Anime Wolf Squad
Jin-Roh (Japanese: 人狼 , Hepburn: Jinrō , lit. ' Werewolf ' ), also known as Jin-Roh: The Wolf Brigade in its American release, is a 1999 Japanese animated action political thriller
Film directed by Hiroyuki Okiura (in his directorial debut) and writt by Mamoru Oshii. Based on the first chapter of volume 1 of Oshii's manga Kerberos Panzer Cop, it is the third film (first chronologically) in the Kerberos Saga after 1987's The Red Spectacles and 1991's StrayDog: Kerberos Panzer Cops, and is the only fully-animated film in the saga.
Jin-Roh is set in an authoritarian postwar Japan in the saga's alternate history where Nazi Germany won World War II, occupied Japan (a member of the Allies in this timeline), and evtually dazified back into the Weimar Republic. Germany attempts to globalize and modernize Japan with a new governmt, but it increases poverty and class stratification that leads to civil unrest and the rise of the Sect, an anti-governmt left-wing terrorist group. With regular police unable to handle spiking terrorist activity, the Japanese governmt forms the Capital Police paramilitary law forcemt agcy and their Special Armed Garrison Kerberos, an elite heavily-armed counterterrorist police tactical unit equipped with powered exoskeletons called Protect Gears. Jin-Roh follows Kerberos member Kazuki Fuse who, after witnessing a young terrorist he was ordered to execute kill herself in a suicide bombing, meets Kei Amemiya, who claims to be the girl's sister; their relationship develops in the midst of a violt interservice rivalry betwe Kerberos and the Public Security Division, the Capital Police's intelligce unit.
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The film premiered on November 17, 1999, in France and June 3, 2000, in Japan. Bandai tertainmt and Viz Media licsed the film for an glish-language release in North America and Europe.
It has be relicsed in North America by Discotek Media, with a DVD released on April 29, 2014, followed by a Blu-ray on January 27, 2015.
A live action Korean remake, Illang: The Wolf Brigade, was released in 2018, featuring a differt setting and ramed characters but largely the same premise and plot.
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In an alternate 1950s Tokyo, the Self-Police respond to a riot in Akasaka that escalates into violce. In the storm sewers below, members of the Sect deliver Molotov cocktails and satchel charges to the rioters, aided by Nanami Agawa, a young Sect Little Red Riding Hood courier. Wh several riot police officers are incapacitated by a Sect-provided satchel charge, the Self-Police move in on the rioters, while the Capital Police deploys Special Armed Garrison Kerberos to neutralize the Sect cell, and they easily wipe out the cell and destroy their explosives. Kerberos member Kazuki Fuse confronts Nanami as she is trying to escape, but freezes up wh ordered to execute her instead of apprehd her. Rather than surrder, Nanami detonates her satchel charge, killing herself and causing a power outage that leads to the Self-Police losing control of the situation above. The incidt damages Kerberos's reputation and deeply affects Fuse, who is reprimanded for his inaction and stced to redo training under drill instructor Hachiroh Tohbe.
A remorseful Fuse, acting on information from his frid, Public Security head Atsushi Hemni, visits Nanami's grave and meets Kei Amemiya, a girl who claims to be Nanami's older sister and does not hold him responsible for her demise; they quickly develop a bond. However, Kei is revealed to not be Nanami's sister, but a former Little Red Riding Hood courier coerced into acting on behalf of Public Security, who seek to dissolve Kerberos and merge with the Self-Police to shift their counterterrorism strategies from brute force to intelligce. Public Security attempts to use Kei to trap Fuse at a museum with the goal of discrediting Kerberos, but he sneaks in, incapacitates the Public Security agts, and escapes with Kei, evading the Self-Police. Kei reveals her role in the deception and suggests they run away together, but Fuse insists on staying, and they fall in love.
