It was shot in a mixture of Japanese and English. The Japanese characters speak Japanese and sometimes English, the American characters speak English. There’s also a mixture of traditional animation techniques and CG and you’ll either like that blending or you won’t depending on personal taste. Overall I found the visuals to be effective and atmospheric.
It starts in a wonderfully enigmatic fashion. It is Japan in the 1960s. A young Japanese girl (we will later learn that her name is Saya) slaughters a passenger on a train with a samurai sword. Then she is joined by a couple of American guys. David might be Saya’s boss. He might work for the Japanese Government or the US Government or for some shady outfit like the CIA or he might work for some private organisation. Whoever or whatever he is he is in the same line of work as Saya - killing chiropterans. We don’t yet know what chiropterans are.
There’s some tension between Saya and David but there’s obviously some trust as well. Maybe they’re uneasy allies but they’re definitely allies.
Then Saya goes undercover as a student at the school for the children of American military personnel at a U.S. Air Force base in Japan. For some reason she wears a Japanese schoolgirl uniform although it’s an American school. Saya looks rather weird dressed that way - she doesn’t look like a cute teenager, she looks like a stone-cold killer.
She has an uneasy encounter with the school nurse. The school nurse gets very disturbed when Saya whips out her sword and slices up another girl student in front of her. The nurse is horrified but she’s even more horrified when she gets a good look at her first chiropteran. They’re horrifying demon monsters.
We then get a rollercoaster ride of action and mayhem.
What I love most about this film is the thing that a lot of people dislike. It gives us nothing but tantalising hints at the backstory. You expect a Van Helsing-like character or a scientist to pop up to explain what is going on. But that doesn’t happen. We have to figure things out for ourselves.
We find out a few things about Saya but they raise more questions than they answer. The very short running time means there’s no time for detailed explanations. We are plunged straight into very strange and frightening events and we really don’t know much more than the unfortunate school teacher caught in the middle.
Which makes things much scarier. We don’t know the full extent or the exact nature of the threat. We don’t know how heavily the odds are stacked against Saya.
This is a very stripped-down very minimalist story. There are no subplots. Virtually no exposition. It hits the ground running and the pace remains frenetic. I like that. I’m told there was a later live-action version with double the running time that ruined the story by adding the backstory that was very deliberately and wisely left out of the original.
Right at the end we find out something very important about Saya but once again we don’t get a full explanation. It answers some of our questions but it adds further puzzles.
There was clearly a reason for choosing the mid-60s as the time setting and for including Vietnam War footage. Presumably the point was that we humans are every bit as bloodthirsty as the chiropterans. Fortunately this stuff isn’t intrusive and it does add to the atmosphere of paranoia.
Saya reappears as a character in the 2011 TV series Blood-C.
Hiroyuki Kitakubo directed. Blood: The Last Vampire was made by Production I.G. and originated in a study group set up by Mamoru Oshii (director of Ghost in the Shell) to explore ideas for future films. Kenji Kamiyama wrote the screenplay. He went on to be director and chief writer for the excellent Ghost in the Shell Stand Alone Complex TV series.
Blood: The Last Vampire is very much about style. That style is very harsh, dark and brooding. This may be the least cutesy anime ever made. Very entertaining movie. Highly recommended.
The Manga DVD (they’ve now released in on Blu-Ray as well) looks very good and includes a “making of” featurette which is interesting for the insights it offers into the aesthetic choices that were made.
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