imaginary living bodies

Like a shadowbox, the figures in the prince myth are paper cut-outs moving in front of a flat background, so while there’s significant detail within each layer, the layers don’t interact. Instead, they’re completely flat, casting a simple shadow on the backdrop. In Plato’s allegory of the cave (which we may as well get over with), prisoners are born into a dark cave with a view of one wall, onto which objects are projected by unseen captors. These captors say the names of the objects that pass, and the association between the objects and the names produce the prisoner’s reality. This is false reality, and fake “knowledge,” but to the prisoners nothing else exists. In the shadow box, we seem to see both the objects and their shadows (the cut outs and the real shadow), but the figures themselves and the intervening “real” moments where the false myth breaks to show Utena’s real memory show the second, more important, layer of cast shadows. The shadow box scene itself is enclosed within a silhouetted frame, and complex figures (like people) are pure black. The fact that the same things are happening between the shadow figures and the real memory show that the memory is clearly casting these shadows, but it’s not clear what is truly happening in the moments when the shadow reality takes over. (Looking forward to the rest of the show, like in Plato’s allegory, the real question is not necessarily “what do the shadows refer to,” which can eventually be answered by walking out of the cave, but by “what will the prisoners prefer? The real world, or the shadows?”)

The use of black as a silhouette also establishes right away that black in the show is always in relation to light—as a shadow, yes, but maybe more accurately as the real object whose details are obscured by light. A silhouetted object is the true object, but the fact that it’s in front of a bright light means that our eyes can’t focus in on it. In this case, we might say that the prince (Dios) is a real object, but the brightness of emotion and desire Utena has infused this memory with silhouette his reality. All that's left is the shadow memory. (This comparison may prove helpful in looking at the Black Rose arc, whose duelists are less shadowy than obscured by the brightness of desire).

Also right away, we’re faced with pink roses over a pastel green curtain. These are not Utena’s pink, but a lightened red, and since it’s our first time seeing this color, I don’t have much to say on it. Likewise with the pastel green, although I do want to note that it seems significant that the show opens with a color we associate mostly with Saionji: an indication that, like Nanami, he is more essential to understanding Utena than we might think. If I were to hazard a guess, I would say that green may refer to ignorance—why it’s paired with innocent yellow here and, of course, why it’s given to Saionji, who is stubbornly oblivious to Ohtori’s rules.

“Once upon a time... there was a princess grieving over the deaths of her mother and father.”

The first few lines present a classic basis for any story of preteen sexuality—sorry, I meant any fairy tale. They’re not only a clear indicator that this isn’t real life, but also present us with Utena’s orphan status as her initial trait. This is a psychoanalytic story, despite the near total absence of parental figures, and nothing plays a more vital backstage role than family. The little princess, of course, is wearing yellow (and here, again, is Saionji’s pastel rose green on her collar).

“Before this princess appeared a prince traveling upon a white horse. His appearance gallant, and his smile gentle…”

A white-clothed prince on a white horse, against a white background, emerges to save her. Here is our first true introduction to white, which is inarguably the most important color to the show. All other colors are adulterated with it in Anthy’s roses or contrasted with it in the Student Council uniform. Note that it isn’t the young princess who wears pure white, but the prince: white is not a color you’re born into, but one you aspire toward, perpetually bleaching the fainter and fainter yellow out of your dress. White is an ideal color, not something actually wearable, and the pure white of the prince in the myth only doubles down on the impossibility of the story. (Also, note the red interior of the cape, even in Dios: a strand of Touga’s chauvinism in the princely ideal, or an indication that there is something genuine Touga is trying to emulate?)

“The prince enveloped the princess in the scent of roses, and wiped away her tears. ‘Little one bearing up alone under grief, never lose that strength or nobility, even when you grow up’ [he said].”

As the prince kneels to embrace the princess, the rosebuds in the background burst into bloom. With the death of her parents, the princess’s sense of the world’s meaning was destroyed. The cracks in the version of reality she had—a glimpse the true objects outside of the cave—began to show themselves. Impossible to handle even for adults, the young princess falls into a depression and searches desperately for a way to obscure this truth from herself, which she finds in the prince and his command: “Never lose that strength or nobility, even when you grow up.” William James, discussing the “process of inner incompleteness and reducing inner discord,” refers to this emergence from depression as the new birth, which may be religious or “produced by the irruption into the individual’s life of some new stimulus or passion, such as love, ambition, cupidity, revenge, or patriotic devotion.” The princess’s new birth, prompted by the prince, could be any of those things, and it’s perhaps because of this shift that we’re able to see our first glimpse of the real memory between her and Dios. Whatever it is, it is what saves her from an orphan's depression, and so becomes the grounding force in her life. Nothing she has can exist without faith in this moment: the prince is the thing keeping the entire system together.

The phrase “even when you grow up” feels very significant. I would say it has its fingers in too many pies to discuss here—in a story about adolescence, the idea of those virtues we lose as we age is essential to our founding myth. Is the fact that Utena changed as she grew older the reason she can't achieve the princely ideal? It's haunting, true or not.

"’I give you this to remember this day. We will meet again. This ring will lead you to me, one day.’ Could the ring from the prince have been an engagement ring?”

Then, the symbolic engagement, with the prince’s white gloves sliding a ring onto (real) Utena’s hand. The true memory says “I give you this to remember this day” and then—crucially—the scene switches and it is the shadow who says “this ring will lead you to me, one day.” Dios, this unattainable ideal which Utena bases her life around, has truly left her something to remember him by, something she will never leave behind: her desire. However, it’s only the false shadow memory which tells her that the ring will lead her to him. It’s the eternal hope of every young person that the overwhelming desire you feel, which seems both focused and directionless, is an indication that it will one day be fulfilled. It’s a message from your prince. This stubborn hope that the need for something means that it is meant to be yours, is what keeps all of the Ohtori students we meet spinning on their hamster wheels.

"Because of the strength of her admiration for the prince,  the princess made up her mind to become a prince herself! But was that really such a good idea?"

As the princess watches the prince ride away, the red roses of the frame are replaced with white ones, before finally becoming the familiar Utena pink, as the shadow version of her stands proudly on screen in princely dress. The myth is over: the story begins.