In 1990s, with the advent of computers as part of every day life, virtual reality became popular motive in Hollywood, especially since it allowed studios to display power of new technology called CGI. In technology-obsessed Japan same trend represented itself in the world of manga and anime, finding its best known reflection in Ghost in the Shell, 1995 feature film by Mamoru Oshii, which is considered one of the most influential films of its time. In 2001 he explored the same themes in live-action feature film Avalon.
The plot is set in near future in unknown East European country. Most of the youth try to find escape from its bleak, dystopian-looking surrounding by playing Avalon, popular virtual reality game that combines elements of role playing and first-person-shooter, which allow players to earn in-game currency that can be exchanged to cash in real life. Most players are organised into teams. Ash (played by Malgorzata Foremniak), the protagonist, had her team broken up but she developed enough skills to become an accomplished solo player. As she tries to advance to next level, she learns about “ghosts”, mysterious NPCs that could lead to Special A, rewarding but extremely dangerous game level which provides level of reality even more real than the real life itself. Ash is determined to reach it, despite the death in Special A can result in becoming real life itself and despite her former teammate Murphy (played by Jerzy Gudejko) disappearing in it.
The shortest way to describe Avalon is “The Matrix directed by Andrei Tarkovski”. That impression is gained less because of Polish locations and the entire film being shot in Polish, but more because of Oshii allowing plot to unfold at glacial pace, that would test the patience even of those viewers accustomed to arthouse cinema. The action, which is supposed to be the main attraction for the targetted audience, at least those who expected another Matrix, is there and even feature use of T-72 tanks and Mi-24 attack helicopter provided by Polish Armed Forces, but it is too repetitive and use of nearly monochromatic sepia tones makes Avalon look visually unattractive. The cast does best what it can with the material and Malgorzata Foremniak does a solid job as female action heroine. The film includes interesting details, like the use of emerging MMORPG terminology, including concept of lag that plays part in some elements of the plot, but all that is drowned in pretentiousness that culminates in open-ended, yet somewhat predictable finale. Avalon is at times interesting, and on very rare occasion fascinating, but ultimately represents a disappointment. Oshii in 2009 directed semi-sequel under title Assault Girls.
RATING: 4/10 (+)
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