Lupin the Third: The Woman Called Fujiko Mine

The Woman Called Fujiko Mine is certainly not standard Lupin III fare. Rather than the comical and over the top antics you would expect of Lupin and his group as they steal and outwit Zenigata, the humor here is more subdued and the series has a darker, more serious and mature feel to it. Fujiko finds herself the main attraction of this series as the first half to this series is prominently focused on her tackling different thefts while encountering Lupin, Goemon and Jigen individually and the second half features the four being caught up in the activity of a mysterious organization that Fujiko appearsto have past ties with. The series appears set up as a prequel of sorts considering Jigen and Lupin don't know about one another and team up until later in the show, as well as Goemon hardly interacting with the two in this series. The four do maintain their memorable character traits in this series, though Fujiko tends to get nude quite often in this series and Zenigata is more of a traditional hard-boiled detective in this series than his usual bumbling, Lupin-obsessed comic relief provided in earlier iterations of the franchise. Zenigata also carries in toll a new character in the form of a young assistant named Oscar who is an occasional nuisance in Fujiko's thefts as he tries to apprehend her and has his back story fleshed out in later episodes. While the first half of this series is standard Lupin III fare, while more prominently focused on Fujiko, the highlight for the series for me comes in the form of its second half which features a more linear storyline when said mysterious organization comes into play. The group have their identities concealed in bird masks and apparently have some type of mysterious past connection with Fujiko. This particular story element is quite effective in messing with one's perceptions of what you assume is going on with Lupin and his group, especially as more details on the organization's illicit activities come to light and come to learn that not all is what it would seem on the surface. I won't spoil the major elements of this plot, but all I will say is that the ending comes across as quite the surprising shocker yet makes sense once you put together the elements of the organization revealed from earlier episodes. The only rough element to this new storyline was the unclear resolution of the fates of Zenigata and Oscar when they become entangled in the mess involving the organization. The animation style to The Woman Called Fujiko Mine sticks out quite a bit as well compared to past Lupin III works. Anyone who seen Redline may notice similarities in the drawing styles used for scenery and character designs here in this series. This isn't a coincidence as two of the major figures behind making Redline, Sayo Yamamoto and Takeshi Koike, contribute their talents in the unique animation style used for The Woman Called Fujiko Mine. Scenery and character designs are drawn with a pastel-like feel as color tones are quite subdued and there is frequent use of pattern-like designs used to blend in with a number of scenery and character designs. The character designs are well-detailed and the memorable designs of Lupin characters are retained here, all the way down to Lupin's green dress coat worn during the original first series from the early 1970s. Action scenes are well-animated featuring fluid movement in many instances and have great choreography coming from gunplay and even the swordplay used by Goemon. Overall, The Woman Called Fujiko Mine made for perhaps the best offering I've seen from the Lupin III franchise thus far. It still retains the basic elements of the franchise's premise and characters while creating a more mature series in its prominent focus on Fujiko's exploits and its dark, mind-bending second half when focusing on Fujiko's connections with the mentioned organization. The series certainly won't be for everyone if they are expecting the typical comical antics of the Lupin III franchise. But if you are looking for something different with the franchise, The Woman Named Fujiko Mine should be a worthwhile gem for you.

I'm going to say this from the start: Lupin III: The Woman Called Fujiko Mine is, to me, an absolutely outstanding piece of art. I'll also say this: this review is gonna be unbelievably pretentious. Sorry :p. It's probably not unfair to say that a lot of people, if not most people, watch anime primarily for straight-up, unadulterated enjoyment - fun, in other words - and this style of anime utterly floods the market. However, every so often there comes an anime or two that break the mold, and these more daring shows are absolutely crucial to reviving such a stagnant medium. I'd like topoint out that I'm not just pontificating about the overabundance of moe girls and fanservice by myself, Miyazaki and Anno have been going on about the "dead End" (Anno) that anime has hit for years. My point is that, while I thoroughly recommend trying this anime, I beg of you, don't expect it to conform to your expectations. Story: I'm going to try and keep this primarily spolier free, but I apologise if a few key details slip through. The story takes place pre-Lupin II (which I have not read, BTW), and centers, for the first time in the franchise, on Fujiko mine, Lupin's primary love interest. The first 9 episodes go through various heists and the stories surrounding them in a very film noir fashion; it's a very artful, but traditional action show, much in the style of Cowboy Bebop. However, at episode 10 it gets weird. WEIRD. A lot of people were put off by this - when you get to this point, let me assure you that everything is explained, save one detail, but that detail (Oscar's resolution) isn't really that important. Indeed, this is the only thing I can actually call a "flaw" in this anime, aside from perhaps a slightly lacking explanation of how the drugs work (episode 1, not really a spoiler), or a proper reminder when it become relevant again. Still, these are not abject flaws; you might ask why I give it a 9, rather than a 10, since it's so