Is Revolutionary Girl Utena a brilliant surrealist canvas, an apocalyptic struggle in a dress, or just a pretentious vomit of mahou shoujo cliches? The premise is simple enough. There are beautiful students. They must duel over a woman. There is a tall, handsome stranger manipulating their fates from the shadows and a pure-hearted heroine who must foil his plans. But connecting the dots between these plot points takes great imagination and a good memory of past episodes as this spastic anime refuses to speak in established visual language.
In as much as Utena resembles traditional shoujo, the subplots are predominantly romantic and the script dedicates significant time to surprising us about who is in love with who and why. The way the characters pine for each other or betray each other with slimy self-satisfaction is no less soap opera than Dallas, but even staunch shoujo fans are hardly encouraged to get comfortable here. Director Kunihiko Ikuhara, who worked for years on the Sailor Moon franchise, treats Utena as an opportunity to unravel all the tropes he established with his earlier work.
Instead of fluffy whimsy, Utena mimics the barbed melodrama of Brother, Dear Brother, where beauty is cruel and the cruellest characters are the most beautiful, and their whirlwind emotions suck the narrative into the netherworld of sexual abuse, gender-based violence, and incest. And rather than fixate on cute magical battles, the story explores that peculiar universe of women’s sexuality and fluid identities as their bodies develop and they try to disentangle their knotty emotions. Ultimately, Utena’s whirlwind themes and melodrama make it maddeningly difficult to interpret.
But the greatest challenge (particularly for impatient viewers) is the ceaseless repetition of symbolic sequences. Each arc has its own trademark sequence. One of my favourites occurs in the third arc, where students are transported into Chairman Akio’s and Touga’s sports car and hypnotised into challenging the heroine, Utena Tenjou, to a duel. This occurs every episode and always concludes in the same way with Akio draped over the bonnet and their shirts indecently flapping open to reveal gleaming smooth chests. I have heard plenty of complaints that the repetition is excessive and annoying, but I enjoy their pomp and ceremony. Most importantly, Ikuhara is no hack – there is intention behind his lavish and carefully constructed repeat sequences, a sense that their unusual plethora is precisely the point.
Most obviously, repeating these scenes turns them into islands of reliability in an otherwise eclectic story and gives us ample opportunity to reinterpret events. I dismissed Akio and Touga’s shots as tacky fan service at first; later, I interpreted their glaring (homo)eroticism as an ironic wink at the shoujo fans; and at the last, as Akio’s and Touga’s personalities became more apparent, I saw their semi-nudity as representing self-absorption and sexual predation. Those aren’t the open chests of men being fed to the tweeny dogs, but of men absolutely convinced that they can entice anyone they damn well please. As each iteration revealed a new layer of meaning, I began to savour and look forward to the process of discovery, and that is sort of how the whole show works.
Winsome beauties, sparkles, and pastel-perfect colouring combine with sweeping action choreography to make a generous visual buffet. But Utena’s technical merits are of secondary importance - what makes it look superb is the direction and detail evident in the world concept. This is a constantly shifting, dreamy landscape exploding with quirks and surrealist detail. Some scenes look like theatre productions while others effectively merge different realities. As an example of the latter, one scene involves students conversing about their duels in a club room while simultaneously playing baseball.
Utena’s sound design complements the discordant themes. Ominous organ chords in the background convey a heavy, portentous feeling even though the colours are bright and the characters beautiful. Unique monophonic choruses singing eerie, disjointed lyrics pound the atmosphere with grandiose intent. Apart from that, the score has much variation and a memorable, emphatic sound. However, insistence on discord and a choir either composed of the voice acting cast or amateurs makes this a tough one to recommend for those of standard tastes.
The characters’ peculiar backgrounds, explored in episodic mini arcs, give the story momentum and their resonant personalities easily pull the viewer into their perspective. Utena, for instance, decides to become a prince in homage to the one who saved her life a long time ago. She does this by adopting masculine traits on top of her feminine ones and assumes a rare (but not new - see Rose of Versailles) gender type where women are heroic and girlish and tough-talking and innocent all at once. Others insist on calling out her ‘weaker’ girlish facets to humble her but in the process deny the possibility that she is an inseparable compound of both. Her battle of identity (becoming what others wish vs remaining true to onesself) eventually becomes more salient and more interesting to follow than her duels.
