My Problem with Anime

As of now, I’ve lived in Japan as an English Teacher for a year and two months. My job involves educating the nation's youth on the “joys of learning English”. Whether they’re teaching me more about Japan and the Japanese language is a completely different matter. Yet it’s clearly evident that my preconceived knowledge and understanding of the country’s modern culture was and still is pretty terrible. 

I was exposed to the likes of Godzilla, Ultraman and Doraemon at a relatively young age, most of which remains relatively fresh in my memory. Heck, my first trip to Disneyland was actually in Tokyo, where I shook the hand of a Japanese Mickey Mouse whom I couldn’t understand a single word. Soon my primary/ elementary school days were awash with the likes of Pokemon, Gundam Wing and Dragonball Z which would abruptly end during my teens, I’m not entirely sure why but I seem to recall video games consuming most my free time. 

It’s only been over the last five years that I’ve built a steady awareness and subsequent interest in Japan’s animated medium, know as anime. Being introduced to Studio Ghibli offered an assessable gateway into the sights and sounds that were on show, and I’ve formed a strong relationship with Ghibli’s work as you may know. From there Akira, The Girl Who Leapt Through Time, Tokyo Godfathers and Azumanga Daioh have highlighted some of the best the genre has offered. Yet from an outsiders’ perspective, wadding through the tidal wave of new series each year and the extensive back catalogue is a monumental and impossible task. Even as someone who occasionally watches new anime, I feel completely out of my depth when someone starts discusses it. I seem to recall the last time being aggressively belittled after I stated that Attack on Titan was “an overrated pile of crap”, which it is. 

There’s an obvious breadth of creativity to the medium that as spawned a barrage of personalities, stories and fictional worlds that have been met with mixed success. Yet one thing’s for sure, there’s plenty of choice; high school dramas, alien invasions, psychological thrillers an straight-up pornography, there’s something for everyone. Yet for all its popularity and impact on Japanese culture and modern pop culture in general, my cynical sensibilities have grown over the pass two years. Don’t get me wrong, I enjoy anime, certain anime. But those few series represent a minuscule percentage of what's actually available. The incessant moaning from students and friends on my critical nature towards anime is one that has justified me writing this article. 

There are definitely plenty of problems with the medium but I’ll be highlighting the four major problems that have become prevalent from my “observations”;

-Accessibility

-The Actual Characters

-Originality and Fan-service

-Anime’s “dark and twisted side”

Noteworthy Films of 2014: The Wind Rises

2014 proved to be a turbulent and worrying time for Studio Ghibli. Miyazaki’s “official” retirement,  and the studio’s announcement of radical in-house changes prompted fans to fear the worst. Yet it was a relatively busy period for Ghibli with the releases of The Tale of Princess Kaguya and The Wind Rises in the west and the unfortunately disappointing When Marnie Was Here in Japan. Being a massive fan of their work, it was slightly shocking to read the headlines so soon after their recent accession to the global limelight. It’s therefore fortunate that Miyazaki’s long, acclaimed career ends on a distinguished high with The Wind Rises. 

A story of perseverance, drama and romance amidst pre-war Japan, The Wind Rises continues Ghibli’s more realistic and grounded approach to it’s narratives. While definitely more light-hearted than Grave of the Fireflies, The Wind Rises still touches on some very mature themes even with it’s undercurrent of humour and tenderness. While it avoids to really delve into the heavy themes of war as Japanese cinema tends to do (my article), and constitutes more of a fictionalised version of Jiro Horikoshi’ s career in Japanese military aviation, the story is a thought-provoking and genuinely poignant one. 

The flowing and dynamic nature of the studio’s iconic animation style is present as always. With the aeronautical nature of the story, the sense of speed and fragility as prototype aircraft tear the skies is exhilarating and gorgeous to watch. Body language and interactions are intricately depicted giving vast amounts of personality to the characters and film in general. As with all their previous films it’s the small details that really add uniqueness to Ghibli’s work. Whether it’s their careful attention to a bookcase in the background or the light glistening off the sea, their pursuit for perfection is evident. As too is Joe Hisaishi’s impassioned score. 

Apart from a rather rushed conclusion, The Wind Rises is a touching and beautiful piece of cinema.   With a career spanning 5 decades, Hayao Miyazaki has continued to deliver heart-warming and enchanting stories and characters to fans of animation and general cinema. I have a sneaky suspicion that this won’t necessarily be the last we see from him, but looking back it’s been an esteemed career that will entertain and captivate children and audiences forever. 