nigh-on-flawless IMHO, but... see the conclusion. The story is, to me, excellent. it relies of next to no tropes, it references famous operettas and movies (episode 4 is a take on The Phantom of the Opera, there's a later episode that takes from Indiana Jones etc). On top of this, it's original, it's fun, it's everything that a proper, gripping TV series should be. Art: 10. Glorious. GLORIOUS. I've never seen higher quality, or more suitable, or better utilised art in any anime ever, and I watch all the arty crap. Period. Not only does the dark, gritty, pencil-shaded style add to the noir-esque presentation and vibe that the whole show carries, not least thanks to its soundtrack, it allows the show to shine at every. single. moment. Explosions are lovingly animated, extreme close ups are striking and utterly transparent in terms of their meaning - as an actor myself, I've never, ever seen such good "acting" from animated characters. It's natural, and honestly rivals live-action hollywood for quality. The only word for this, is "artful" not just in the sense of being well drawn, but in the sense that Sayo Yamamoto's direction has such a sense for striking images that it's honestly difficult for me to focus at all times without just gasping at how utterly beautiful bits of this show are. It's clear to see the influence that working with Takeshi Koike (who incedentally did a follow up movie to this show) on REDLINE has had upon Yamamoto. *drools rainbows* 10/10. Sound: 9. I can't deny that soundtracks are usually my favourite parts of anime, and this one is fabulous. it's used to perfection, and it's utterly intrinsic to one of the most literarily significant aspects of this show - it's connection to previous film styles. While Fujiko Mine is definitely rooted in the noir-esque detective genres, primarily seen in the late 50's, it specifically hones in on the French new Wave. [Pretentious bit, feel free to skip] On top of having an almost truffau-ian preoccupation with running and movement, the soundtrack specifically references the works of Alain Resnais, specifically Last Year At Marienbad. I told you it was gonna get pretentious. LYAM is famous for being creepy - it has a constant baroque organ playing in the background, even when it doesn't match the diegetic suonds on screen at all, and this helps add a real sense of paranoia to the film as the viewer tries to make sense of the conspiracies within it; in episode ten of Mine, when it starts to get WEIRD, and when you begin to doubt everything rational about the show (and when a lot of people dropped it) this organ comes in. In the following episodes, the jazz is swapped out for organ music - throughout, the atmosphere is reflected and counterpointed by the soundtrack in a fashion so subtle but also totally intrinsic tot he show that i can only describe it as MASTERFUL. Honestly, I'd love to write an essay comapring this series to the new wave but y'all are here for anime so I'm gonna stop. Trust me, it's really cool. [pretentious bit over] So why isn't sound a ten? Alas, it doesn't have a memorable tune to it - take My Neighbour Totoro or Princess Mononoke. Both films have one recurring melody that, while utilised in different ways, really sticks with the listener and becomes inextricable from the climactic scenes; you're left humming the songs for days after, and this helps the films' emotional climaxes resonate more. Lupin's music is not designed to be like that, of course, and it's use is, to me, utterly perfect, but it doesn't have the same lasting impact, so... not a ten. Not quite. So close. Character: 10. Every character is fully developed. No tropes, no cliches, and the sexual nature of the show is completely separate from any ideas of "fanservice". When fujiko is shown having sex... she's not really shown having sex. instead, you see symbols of sex. he camera doens't take the usual approach of sexualising her body or emphasising ridiculous assets. She has those, and indeed spends a lot of time naked, but the camera doesn't ogle her - it's sexual, but not sexualised. ultimately, it's nudity in anime that isn't innately sexist. WHY CAN'T EVERYTHING BE LIKE THIS?. Every side character, no matter how minor, is full of life and character, and the lack of anime tropes is so totally refreshing. There's a character with no lines, and about 8 minutes total screentime - I ruminated on her situation for hours after watching because of how deeply affecting her character arc was. I've rarely, if ever, seen better developed characters in a TV show, aside from maybe in the works of Masaaki Yuasa (Ping Pong, Tatami galaxy). If you like this, go watch his stuff ASAP. Enjoyment: 10. I'm going to say something contentious here - this show is what Bebop aspired to be. Bebop is a great show, beloved by many, and I'm NOT saying it's better or worse than this, but the themes it employed - jazz backing, noir-esque atmosphere, conspiracy and crime, are all taken much, much further here. The show's later-on obsession with drugs, and the way this is used to screw with you as you watch it - is one of the most ballsy moves to come out of anime since... ever. Honestly, this show feels more like the spearhead to an art/cinematic movement than it feels like an anime. Overall: 9. Why a 9, not a ten? Other than the 1 unexplained detail... it's not for everyone. There are things I would change, bits where there might have been more humour or more explanation, but nothing that's really a flaw, if you're paying attention. That said, a lot of people will find it pretentious, and I can;t blame them. A lot will find it hard to follow at times - it is. That said, if you're even remotely interested in Anime as an art form, rather than just as a mode of enjoyment, please, I BEG you, watch this show (and then go watch Ping Pong The Animation). If you just want fun, then i'd honestly recommend not watching this. It's fun, don't get me wrong, but if you come into this show with any expectations at all based off regular anime, you'll be confused, disappointed and the show won't be given the chance it deserves to WOW you like it should do.

