The latest iteration of the long-running anime saga, Gintama: Yoshiwara in Flames, was previewed this week at Lucca Comics and Games, Europe's largest Comic-Con, ahead of its theatrical release in Italy. Variety spoke with director Naoya Andô and producer Ryo Nakamuray regarding their approach to continuing the story that originated as a manga by Hideaki Sorachi. Set in an alternative sci-fi version of late-Edo-period Tokyo following an alien invasion by the Amanto, the franchise has previously spanned 367 television episodes and three feature films, with this new entry marking its fourth cinema outing.
Andô explained that the team aimed to maintain the series' soul while utilizing cinematic tools like CinemaScope ultrawide ratios and 3D technology. These choices allowed for greater camera movement and variety, enabling the crew to frame shots from a distance to better showcase the design and setting. A key narrative difference in this film is the fulfillment of the title's promise; while the town of Yoshiwara did not burn in the original TV arc, Andô confirmed that producer Takashi Maekawa insisted on actually burning the town down for this version, a creative decision made collaboratively by the team.
Regarding the transition from television to the big screen, Andô noted that five years had passed since the anime series concluded, allowing for significant technological leaps. The production leveraged these advancements, particularly in 3D animation and new musical compositions, to create a more impressive audio-visual experience. This commitment to quality led to a unique release strategy: after an initial version premiered in Japan in February, the team utilized the opportunity of the DVD release to refine the film further. Andô revealed that they retouched over 200 shots in a new version released in September to perfect elements that were not ideal in the first cut.
The production involved a complex coordination of studios ranging from China to Indonesia and Vietnam. Nakamuray described the process as dividing elements among specialized teams, with specific collaborators chosen for character work or action scenes, each led by a team leader responsible for their output. The film also retains the series' signature humor and meta-humor, which Andô noted is difficult to translate culturally. To address this, a dedicated director focused on ensuring jokes were delivered naturally through character interactions rather than being explicitly presented as funny moments to the audience.
The event in Lucca marked a significant step for the franchise's presence in Europe, as the films had not previously been brought to the continent. Andô expressed honor at the invitation and noted the warm reception from Italian fans, validating the decision to expand the film's reach beyond its initial Japanese release.
Sources: Variety.