Random Drawings: Arrietty

Japanese Animation, the Pacific War and the Atomic Bomb

Japanese Animation, the Pacific War and the Atomic Bomb 

The tagline of the 1988 cult film Akira, ‘Neo-Tokyo is about to E.X.P.L.O.D.E’, exemplifies the manner in which the memories of World War II remain embedded in Japanese animation and culture. It was during the Post-War era that anime and manga became established in Japan’s society. The 1960s saw a wave of popular manga artists and writers such as Osamu Tezuka begin to explore the events of the 1940s through their work, which has subsequently influenced generations of artistic talent. While Japanese cinema may have become the main channel for creating a national identity, many directors have tended to steer clear of the controversial nature of 1945. Nevertheless, while some films like Grave of the Fireflies directly recount the tragedy, the events of Hiroshima and Nagasaki have left a legacy that has inspired various manga and anime.

Adapted from Katsuhiro Otomo’s influential manga series, Akira deals with global conflict, social disintegration and anarchistic youth, all in a futuristic and apocalyptic setting. It’s a complex narrative that looks deeply at philosophical and psychological themes, but undoubtedly draws heavily from Japan’s experience during the 1940s and 50s, e.g. the opening shot of Tokyo being destroyed by an ‘atomic-like’ blast directly references the dropping of the bombs on Hiroshima and Nagasaki. Meanwhile, the representation of corruption within power and a government that fails to recognise modern methods harks back to similar issues during WWII. The film also conveys a constant atmosphere of fear that not only contaminates Neo-Tokyo but also the entire fictional world, mirroring the global reaction to America’s ‘atomic power’. Another franchise that draws similar influences is Neon Genesis Evangelion. Yet, while Akira concentrates on the ‘fall of humanity’ at humanity’s own hands, Evangelion conceals its portrayal of atomic destruction with the use of an extra-terrestrial invasion – with religious symbolism also present. However, it still follows a similar tapestry to Otomo’s creation with its depiction of a government in disarray and a society suffering from an over-zealous military. Evangelion’s main characters come in the form of 14-year-old children thrust into a world at war, without parents for guidance or protection. Both these films aim to replicate the consequences of war from young perspectives, often a key trait in anime.

In stark contrast, the Pacific War’s profound and horrifying effect on Japan has been portrayed more forthrightly, realistically and emotionally in family-orientated films. Rather than censoring events, animation studios such as Studio Ghibli have retold stories and experiences in their true light. Hayao Miyazaki introduces the themes of war and humanity’s destructive tendencies in his films Howl’s Moving Castle and Laputa: Castle in the Sky, showing the heavy handed tactics of the military. However, two films stand out as being highly instrumental examples of ‘post-war’ animated cinema: Ghibli’s Grave of the Fireflies and Mori Masaki’s Barefoot Gen.

Grave of the Fireflies takes a heartfelt approach to storytelling, set in a very ‘real’ world, with ‘real’ characters. Loosely based on Akiyuki Nosaka’s own experiences, director Isao Takahata shrugs off the child-friendly constraints of Studio Ghibli and really emphasises the devastating impact of war on the innocent and on the human condition. Following Setsuko and her older brother Seita, Grave of the Fireflies doesn’t shy away from scenes of horrifying violence and distressing events of abandonment and helplessness, all of which involve children. Moments of humanity and contentment are built from Ghibli’s beautiful portrayal of nature, culminating in the imagery of the fireflies. Though these are few and far between – the constant threat of bombers lingers throughout the film, representing the endless firebombing of Japanese cities and towns during the war.

An equally important and influential take on ‘victim history’ is Barefoot Gen, originally a manga series written by Keiji Nakazawa, a Hiroshima survivor. The 1983 animated film follows a young boy, Gen, as he deals with the tragic loss of his family during the bombing. In contrast to the tearful sympathy and the overriding sense of despair and powerlessness that Grave of the Fireflies creates,Barefoot Gen achieves an unconquerable sense of resilience and leadership, whilst directly tackling the horrendous bombing of Hiroshima. Its grotesque and apocalyptic portrayal of the disaster creates a haunting and disturbing vision of ‘Hell’, one that live-action films would fail to depict as powerfully. However, intertwined with its brutality are genuine moments of triumph and hope; friendships are forged in the barrenness of Hiroshima. But whilst both directors have crafted sharply different narratives, there are still visible morals that they both address; actively showing the pain, terror and reality of war, but also questioning the Japanese Government’s late surrender, rather then pointing the blame squarely at America.

