|Camouflage isn't flattering on you, Fujiko.|
- I genuinely got chills when the car chase started and Yuji Ohno’s classic Lupin III theme started playing. I could probably fault Miyazaki for not using the theme more, but that’s probably a reflection of the divide between what I want out of Lupin and what Miyazaki wanted to create.
- In the context of the late 1970s, it’s interesting to see Miyazaki pivot Fujiko away from being a femme fatale and toward an ass-kicker; within that context, it seems downright liberated to make her more than eye candy. Nearly forty years later, though, it just feels like a wrongheaded attempt to clean up a fascinatingly messy character. Y’know, I think the only adult, sexy woman I’ve ever seen in a Miyazaki film is Lady Eboshi in Princess Mononoke—the quasi-villain who gets her arm bitten off. I’m not saying Miyazaki has issues, but… (I kid, I kid.)
- Before the show, they played an introduction by/interview with John Lasseter of Pixar and Disney. He spoke about analyzing every frame of the film, but I don’t know if he’s ever actually listened to it. He pronounces “Lupin” like the flowers Dennis Moore steals in that Monty Python sketch and Cagliostro with a hard “g” instead of the proper silent Italian “g.”
- The authors of the Wikipedia article identify a number of previous LeBlanc Arsène Lupin works and foreign films that presumably influenced Miyazaki and team, but I binged the original green jacket Lupin III TV series before going to the movies, and it really looks more like Miyazaki self-plagiarized. Episode 10 (“Target the Cash Counterfeiter!”) involves counterfeiters, a clock tower with gigantic gears, and the aristocracy while Episode 11 (“When the Seventh Bridge Falls”) has Lupin saving an innocent maiden from a bad guy who lives in a castle with an entry via boat.
- After the film, there were interviews with Monkey Punch/Kazuhiko Kato and one of the animators who worked on the film. Monkey Punch’s comments were amusingly polite, saying that he “never gets bored” of watching The Castle of Cagliostro, that it’s his favorite Miyazaki film, and that Miyazaki was important in helping the franchise make the transition from “men’s magazine” manga to family viewing television… before then praising the blue jacket films and show for being the first anime to really capture his own cool and stylish vision of the character. Ha!
- [EDITED TO ADD] Also, if Miyazaki can get away with Ruritanian romance in 1979, why can't I do the same thing in My Middle Name is Larceny? I've been debating this for a bit. I couldn't get over the idea that the original imaginary Mitteleuropean countries—Ruritania, Graustark, etc.—would presumably be behind the Iron Curtain in 197X, but that didn't stop Hayao Miyazaki. I'd just need to put it in the Alps or the Pyrenees.