Many others begin as stereotypes but flourish into complex beings during their character arcs. The standout performance comes from comic relief character, Nanami, whose capriciousness heads deep into slapstick terrain but stops just short of overbearing. Her unusually obsessive love for her brother Touga anchors her theatrics and pads out her superficial behaviour with substantial intentions. Despite being a secondary character, her rich development ends up rivalling Utena’s.
Notable departures from this achievement include the male antagonists, Touga, Saionji, and Akio, who through callous psychological and emotional bullying almost cease to be human and become more symbols of human vice. If they are not slapping their female cohorts into submission, they are coldly seducing them for their own gratification. While they blend nicely with Utena’s melodrama, their characterisation is too obvious (Akio telling Utena with undisguised relish how his name is that of the star associated with ‘Lucifer’) and at times overcooked to tastelessness (the script excusing Saionji’s physical abuse of Utena's friend, Anthy, by simultaneously implying that he loves her).
Despite recognising some controversy in Utena’s execution, I cannot with equal conviction call it flawed. The show remains intensely likeable and amusing and, more importantly, full of worthwhile observations. It poeticises coming of age and effectively unpacks feminine identity and sexuality to equate them with heroism. Eccentric and light-footed, Revolutionary Girl Utena delivers a lot of marvellous weirdness.
STORY: So the story starts out like this, Utena's parents died and then a prince on a white horse cheers her up by giving her an (appearently) symbolic ring, so the prince bids her farewell and promises to meet up with her again one day. Ever since Utena vows to become a Prince herself.
Cut to 10 (or so) years later, Utena is now in Highschool, dresses in boys clothing and is better at sports than most of the guys. Utena's one and only friend, Wakaba is himulated by a student council member, Siaonji, and so Utena defends her friends honor by challenging Siaonji to a duel. Utena wins because Siaonji fails at life and also wins a consolation prize... The Rose Bride who's name is Anthy. Utena has to keep winning the duels in order to keep The Rose Bride and stay engaged to her.
Okay now with the synopsis out of the way, I can finally review Revolutionary Girl Utena.
I'm just going to get the bad out of the way first. Utena is completely repititive, having the of the problem of the week scenerio. infact there are A TON of plot points that are replayed in almost every episode. The melodrama feels like a soap opera and there are a lot of fillers... A LOT of stupid fillers (NANAMI TURNS INTO A COW! OMGWTFBBQ!!!!!!!!)
But stick around because there are a lot of things Utena does right that more than makes up for its faults. So Utena is an allegory which means almost every action, ever move, every image and every piece of dialogue is symbolic, normally this approach would be over whelming but you don't have to get the symbolism to enjoy RGU because the direction is really good and the character devolopement is astounding making this not only a symbolic anime but a truly enjoyable one as well. Utena also uses a ton of taboo subjects such as Obsession, Under aged sex, Incest, Adultry, Pedophillia, Homosexuality, and so much more, it is all handled with the maximum of subtelty and neither promotes nor codemns these topics.
What Revolutionary Girl Utena bassicly boils down to is what does growing up mean, what does it not mean and how can we grow up? As a result I think this is a great anime for teenagers because Utena does adress problems that most teenagers go through and portrays them with out feeling like an after school special. Utena may also be a good anime for adults because it shows that adult figures still have problems that teenagers go through. Adults are "grown up" but many do not have the matrurity to truly be a grown up, this anime definately portays that well. There are many lessons to be learned from Revolutionary Girl Utena and you will have to pay attention to learn them all.
So Utena being symbolic and all is extremely weird like most symbolic shows are. If you don't like animes that are weird and even pretentious at times then this anime definately isn't for you.
I personally don't mind if the shows I watch are pretentious, I actually enjoy them a lot. I love weird imagery and taboo subjects, I don't see why most people don't like them.