Overall, Japanese anime has tended to focus on creating social and individual identities through ‘slice of life’ dramas and fantasy adventures. Yet historically, Japan’s twentieth century remains largely untouched in the world of animation, particularly when compared to its ‘samurai’ past.  Akira and Evangelion offer examples of how Japan’s heedful nature has used the cover of sci-fiction/fantasy to portray the events of WWII, whilst the emotive and elegiac manner of Grave of the Fireflies and Barefoot Gen has enabled these films to truly narrate the past. But it still remains clear that Japan’s experiences during the Pacific War have had a profound effect on its animated culture, as well as its national identity.

(Originally on Impact Magazine website: 2011)

Random Drawings: Porco Rosso

Random Drawings: Ponyo

Random Drawings: Kiki's Delivery Service

Random Drawings: My Neighbour Totoro

Random Drawings: Laputa: Castle in the Sky

Random Drawings: Spirited Away

Random Drawings: Nausicaa

Random Drawings: Princess Mononoke

Whisper of the Heart (耳をすませば)

Whisper of the Heart (耳をすませば) 1995

Released back in 1995, Whisper of the Heart was the late Yoshifumi Kondō ’s directorial debut and only film he directed. He unfortunately passed away in 1998. A key animator before entering Studio Ghibli, Kondō worked on numerous productions; Lupin III, Panda! Go, Panda! and Future Boy Conan. It was working with the likes of Isao Takahata and Hayao Miyazaki, that he became established within Studio Ghibli, and was predicted to succeed them. 

His film follows a middle schoolgirl named Shizuka whose life revolves around her love of stories and writing. She discovers that all the library books she has checked out have been previously taken out by the same individual. Shinzuka soon meets a schoolboy whom she exceedingly dislikes. However she soon discovers that he, Seiji, is the fellow avid reader. The two start to form a relationship, in which Seiji aspirations of being a violin maker, inspire Shizuka to expand her horizons, and write her novel about Baron, Seiji’s grandfather’s cat statutette. Whisper of the Heart is a somewhat ‘muted’ family drama that takes place in a realistic Japanese setting, whilst also focusing on a growing teenager’s dreams and romance. It’s a relatively simple plot to follow that steers clear of a cliché and formulaic narrative of generic anime. While there’s nothing dramatically unique in the story, it still remains interesting and magical.

In terms of the characters, Studio Ghibli has been very successful in creating engaging and memorable individuals. However Whisper of the Heart doesn’t hold the same magic. Shizuka is the typical teenager girl lead, meanwhile Seiji isn’t special in anyway either. The two are voiced well, but neither have a personality that is truly interesting. By far the most memorable character is ‘The Baron’. As previously talked about in my review of The Cat Returns, the ‘Baron’ became a Japanese “Boba Fett” after little screen time. There’s a creativity to his design, and he brings a charming personality to a cast of averageness. Maybe this was intended to symbolises the drabness of reality and urban life, contrasting with the expansive, and creative element of a teenager’s imagination. 

For the most part Whisper of the Heart looks like your typical Ghibli production. Characters have the distinctly simplistic yet charming styling. Meanwhile from the realistic and colourful backgrounds, to the intricate detailing on the ornamental grandfather clock, there’s an essence of magic to the film. Yet where this film’s animation really stands out, is the visualisation of Shizuka’s novel. In fact, the sheer popularity surrounding these scenes inspired the studio to work on The Cat Returns. Floating Islands, reminiscent of Nausicaa contrast perfectly to the straightforward look of reality, its a very imaginative design. 

Overall, Whisper of the Heart is a very enjoyable film but not as memorable as other Studio Ghibli works. It has some hiccups but nothing that damages the film’s narrative or general viewing experience. Yoshifumi Kondō’s debut is an engaging and entertaining one which showed a lot of potential and talent, making his death even more tragic and heart-breaking.

