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It was mid-to-late 2009 and she was a few months removed fromMichiko and Hatchin, her debut as a series director. The magical girl project she was developing as her follow-up was unfortunately turned down. A director without a project, she was contacted by producer Yu Kiyozono, who offered her the chance to direct the firstLupintelevision series in over 25 years.
With little reason not to accept, especially once she was promised full creative control of both story and staff, Yamamoto set to work on how she could draft a version ofLupinthat would make her interested in the iconic gentleman thief, and how to make her version stand out from the many existing series, movies, OVAs, and TV specials. The idea would not come quickly, but once it did, Yamamoto’s vision would begin a process that would purge everything audiences had come to expect from the decades-old franchise, and in just 13 episodes deliver its darkest, sexiest, and strongest installment in years.
Yamamoto’sLupin the Third: The Woman Called Fujiko Mine, made to celebrate the 40th anniversary of the firstLupinanime(and the manga’s 45th), was the first series to be led by a female director, a female writer, and to have a story focused on the series’ iconic femme fatale. While there had been stand-alone Fujiko-centric stories told through the years, her role in the franchise had mostly been as a wild card, an untrustworthy accomplice who would gladly assist Lupin in his grand schemes just so that she could make off with the loot, leaving her gentleman suitor with nothing but perhaps a blown kiss and some charming words of affection until their next adventure.
The series tells the story of how Fujiko first meets Lupin the Third and the rest of the main cast: Daisuke Jigen, Goemon Ishikawa XIII, and Inspector Zenigata. As each of them crosses paths with this mysterious, masochistic woman, they are left wondering why this bewitching vixen constantly puts herself in harm’s way. Is it just for the thrill of the heist, or is there something she’s running away from? As they come closer to forming the iconic quintet anime fans know and love, Lupin works to uncover everything he can about his sexy new rival, the investigation leading him to a sinister organization which has been performing mental experiments on young women. The two master thieves eventually confront the head of the organization, someone who may be more obsessed with Fujiko than even Lupin is.
Image: TMS/Po10tial
The series would be the first not to feature Lupin as the protagonist, but it wasn’t the first time aLupin origin story had been done (that was 2002’sEpisode 0: The First Contact). However, Yamamoto’s vision would venture into more radical territory. Instead being of a stand-alone series not tied down to any continuity,TWCFMwould serve as a direct prequel to the original 1971 anime, with the overall mood more in line with the grounded Masaaki Ōsumi-directed episodes rather than the lighter ones directed by Hayao Miyazaki and Isao Takahata. The anime would hearken back to its source material by having the story aimed at a strictly mature audience, as well as ditching theThe Castle of Cagliostrodesigns that generations had become accustomed to in favor for one that more closely resembled creator Monkey Punch’s artwork. And the series’ score would not include a single note of Yuji Ohno’s snappy jazz soundtrack, including the timeless opening theme. Yamamoto’s grand scheme of shaking up everything people knew ofLupinwas extreme, but it ended up giving the legacy franchise something it had been severely lacking in the years before its release: a fresh direction.
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