Anyways even though it's weird, repitive and melodramatic, SKU gets so many things right, 8/10
ANIMATION: So just by looking at the screenshots you can tell that Utena didn't have a big budget. Utena was made in 1997 but it looks like an 80's anime. The quality is fuzzy, the amount of stock fottage is mind boggling and the art style is sorta.... Unusual.... (Damn these people are skinny!)
However pehaps due to good direction, it never comes off as cheap looking. There are still amazing scenes that lets the mind wander. What I mean by letting the mind wander is that RGU does show you a ton of stuff however its what the show is hiding.
Great care was taken with the little things, such as the use of body language! For instance, the character Anthy is submissive, they tell you this with out ever saying it out loud, instead they tell you through body language. There is also a lot of surrealism, shadow pupets, visual motifs, symbolism, and a lot of other stuff.
There are many other neat things they do with the animation however the animation quality is still poor. Just look past the poor quality and the amount of stock fottage used because they do a lot of cool things with what little recourses they have. 6.5/10
SOUND: So Utena opens with my favorite theme song of all time and for good reason, aside from having a fantastic melody and good beat, the theme song actually is related to the story. Its sort of a summary of Revolutionary Girl Utena "Let's live our life with style."
The soundtrack is every bit as good as the opening itself. I would say that Revolutionary Girl Utena has one of the best soundtracks ever made, all the songs has good melody and support every scene to the maximum effect.
Almost (if not all) duel themes are relevant to the characters and/or plot. Like Zettai Unmei Mokushiroku tells us that the Apocolypse is the absolute destiny and death is also everyones destiny.
The soundtrack is top notch, its right up there with the works of Yoko Kanno 10/10
CHARACTERS: Hands down these are the most relatable characters in anime period. Their problems are compelling and relatable to real life, who hasn't been in love with someone simply because they are pretty. Or maybe you are one of those people who loves to manipulate people or maybe you just struggling with homosexuality. All these characters have some sort of complex problem that they have to deal with and come to terms with. What I love about this is that no one actually plays the villian and neither of these qualities are shown in a negitive light, it doesn't comdemn you and call you a bad person for having these qualities, instead they are magnificantly shown to you and sometimes even shows you how to deal with them.
Teenagers as well as adults can identify with them (as much as you don't want to admit it.) 10/10
OVERALL: Revolutionary Girl Utena is pure art, it's THE most complex anime out there. As a result I can't promise you'll like it but I can promise that you will get something out of it. I was going to give this a lower score but screw that! Call me a fanboy if you will but after writing this review I realise how much effort and thought was put into this show, something that is becoming rare not only in anime but in most movies and TV shows.
I give Revolutionary Girl Utena a 9/10
Revolutionary Girl Utena is routinely described as Neon Genesis Evangelion for girls, and not without good reason.
At the very start of the series, we are given a vague explanation of some of the events that lead to Utena becoming who she is today. When her parents died when she was only a child, she fell into a serious depression. In the midst of this, a strange, prince-like man approached her, presenting her with a rose-crested ring, and telling her the ring will lead her back to him one day. So far, so generic shoujo. But normally, the female protagonist would simply be wooed by the mysterious man, and desperately need him. Utena is a little... different. She didn't want the prince... she wanted to be the prince.
We then cut to the present-day Utena, a tomboyish teenage girl who sticks out like a sore thumb, for her unique charms, loveable personality, and for wearing the boy's uniform instead of the girls (though interestingly, not one boy in the series wears the same uniform as her), who goes to the boarding school of Ohtori Academy. Amidst her everyday life at Ohtori, a series of events lead her to discover that other people at the academy also bear the ring with the rose crest, and that it unlocks a dueling arena where they must fight for possession of Anthy Himemiya, a withdrawn, timid girl who is known as the Rose Bride. The reason? They'd rather not explain that.
The most obvious reason for its comparison to Evangelion is that despite having a clear plot going on, there is clearly so much going on in the background being held from us by major characters that the series' strongest point is drawing you back to find out just what the hell is going on at Ohtori. Utena, however, has something of a leg-up on Evangelion in this respect in that more questions are actually answered, albeit semi-cryptically.