7/10 

Only Yesterday ( おもひでぽろぽろ) Review

Only Yesterday ( おもひでぽろぽろ)

Continuing with my impressions of Studio Ghibli’s ‘non-Miyazaki’ productions, Only Yesterday by Isao Takahata is another overlooked film. Released back in 1991, it was a surprising box office success and was popular among both adults as well as children. With My Neighbour Totoro and Kiki’s Delivery Service having been released in 1988 and 1989, it was a slight departure from Ghibli’s narrative style. Yet Takahata had already established himself in the studio with his most compelling film: Grave of the Fireflies back in 1988. 

Set in the 1980s, the film follows bored office worker Taeko as she heads to the countryside in an attempt to escape the busy, urban landscapes. Meeting with family, friends and working on the farm, she reminisces about her childhood, parents, dreams, puberty and romances through flashbacks. Only Yesterday’s plot doesn’t distinguish itself from the waves of ‘slice of life’ animated dramas, primarily because at first glance it’s pretty simple. The film doesn’t have talking animals or mystical monsters, but focuses on very ‘human’ experiences and that’s what Isao Takahata does best. 

The ‘downhearted worker’ retelling stories or revisiting their childhood, has become a cliché in Japanese culture and is a characteristic of Japanese society. Whilst I am a manga reader, it is clear that audiences and the ‘otaku’ culture has occurred from individuals wanting to relive or reminisce about frivolous stories and ‘adventures’ through these types of media. Teenage dramas such as Azumanga Daioh and Haruhi Suzumiya have cemented themselves globally, and have attracted mature audiences primarily because of clever, realistic and relatable stories and characters. Only Yesterday follows the same setup yet in a more restraint manner and through a realistic approach. No over-exaggerated expressions, cringe-worthy dialogue or events, just simple story-telling and realistic and interesting personalities. As always Takahata employs various cultural references from Japanese television and music during the 1960s which indicate the reality of the story. While Western audiences won’t gain the same nostalgia, recollection of past childhoods or memories from these sources, it’s still interesting to gain a sense of popular culture in Japan during the period. 

With the premise remaining distinctly ‘human’, the characters mirror the atmosphere and the narrative. 20 something-year-old Taeko isn’t as enjoyable to watch as her younger self, but in someways that’s everyone’s personal experience of growing up. Generally our childhood or school-life years are the best times of our life. You make friends, you have little responsibility and are cared for by close family. In comparison, as soon as you start working, conversations boil down to ‘School......those were the days’. And this is what Only Yesterday portrays perfectly. While an ill-favoured criticism would be that mature Taeko’s dialogue primarily consists with her reminiscing back to her childhood. But that is the point of the film. While she meets her family and friends, and forms a relationship with Toshio during her time on the farm, we gain a true understanding of her personality and character through her flashbacks. 

Her younger self is a much more relatable and an interesting individual. We explore the relationship between family members, and the conservative father. We explore Taeko entrance into puberty and the problems/ hardship that comes with that, and subsequently her understanding of ‘love’. Its cleverly directed, with an almost reversed sense of life’s pace and hectic portrayal. There’s a sense of calm and tranquility in her mature self, whilst her younger image frantically experiences everything. It’s full of clever metaphors and morals that leaves a lasting impression and intrigue to Takahata’s personal understanding of ‘growing up’.

Animation-wise, Only Yesterday sticks to the realistic and human approach by retaining Studio Ghibli tried and tested formula of art style. Character models are simple but manage to express more subtle emotion than your average ‘anime’ series. The contrast between urban settings and countryside is beautifully mapped with a colourful visual look. Linked to this, is the clear contrast in art direction between Taeko’s past and present. While backgrounds are detailed and lush in the 1980s, the art team seems to have opted for simple cream backgrounds, almost like ‘thought bubbles’. It’s an interesting choice.My only criticism would be the design of the older Taeko. Her defined wrinkles and cheek dimples make her look like she’s in her late 30s/ early 40s, rather than late 20s. But this isn’t a major problem. 

Overall, Only Yesterday has a simple premise, yet deals with it perfectly, charmingly and smartly. While it hasn’t the cutesy imagery, or magical essence of Hayao Miyazaki’s work, it’s realistic and very ‘human’. There’s a sense of nostalgia, an empathy towards the characters and their experience as we personally remember our childhoods in an attempt to escape the hectic pace of employment or maturity. Highly Recommended.

