliché with a true heart, and that heart beats in time with my own. Put simply, I adore 1980s era MotU.