I'm conflicted over this anime. For starters, it's an excellent take on Lupin III with beautiful art and a darker storyline, and had an interesting crew consisting of a SHAFT/Gainax freelancer, a KyoAni art director, Dai Sato and Shinichi Watanabe. On the other hand, it has a messy and pretentious story that kinda killed the "mystique appeal" of Fujiko Mine, added some unnecessary characters and is cluttered with bad writing by one of the biggest hacks in anime (And yes, i'm talking about Mari Okada). The story of this Lupin III series is all about Fujiko Mine, and how she became to be that one hotchick you see in every Lupin III anime from the past 4 decades. You also see her trying to rob things and steal stuff but who cares. It's basically Lupin III meets "Where in the World is Carmen Sandiego" with a sprinkle of Black Rock Shooter. The story is quite a mess. The first 5 episodes have that sense of humour of the typical Lupin III story. And that's fine. But then, they just have to add that fucking annoying and unnecessary "DEEP" crap and turn Fujiko into an Asuka clone. And i'm not talking of making Fujiko a tsundere. I'm talking about them turning Fujiko into a post-mental breakdown suffering of a woman. And yes, i hated that part. Why? Because it's unnecessary and pretty killed the character for me. Fujiko was made to be a mysterious figure of lust and envy, and to add something that's the opposite of the two pretty much killed that. I don't want to know about her past. I want to see her as the sex bomb figure of tension that she is. Also, the worst thing about the story are the flashbacks of Fujiko's childhood. It's messy and gives away nothing that would make understand her. It's just padding at its worst and i hated that. I understand the need to go dark. Hell, i loved Casino Royale and Batman Begins for offering a gritty take on their respective franchises. But you don't make it to a point where you kill the appeal of the character. It's one reason the Star Wars Prequels don't work. You don't try and be edgy to the point of butchering what makes the characters likable. And all of these can pretty much be blamed on Mari Okada. You can tell that all the "Deep & Dark" flashback trauma crap is handled by her. Hell, episode 11 has her shit all over it. And i fucking hated it. It reminds me of everything i hated about Black Rock Shooter. Who gave this woman more work? We kicked Shyamalan hard for butchering The Last Airbender and Akiva Goldman got cockpunched for Batman & Robin, and yet she's getting away with this? And besides Fujiko III, you see the return of the well-loved Arsene Lupin, the samurai wonder Goemon, the sharp-eyed Jugem and the bumbling Interpol agent Zenigata. And they added another main character named Oscar who's Zenigata's assistant and obviously gay for the Inspector. And to me, he's pretty pointless because he brings nothing to the story, and he makes me ask "Is this franchise really desperate of a new following that they need to add a character made for a fujoshi fanbse?" Seriously, he's just there for the fabulous. But those are the bad parts, so now, here's the good parts! The art is excellent.It feels like moving palettes rather than animation and has an excellent colour scheme of sorts. It's clearly influenced by Western animation and it's more colourful than the other stories in Lupin III, which is a contrast to the dark storyline. The sound's nice. In terms of music, it's clearly the jazzy orchestra type of music you'd expect from a Shinichi Watanabe production. It's nice and i enjoyed the score as it reminds me of music by Anton Karas. I'm surprised that the score wasn't composed by Yoko Kanno, because it feels like one. And thus, i think the composer did an excellent creating a score influenced by Yoko Kanno. And the voice acting's pretty nice as you have the original seiyuus for Lupin and Jigen(Kanichi Kurita and Kiyoshi Kobayashi), whereas Fujiko is now voiced by the talented Miyuki Sawashiro while Goemon is voiced by the excellent Daisuke Namikawa. The legendary Kouichi Yamadera now voices Zenigata and Oscar is voiced by Yuki Kaji. All of them provides excellent voice acting and i'm impressed the most by Sawashiro as she is able to weigh in and sound as good as her predecessor, Eiko Masuyama. All of these good points provide a counter-balance to the ridiculously terrible storyline. You have all of these elements of music and animation that brings more to the anime than the story itself. And surprisingly, the Lupin and Jigen scenes managed to be more enjoyable than the Fujiko scene and that is also a good point about this series. Overall, Lupin the Third: Mine Fujiko to Iu Onna is a conflicted series with a flawed story, but makes up for it with the music, animation and giving space to Lupin, Jigen and Goemon. If you're a Lupin III fan and its core, then you will like this. But if you haven't seen any of the Lupin III series before, then go watch the original series alongside Castle of Cagliostro and maybe one of the other OVAs like Fujiko's Unlucky Days which is also similar to this anime. And to end this review, here's Tom Jones singing It's not Unusual, because i really love Tom Jones: http://www.youtube.com/watch?v=QrwO8b9iq34&feature=related