8/10 

The Cat Returns (猫の恩返し) Review

The Cat Returns (猫の恩返し) 2002 

Directed by animator Hiroyuki Morita, The Cat Returns was released back in 2002 and remains one of my personal favourite ‘non-Miyazaki’ productions. Originally planned as a 20-minute short back in 1999, it was then turned into a manga by Aoi Hiiragi. After deliberations between Hayao Miyazaki and various other staff members, Morita became responsible for translating Hiiragi’s work into a film. Not only recognised at Studio Ghibli, he has worked on projects such as Akira and Afro Samurai showing an abundance of experience in Japanese animated cinema. However The Cat Returns is Morita’s first genuine debut as a director, and its a great one from another future prospect. 

The story follows Haru, a shy and modest high school student who has the ability to talk to cats. After saving a well-spoken feline from a road accident, who turns out to be Luna ‘Prince of Cat Kingdom’, she is showered in gifts (catnip and mice) by the King and is offered the Prince’s hand in marriage. Troubled by her unwanted glorification, she finds help from ‘The Baron’ (character from Whisper of the Heart), Muta, a pot-bellied white cat and Toto, a living crow statue. However when she is forcefully taken to the ‘Cat Kingdom’, the Baron launches a rescue mission to save Haru from being trapped and transforming into a cat. 

The story is simple yet engrossing. While it may not hold the usual messages of environmentalism or militarism, or the concealed complexities of Studio Ghibli’s usual creations, its a well-told and well-constructed affair. This isn’t to suggest that The Cat Returns is a perfect story. There are problems but none that cripple the film. A slightly drawn-out second act is a bit feeble when compared to the rest of the film. Meanwhile, the portrayal of ‘The Cat Kingdom’ is disappointingly tame. After Studio Ghibli’s vivid and imaginative fantasy scenes in Whisper of the Heart, which prompted The Cat Returns creation, the depiction of the kingdom is underwhelming and slightly mundane. Apart from these niggles, the film runs smoothly and remains engaging.

In terms of the characters, The Cat Return’s ‘roster’ is small but appropriately developed. Primarily focusing on our three main protagonists and a main antagonist, the film duly constructs unique and compelling personalities. Haru comes across as a typical high school girl. Her constant clumsiness and simplemindedness does get tiresome, however there’s a charm to her character, an affection that continues throughout the film. The Baron remains an interesting character after his ‘debut’ in Whisper of the Heart. An intellectual, ‘Sherlock Holmesy’, well-groomed and dressed cat offers something different and imaginative to the usual young boy protagonist. However Muta steals the shows as the comedic relief. His tendency to lead with his stomach, a disregard for Haru and a somewhat obscure background, create a character that’s obnoxious but funny. This is all helped by superb Japanese voicework that does justice to the animation and truly represents the characters, rather than the English dub. 

Animation-wise, The Cat Returns keeps the detailed and colourful backgrounds of Ghibli ,but changes the character design. It’s not a dramatic change, but one that is visible to regular Ghibli watchers. A good use of colours create a clear distinction between the ‘fantasy‘ elements and the ‘realistic‘ setting. And the sight of a cat standing on two legs remains playfully weird, even slightly unnerving. The soundtrack is great from Yuuji Nomi and Ayano Tsuji’s theme song is probably one of the best in Ghibli’s backlog.

Overall The Cat Returns is short at 75 minutes, but is sweet. Colourful characters, simple story and well-constructed animation, ensure an easy to watch and engrossing experience. It may not be crammed full of symbolism or philosophy, but that’s simply because it’s not intended to spur great intellectual thought. Its a great debut from Hiroyuki Morita, and another fine addition to Studio Ghibli’s filmography. Recommended. 

8/10 

Pom Poko (平成狸合戦ぽんぽこ) Review

Pom Poko (平成狸合戦ぽんぽこ) (1994)

Pom Poko, released in 1994, is Isao Takahata’s 8th animated project which he has written and directed with Studio Ghibli. Taking a different approach to his usual ‘human’ and realistic style, Pom Poko became a success in the Japanese box office, and was eventually submitted as Japan’s selection for the Academy Award for Best Foreign Language Film. Stepping back from ‘human subjects’, Takahata focuses on the traditional Japanese folklore of tanuki (Japanese Raccoon Dogs). Essentially, our main characters are a group of mischievous, gluttonous and cheerful raccoons that have the ability to shape-shift in order to trick humans.............and have shapeshifting testicles.  