Another clear comparison, however, comes in the form of one of its biggest faults, and that is taking some seriously excessive animation-saving measures. Evangelion relied more on unusually long pauses and obscured mouths, whereas Utena relies more on stock footage. Way too much. While it does gradually improve on it, Utena's biggest fault by far is that it is extremely repetitive. Sequences are constantly repeated, and there's usually only around 15 minutes worth of original footage in each episode.
However, here's where it gets interesting: Utena has 3 clearly defined story arcs. For the first, the Student Council arc, this is where the repetition hits hardest. However, in the following two arcs, the Black Rose arc and the Car arc, this weakness becomes a strength. With the change in plot direction, the story becomes far more interesting, and with it, the repetition stops being annoying and starts being a tool to use to its advantage, building a strong, Monster of the Week (or in this case, Duelist of the week) style pacing, and on many occasions using it to play with our expectations, use well-placed character connections to create interesting comparisons, and its best point, it uses it to build excellent character development.
Another criticism of it, however, is that it often falls back on fillers. More unfortunately, these fillers are either recaps (but don't let that put you off, as they all have their reasons... especially the third, which is not to be skipped under ANY circumstances), or generally focus on the series' most annoying character, Nanami Kiryuu. Most of them simply end up abound with unfunny comedy, with one interesting example in which Nanami wakes up one day and finds that she has laid an egg (or at least, believes she has). This should probably be reminding you of something. The episode in general becomes an interesting metaphor for the insecurities of puberty, which, at its core, is something that Utena has a lot of parallels to.
On which note, I should bring up another thing it has in common with Evangelion: symbolism. Symbolism absolutely everywhere. However, this definitely beats Evangelion in this respect, because the symbolism always has a clear meaning, whether it be blatant abstract physical parallels, or subtle details that you will pick up subconsciously. In the latter's case, this is more specific to Utena's last, and best arc: the Car arc. More specifically, the titular car itself. The car, and its driver, clearly represent the adult world, power, seduction, and corruption... in particular, this is clear out of how the driver picks up vulnerable people, and... well, given what is implied to happen at the end of each car ride... you can probably fill in the blanks.
Overall, the series does start slow, but progressively becomes more and more impressive, with a clear, defined improvement with each passing arc. This builds up to a climax that brings together everything, an amazing crescendo of symbolism, perfect dialog that oozes brilliance with every line... to be perfectly honest, it may very well be my absolute favourite scene in any anime, ever.
The characters of Utena are one of its main draws. Every character in Utena is slowly revealed to be a flawed, vulnerable individual, each with their own personal struggles. There are also a few outwardly antagonistic characters who, as the series progresses, are revealed to really not be as bad as you'd think. The most interesting characters, however, are definitely the Rose Bride herself, Anthy Himemiya, and her brother, Akio Ohtori. The two have a tragic, mysterious backstory, as well as the most powerful presences in the series. Love them or hate them (and there are strong camps for both), you can't ignore either one.
From a technical standpoint, the art style is pretty bad at its worst and excellent at its best. Like most of the series, the art makes a clear progression with time, with the car scenes in particular looking absolutely gorgeous (and they damn well should). The music is also a mixed bag, being somewhat cheesy in its execution, but having some good quality music in there (expect the main transformation theme to get stuck in your head a lot), but with a lot of cheesy battle themes. Most of the background music for the series is superb, though, and several tracks are absolutely perfect for the series, most notably Poison, and the everpresent car's theme, the latter of which is a pimptastic blues/jazz song that fits with its scenes perfectly, being yet another reason why the car scenes are the coolest thing ever.
Overall, Utena starts off slow, but it's definitely worth sticking with. The series truly progresses into something absolutely amazing with time, creating an excellent cast of characters, showing off some brilliant directing, and making a stone cold classic in the process. Oh, and did I mention that the car scenes are cool?
Final words: Car scenes are cool.