I've rewatched this several times to get a better perspective and open my opinion. Woow! As any Lupin franchise fan knows, the history of the characters is volatile and trying to make any one back story canon will make your head explode. That said, I think this series has possibly the best back story for the characters. CHARACTERS: Fujiko has never been one of my favorite characters. I think Jigen and I share the same opinion of her. But her meeting with the main characters (in this series at least) is great. First there was the Lupin episode (what happens at the end of thatone, the start of their relationship was pretty neat), then the Jigen episode, then the adorable Goemon episode, and then OMG WHAT ARE YOU DOING WITH ZENIGATA! STOP IT! Ok, I am a big Zenigata fan and I wade into each series or special wondering if this will be a "Zenigata the Fool" special or "Zenigata the Badass Detective" special. This one is happily the latter. His appearance is upped, which is neat considering the others seemed exaggerated in the opposite direction. At one point Jigen's beard is so distorted that it's almost touching the brim of his hat. On the other hand, Zenigata looks almost...bishie. I don't think his assistant was the only one to swoon over him thanks to that. And his character development was so different than a lot of the series. He never loses his cool, and seems to be really on his game. The characters here are changed a bit from the anime norm. But that's a good thing. Sit down and try to binge watch ALL the Lupin series, then the specials and movies, and now the new stuff. The early stuff was a bit heavier, including some of the specials. This show, however, opens up new meeting possibilities and changes not the characters, but the way the world sees them and the way they see themselves. Fujiko, for instance, couldn't care less about who sees her nude. She's overly secure in who she is. Then there's Zenigata, the older but still very attractive inspector. This seems a deviation from the normal bumbling officer fare from most other Lupin. We even get a new cop, Oscar, who is similar to Melon Cop in the manga, but definitely not the same character. This series, of all the Lupin series, is the closest to the manga. Depending on what you like about the franchise, this may or may not be a good thing. SOUND: Great voice actors. We've got the English dub's usual Lupin voice (the one used for all the specials, NOT the awesome Red Jacket version), a decent Goemon, a great Fujiko, and...the Red Jacket version's Jigen as Zenigata. That was a weird change. 100 episodes and they just randomly switch voice actors? Another thing that bugged me was that Lupin dubs can't seem to decide on which pronunciations they want for the names. Lu-pin (like a needle) or Lu-pin (like the French way). Same goes for Fujiko's last name: Mine. Is it Mi-ne (with the Japanese pronunciation) or Mine (like "Youre mine)? This becomes an issue when Fujiko flat out tells Goemon her name isn't Maria, it's Fujiko Mi-ne (Japanese pronunciation) and he responds by making it clear he's interested in her. He says: "Mine...Fujiko." (Mine as the "You're mine") That scene was ruined by the dual pronunciation. Another highlight AND lowpoint of this show was the music. It tried WAY too hard to be artsy. I was downright disgusted with the opening. But the rest of the music was fantastic, Goemon's theme in particular, that flutey sound that has become as iconic for me as the main Lupin theme. ANIMATION: My original reaction was that the animation was BAD! AWFUL! But they put so much attention into that strange animation method. Besides that, there are some slick movements, and attention to detail that you just don't see in "prettier" shows. As for the art style (I've gotta say something about it), it took me a lot of getting used to. It's extremely reminiscent of the original TV series and pays some serious homage to the manga. Which, if you go into it open minded, is a good thing. It doesn't try to be a new thing the way Green vs. Red did (and failed at). It screams, "I am old school and proud of it!" and then throws some boobs in your face.