The story follows a band of racoons who are under attack by MAN!!!! Initially set in the 1960s, a gigantic suburban development is beginning to be constructed on their land. Trees, grassland and forests are being cut down, causing a dramatic effect on the tanuki population. A resistance forms including Gonta, an aggressive chief, Tsurugame, an old guru, and Oroku, the wise-woman, in order to battle the human efforts to build houses, offices and roads on their habitat. Told in a ‘diary log’ style of narrative Pom Poko’s story structure is pretty simple to understand, but does dawdle during the second act. 

Firstly, this is a very ‘Japanese’ film, but one that remains relatively accessible to a wider audience. The focus on Japanese folklore and mythology is quite daunting but is very interesting. Many viewers unfamiliar with the likes of yokai (a class of Japanese supernatural creatures) or oni (demons, devils....), will enjoy a ‘child friendly’ visual introduction to Japan’s unique and strange supernatural identity. The ‘ghost parade’ scene in particular, barrages the audience with Japanese myths and legends, with some cameos from other Ghibli films. Demons, giant babies, three headed females all appear in an effort to scare the locals. It definitely is a hilarious and surreal WTF moment. 

Inevitably, environmentalism and the general impact of humans is prominent in Pom Poko, more so than in any other work by Studio Ghibli. And to some extent this hinders the film’s general impression. This being a major plotline for the film, the message is somewhat preached continuously rather than allowed to be expressed naturally. What the slightly over-rated Princess Mononoke did to successfully convey its message of ‘environmentalism’, was to employ it though a smartly told narrative and well-developed selection of characters, which are lacking in Pom Poko. 

Studio Ghibli, and especially Isao Takahata, have a very creative and masterful understanding of the concept of characters. From the likes of Calcifer from Howls Moving Castle to Kiki in Kiki’s Delivery Service, there’s a special connection that viewers build with them. Their unique, or relatable features/ traits help, or even solely create the film. However Pom Poko falls short even with top notch Japanese voice acting. This isn’t due to the dialogue, but lies with the story and the sheer scale with which we are introduced to all these characters. All too often, characters “disappear” then reappear causing confusion and a disregard for them. 

In terms of the animation, Pom Poko is great with its vivid colour palette and energetic flow and spirit. There is also a good blend of animation styles to depict the characters. The contrast of the ‘red-eyed’, typical looking raccoons from the humans’ perspective, to the ‘humanized versions of the tanuki, and to the cartoony figures of Shigeru Sugiura’s manga, is an enjoyable and interesting arrangement of various visual styles. Meanwhile, the soundtrack is a mix of traditional Japanese folk, kabuki and children’s music that’s matches the playful and joyful nature of the film and its characters. 

Overall Pom Poko is a great film, yet dawdles too much on its message rather than crafting a flowing narrative and memorable, individual characters. The script is great, the story is simple, and its a very funny film. 

7/10 

My Neighbours The Yamadas Review

My Neighbours The Yamadas  (ホーホケキョとなりの山田くん)  (1999)

After my extensive log of Hayao Miyazaki’s filmography, many have asked about my opinions and interpretations of the other Studio Ghibli films. But one that many fail to list is one of my favourites of the studio’s backlog, My Neighbours The Yamadas. Quickly overlooked, there is a common apprehension towards the art style and the dramatic contrast from the adventure, fantasy traits of many of Studio Ghibli’s work. However, directed by Isao Takahata, who has a realistic approach to animation (Only Yesterday and Grave of the Fireflies), the film presents the simplistic nature of family life into a very funny and endearing drama.  

The film narrates the concept of a ‘family’, and the successes and pitfalls that are experienced. Starting off at the wedding of Matsuko (Mrs Yamada) and Takashi (Mr Yamada), they are “educated” by the enlightened elderly about the ‘ups and downs’ of marriage. We are then introduced to the rest of the family; Noboru the son, Nonoko the daughter, and Shige, Matsuko’s mother. There isn’t a definable storyline, but a ‘sitcom’ style of structure, with an intro and outro, that shows the Yamada family’s everyday life.

