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I'm going to say this from the start: Lupin III: The Woman Called Fujiko Mine is, to me, an absolutely outstanding piece of art. I'll also say this: this review is gonna be unbelievably pretentious. Sorry :p.

It's probably not unfair to say that a lot of people, if not most people, watch anime primarily for straight-up, unadulterated enjoyment - fun, in other words - and this style of anime utterly floods the market. However, every so often there comes an anime or two that break the mold, and these more daring shows are absolutely crucial to reviving such a stagnant medium. I'd like to ... point out that I'm not just pontificating about the overabundance of moe girls and fanservice by myself, Miyazaki and Anno have been going on about the "dead End" (Anno) that anime has hit for years. My point is that, while I thoroughly recommend trying this anime, I beg of you, don't expect it to conform to your expectations.

Story: I'm going to try and keep this primarily spolier free, but I apologise if a few key details slip through. The story takes place pre-Lupin II (which I have not read, BTW), and centers, for the first time in the franchise, on Fujiko mine, Lupin's primary love interest. The first 9 episodes go through various heists and the stories surrounding them in a very film noir fashion; it's a very artful, but traditional action show, much in the style of Cowboy Bebop. However, at episode 10 it gets weird. WEIRD. A lot of people were put off by this - when you get to this point, let me assure you that everything is explained, save one detail, but that detail (Oscar's resolution) isn't really that important. Indeed, this is the only thing I can actually call a "flaw" in this anime, aside from perhaps a slightly lacking explanation of how the drugs work (episode 1, not really a spoiler), or a proper reminder when it become relevant again. Still, these are not abject flaws; you might ask why I give it a 9, rather than a 10, since it's so nigh-on-flawless IMHO, but... see the conclusion.

The story is, to me, excellent. it relies of next to no tropes, it references famous operettas and movies (episode 4 is a take on The Phantom of the Opera, there's a later episode that takes from Indiana Jones etc). On top of this, it's original, it's fun, it's everything that a proper, gripping TV series should be.

Art: 10. Glorious. GLORIOUS. I've never seen higher quality, or more suitable, or better utilised art in any anime ever, and I watch all the arty crap. Period. Not only does the dark, gritty, pencil-shaded style add to the noir-esque presentation and vibe that the whole show carries, not least thanks to its soundtrack, it allows the show to shine at every. single. moment. Explosions are lovingly animated, extreme close ups are striking and utterly transparent in terms of their meaning - as an actor myself, I've never, ever seen such good "acting" from animated characters. It's natural, and honestly rivals live-action hollywood for quality. The only word for this, is "artful" not just in the sense of being well drawn, but in the sense that Sayo Yamamoto's direction has such a sense for striking images that it's honestly difficult for me to focus at all times without just gasping at how utterly beautiful bits of this show are. It's clear to see the influence that working with Takeshi Koike (who incedentally did a follow up movie to this show) on REDLINE has had upon Yamamoto. *drools rainbows* 10/10.

Sound: 9. I can't deny that soundtracks are usually my favourite parts of anime, and this one is fabulous. it's used to perfection, and it's utterly intrinsic to one of the most literarily significant aspects of this show - it's connection to previous film styles. While Fujiko Mine is definitely rooted in the noir-esque detective genres, primarily seen in the late 50's, it specifically hones in on the French new Wave.

[Pretentious bit, feel free to skip] On top of having an almost truffau-ian preoccupation with running and movement, the soundtrack specifically references the works of Alain Resnais, specifically Last Year At Marienbad. I told you it was gonna get pretentious. LYAM is famous for being creepy - it has a constant baroque organ playing in the background, even when it doesn't match the diegetic suonds on screen at all, and this helps add a real sense of paranoia to the film as the viewer tries to make sense of the conspiracies within it; in episode ten of Mine, when it starts to get WEIRD, and when you begin to doubt everything rational about the show (and when a lot of people dropped it) this organ comes in. In the following episodes, the jazz is swapped out for organ music - throughout, the atmosphere is reflected and counterpointed by the soundtrack in a fashion so subtle but also totally intrinsic tot he show that i can only describe it as MASTERFUL. Honestly, I'd love to write an essay comapring this series to the new wave but y'all are here for anime so I'm gonna stop. Trust me, it's really cool. [pretentious bit over]

So why isn't sound a ten? Alas, it doesn't have a memorable tune to it - take My Neighbour Totoro or Princess Mononoke. Both films have one recurring melody that, while utilised in different ways, really sticks with the listener and becomes inextricable from the climactic scenes; you're left humming the songs for days after, and this helps the films' emotional climaxes resonate more. Lupin's music is not designed to be like that, of course, and it's use is, to me, utterly perfect, but it doesn't have the same lasting impact, so... not a ten. Not quite. So close.

Character: 10. Every character is fully developed. No tropes, no cliches, and the sexual nature of the show is completely separate from any ideas of "fanservice". When fujiko is shown having sex... she's not really shown having sex. instead, you see symbols of sex. he camera doens't take the usual approach of sexualising her body or emphasising ridiculous assets. She has those, and indeed spends a lot of time naked, but the camera doesn't ogle her - it's sexual, but not sexualised. ultimately, it's nudity in anime that isn't innately sexist. WHY CAN'T EVERYTHING BE LIKE THIS?. Every side character, no matter how minor, is full of life and character, and the lack of anime tropes is so totally refreshing. There's a character with no lines, and about 8 minutes total screentime - I ruminated on her situation for hours after watching because of how deeply affecting her character arc was. I've rarely, if ever, seen better developed characters in a TV show, aside from maybe in the works of Masaaki Yuasa (Ping Pong, Tatami galaxy). If you like this, go watch his stuff ASAP.

Enjoyment: 10. I'm going to say something contentious here - this show is what Bebop aspired to be. Bebop is a great show, beloved by many, and I'm NOT saying it's better or worse than this, but the themes it employed - jazz backing, noir-esque atmosphere, conspiracy and crime, are all taken much, much further here. The show's later-on obsession with drugs, and the way this is used to screw with you as you watch it - is one of the most ballsy moves to come out of anime since... ever. Honestly, this show feels more like the spearhead to an art/cinematic movement than it feels like an anime.

Overall: 9. Why a 9, not a ten? Other than the 1 unexplained detail... it's not for everyone. There are things I would change, bits where there might have been more humour or more explanation, but nothing that's really a flaw, if you're paying attention. That said, a lot of people will find it pretentious, and I can;t blame them. A lot will find it hard to follow at times - it is. That said, if you're even remotely interested in Anime as an art form, rather than just as a mode of enjoyment, please, I BEG you, watch this show (and then go watch Ping Pong The Animation). If you just want fun, then i'd honestly recommend not watching this. It's fun, don't get me wrong, but if you come into this show with any expectations at all based off regular anime, you'll be confused, disappointed and the show won't be given the chance it deserves to WOW you like it should do.