For Fans Of: Neon Genesis Evangelion, Princess Tutu
The Path You Must Take Has Been Prepared For You
Shoujo Kakumei Utena is a personal favorite of mine. I remember I spent one Winter holiday in school watching both Utena and Evangelion for the first time. So confused by the end. There are a couple of pretty good fan reviews up already, so I will just provide my own analysis (consider that your spoiler warning), and highlight a few things that I think are particularly outstanding.
I look at Utena as a deconstruction of the Fairy Tale, using gender roles as a lever. The characters in it are actually trapped in a fairy tale, and the main conflict is Utena and Anthy's attempt to escape from that prison. This idea that the characters are in an artificial fairy tale is built into the structure of the show: the fugue-like repetition with variation a lot of old stories have is present in the dialogue, animation, and music. The Three Little Pigs is a good example of the kind of story I mean: http://www.shol.com/agita/pigs.htm; although it's technically more of a fable. There's also a sense of inevitability. Classic fantasies generally force a certain morality on their universe; the nieve suffer, the evil perish, and the righteous live happily ever after. Much of the internal discussion in Utena is an exploration of what that kind of fairy tale ending (happily ever after) really means, and whether it is the province of adolescent fantasies or has a place in the adult world.
To escape from a world defined by its genre conventions, it's necessary to have a protagonist who shirks them in some way, which leads into the gender role conflict in Utena. While the main character is generally well-served by the story, reaping the benefits of being a fairy tale Prince, Anthy suffers intensely in her role as captive princess, and this eventually drives Utena to try and break the cycle. But you can't rescue a captured fairy princess from being a captured fairy princess; being rescued is central to that role. So ultimately Anthy has to set herself free.
Obviously this is a super pretentious concept for a show, but one of the things I love about Utena is that it has a quirky sense of humor that is self-mocking, but also tends to reinforce how artificial the world in the story is. The gender symbolism (roses, swords, cars, tons and tons of miscellaneous phalli) is so intense it is comical. If you can't find all the phallic symbols, hunt down a copy of the Ding Dong Song AMV, for just a few examples. I also like how the retro style and repeateded footage play into the structure of the story, and create a sense of girth with a technique that is normally very thinning.
I think my only criticism of Utena is that it is a little long for its concept. I strongly disrecommend marathoning it; two or three episodes at a time is a good pace.
Roses, duels, lesbians and shadow theatre. Gee, I must be talking about Utena…
Yup, this is a very distinctive series and quite bold for its time as well. The main reason is simple; it has one of the most forward lesbian relationships ever… No wait, it actually has one of the most distinctive… No wait, it actually has lots of gays and incestuous siblings too… And they are all masked with some weird symbolisms, like flowers and thorns and swords and some weird upside-down castle in the sky… and what’s with those girls doing shadow theatre?
That is pretty much the attraction of this series; everything is one big allusion to immoral relationships, backed up with weird symbolisms, psychedelic sceneries, and characters that are not feeling very well up there in the head. And although it is all mostly aesthetics, it still creates an overall feeling that was hardly surpassed by anyone else thereafter. Surprisingly, the studio behind the animation is the notorious J.C. Staff, which is famous for its shitty adaptations full or retarded fan service and low production values. In this particular case though they made an exception and gave us something good. So let me make yet another list of the things I liked in it.
1) It has lesbians. Sure, there were other shows before Utena with that type of girls; the most famous being Neptune and Uranus from Sailor Moon. The thing is, all previous shows had that element only as a minor extra to a whole different story, while here it is actually part of the main story. I mean what do you think the title is all about? Let me help you; not because she is a rebel fighting some tyranny-centric regime. She is in fact fighting against the status quo in a quest to become the thing moral restrains forbid her to be: A man. Confused?
Well, that is the main story you see, she was fascinated by this handsome prince when she was a little girl and years later she decided to go look for him in this prestige school. But not as a frail girly girl in need of a knight to come to her rescue but as a rough tomboy, able to fend herself in swordsmanship and in a way becoming a prince herself. So in a way she doesn’t want to find a prince; she wants a confirmation that she can BE a prince by becoming his equal in everything. Yes, it’s weird as hell but on the other hand shows how people can find what they desire inside them and not looking for it in the far corners of the Earth. It may not make much sense but it has its logic.