Fuse and Kei seek refuge in the same sewers from the riot shootout are met by members of Jin-Roh (Wolf Brigade in glish), a secret deep-cover counterintelligce group led by Tohbe and Hajime Handa that protects Kerberos from organizational threats like Public Security. They provide Fuse with an MG 42 and a full set of Protect Gear, and reveal they knew of Kei's role and consider her living proof of Public Security's conspiracy, before leaving with Kei. Public Security special forces teams led by Hemni arrive, having followed a tracking device hidd in Kei's bag, but instead find a fully-armored Fuse, who kills the Public Security teams in a shootout and finishes off a mortally-wounded Hemni in a duel.
Kerberos Panzer Cop [jin Roh: The Wolf Brigade]
Fuse reunites with Kei and Jin-Roh in a junkyard, but is distraught wh he is ordered to kill Kei to sure she is never recaptured by Public Security. Kei embraces Fuse and sadly recites the dialogue of Little Red Riding Hood, describing the grotesque appearance of the wolf disguised as a loved one. Horrified at what he has to do, Fuse has a crisis, before he shoots and kills Kei. Somewhere nearby, Tohbe solemnly compares Kei's fate to the demise of Red Riding Hood and the triumph of the wolf.
Mamoru Oshii had wanted to create what ultimately became Jin-Roh several years prior. It was planned to be the third and final live-action feature film of the Kerberos trilogy, but its production wasn't possible until 1994, while Oshii was already working on Ghost in the Shell. As he was unable to produce two films in the same time, but also did not want someone else to direct his final episode, Oshii decided that the third episode would be an anime instead, as opposed to the live action productions used for The Red Spectacles and StrayDog.
The project was originally pitched as a six-episode original video animation, as Oshii knew Bandai Visual was interested in having him do a series for them and his original Kerberos Panzer Cop manga was formed by six chapters. As he proposed the project to Bandai Visual at a meeting, they asked him to direct Ghost in the Shell, but nonetheless grelit the series for pre-production.
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The production evtually evolved into a feature film following the international success of Ghost in the Shell, as Manga tertainmt wanted a similar hit and saw pottial in Kerberos Panzer Cop after the manga had be published in the West as Hellhounds.
After reluctantly giving up the directorial role, Oshii considered who to hand the project to. He originally sought Patlabor 2: The Movie animation director Kazuchika Kise, but he had no interest in chief direction at the time. He th committed Jin-Roh as a debut film to a trusted young collaborator, Hiroyuki Okiura, who had worked with Oshii on animated films such as Ghost in the Shell and Patlabor 2.
Oshii considered him the most able candidate among the younger staff of the studio, and both Production IG and Bandai Visual, knowing about his directing ambitions and his interest in creating a serious drama, wanted him to do his debut for them.
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Oshii wanted to at least be trusted with the screplay, as the prospect of working with Okiura changed his previous reluctance for merely writing films. This was not originally in Bandai's plans for the film, but Oshii expected Kazunori Itō, his usual screwriter, to reject their offer as he had previously told him that he did not want to write a story involving dogs following his work for The Red Spectacles; after he did so, he was offered the role. He ultimately still found the experice frustrating both during the writing process (The momt you write, you want to direct) and after realizing the result would unavoidably be much differt from what he pictured in his head. Lacking any creative control on the process, he chose to distance himself from the animation production while looking forward to the final product.
Oshii, who characterized him as allergic to computers, admitted that had he directed the film he would have relied on computer animation just as he did in Ghost in the Shell and no more than 30, 000 cels would have be needed.
Jin-Roh was first se in the early 1999 film festival circuit, including the 49th Berlin International Film Festival and the 19th Fantasporto in February.
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It was subsequtly shown in Cannes' Marché du Film, which presumably netted its early Frch theatrical release on November 17. The Japanese preview of the film took place on June 19 in the Roppongi 20th Ctury Films theater.
An early commt on the film was giv by Blue Sky animator André Mazzone, who was shown the film in May 1999 as part of a delegation from the studio to Production IG's headquarters. He praised it for the beauty of its animation and character designs and the subtle and crafty twists in the story, and commted that the differing approaches to production meant directors were freed from needing to appeal to a wide target audice and allowed to have much greater creative control than in Hollywood animated features, favoring the sophisticated productions anime was known for.
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