So she goes to this school where they say something really revolutionary will happen soon that will change the world forever. Well, ok, it is already pretty revolutionized even without that upside-down castle in the sky; as most students there are… um… quite liberal with relationships.
Sure, today we get a dozen lesbian couples per anime season and most of you would think that it is not that special anymore. Which is not true, as modern anime on the subject are again using it as a hook of interest in an otherwise plotless, simple, slice-of-life tale of which I get bored fast. But Utena is different because…
2) It has distinctive action. Every episode has a duel between swordsmen… or should I say swordwomen? Anyway, it always has one such duel and it’s never JUST about swords. The preparation for the duel has some really weird shit going around, like people turning to plants, swords appearing out of chests, cars popping out of the ground, coffins burning… It again looks like random images at first but the naughty mind can attribute everything to some erotic taboo, which again makes the whole show interesting.
It is true that the action part is not really that good. There is no choreography or much tactics used in it and most of it seems to repeat identically on every episode. I never said it has GOOD action; I just said it has distinctive action and that makes it memorable even if it’s bad. Because down to it, everything in this show…
3) It is artistic. Really, from the artwork, to the symbolisms, to the innuendos, to the theatre, to the freaking simple scenes they are just talking, it is all some crazy stuff regarding more what it means to be happy and liberated than what they had for dinner or something trivial like that. And God, I loved it for that.
After all that I mentioned, I must make it clear that this show is not for everybody. In fact, you should not even bother watching it if you don’t like any of the following elements:
1) Too much repeated footage going around. Almost as annoying as those Sailor Moon transformations and attacks, but hey, it follows a pattern so it is kinda expected.
2) Bad action. You won’t find mountain-levelling attacks or amazing swordfight choreography in this show.
3) Little actual story and many fillers. Most of the episodes are stand-alones and fillers, which can also be annoying if you like on-going plots. But as I said, it is following a pattern and does allow you to get to know and like the characters more.
In all, it is a show that heads more for aesthetics and colourful personalities and less for plot or good action. It does a fine job with it too; much better than most later shows with similar kinky themes. Utena is also the third interesting gender bender anime character after Sapphire in Ribbon no Kishi and Oscar in Rose of Versailles and also used to be a symbol of lesbianism a decade ago. So sure, it left its own impact on both the anime world as well as the real world and got a place in the most historically important titles.
In case you liked its quircky style, the same director made a decade later another show with a similar feeling, caller Mawaru Penguin Drum. Give it a try.
And now for some excused scorings.
ART SECTION: 9/10
General Artwork 2/2 (artsy)
Character Figures 2/2 (memorable)
Backgrounds 2/2 (artsy)
Animation 1/2 (basic)
Visual Effects 2/2 (artsy)
SOUND SECTION: 8/10
Voice Acting 2/3 (corny but fitting with the feeling of the series)
Music Themes 4/4 (great)
Sound Effects 2/3 (ok I guess)
STORY SECTION: 6/10
Premise 2/2 (interesting)
Pacing 1/2 (erratic)
Complexity 2/2 (lots of symbolisms)
Plausibility 0/2 (none)
Conclusion 1/2 (cheesy)
CHARACTER SECTION: 9/10
Presence 2/2 (strong)
Personality 2/2 (rather cheesy but well founded)
Backdrop 1/2 (simplistic but it’s there)
Development 2/2 (overblown but it’s there and it’s strong)
Catharsis 2/2 (overblown but it’s there and it’s strong)
VALUE SECTION: 9/10
Historical Value 3/3 (all-known)
Rewatchability 2/3 (high because of its artistic appeal although lots of scenes can easily be skilled)
Memorability 4/4 (extremely artsy to the point of forever remembering it)
ENJOYMENT SECTION: 7/10
Less fillers and repeated footage would make it awesome but I still liked it as it is.