Being based on Hisaichi Ishii’s four panel ‘yonkoma’ manga (Nonochan), each chapter takes a similar form;  a setup, an expansion on the scene, an unexpected development, and then ending on a humorous note. While this may sound formulaic or repetitive, My Neighbours The Yamadas manages to retain the sharp and entertaining characteristics of the source material. The ‘slice of life’ fiction is very much in the same vein as Only Yesterday’s focus on adulthood, however Takahata takes a more light-hearted approach. The film explores ‘marriage’, ‘child-rearing’, ‘father-son relationships’ and other stages of a family, all in a comedic yet charming manner that both an adult audience and a younger one can identify with. While similarities can be drawn with The Simpsons and the millions of sitcoms, Takahata never lets the film fall into recycled and cliché waters. 

Takahata also employs a strong Japanese cultural commentary throughout his film. The prominent use of brief haiku (short poetry) from the likes of Matsuo Bashō and Natsume Sōseki act as segues between each ‘chapter’. An example: “The scent of plums on a mountain path. Suddenly dawn”, gives a poetic sensibility to the film and to everyday events. There is a fantastic sequence which follows the magical/ fantasy ‘adventures’ of Takashi and Matsuko, as they travel across the length and width of Japan to “find” their children. Its a amazing scene which involves the Japanese folklores ‘Momotarō’ (Peach boy) and the ‘Taketori Monogatari’ (The Tale of the Bamboo Cutter), which are cleverly used to represent Noboru’s and Nonoko’s “fairy tale” entrance into the world. 

However, it’s the animation which is the massive step away from the typical style of Studio Ghibli. While detailed backgrounds and top-notch character design have become the standards of Ghibli’s artistic legacy, Isao Takahata has been brave in his unique visual departure. My Neighbour The Yamadas uses a watercolour style of sketching that while looks minimalist, manages to convey a surprising amount of detail and emotion. 100% digitally constructed, the simplistic character designs and flowing colours of the backgrounds, help define the characters and allows for each scenes’ personality to be beautifully displayed.

The Japanese voice acting is superb, really suiting the visualisation of the characters. For a film that relies on the construction of a realistic family, the actors really put in great performance. Touru Masuoka is great as the busy, hard-working Mr Yamada. His constant bickering with his mother-in-law, and unenthusiastic reaction towards work, create a character that represents the general consensus of fathers. Yukiji Asaoka plays the childish and clumsy housewife, that while scorns her children’s behaviour, has a low tolerance for chores and general laziness. Hayato Isobata plays the typical teenager boy, a slacker yet strong-willed and not afraid to question the reality of his family. In comparison, Naomi Uno adds cuteness and normality into the chaotic family as Nonoko. While she doesn’t get enough screen-time, her character still remains memorable. Meanwhile, Masako Araki puts in a splendid performance as the grandmother. The critical and fearless voice of conscience, she finds the ‘joys of life’ in the smaller things. Its a fantastic cast of actors and actresses that create a very believable household. 

The soundtrack, composed by Akiko Yano, is made up of short jazzy piano tunes that perfectly merge with the orchestral pieces from the Czech Philharmonic Chamber Orchestra. Its one that perfectly manages to match the jovial and charming visuals, story and acting. 

Overall, My Neighbours The Yamadas is a fantastic animated film that definitely competes with many of Miyazaki’s works. Its realistic and humorous perception of ‘family’ is endearing and highly entertaining. While many will be unconvinced by the visual style and a ‘disjointed’ narrative, Isao Takahata’s film proves that a great animated film doesn’t require snazzy and meticulous animation, but requires a funny and smart story, script and characters. This is one not to be missed. 

9/10 

Arrietty (借りぐらしのアリエッティ) Review

Arrietty (借りぐらしのアリエッティ) 

When I think of ‘The Borrowers’ I always remember the 1997 film adaptation by Peter Hewitt, starring Jim Broadbent, John Goodman and the then young Tom Felton. However Studio Ghibli’s version is a much restrained and beautiful approach to Mary Norton’s novel. Winning the ‘Animation of the Year’ award at the 34th Japan Academy Prize, Arrietty has been largely successful in Japan. Directed by Hiromasa Yonebayashi, a key animator for Studio Ghibli, this is his directorial debut, and it’s a great start for the young film maker. 

Set in Koganei, outside Tokyo, the story follows a 12 year-old boy named Sho, who is suffering from a heart illness. He is visiting his great aunt’s house which is also home to a family of ‘borrowers’. ‘Borrowers’ are 10cm tall people, who ‘borrow’ from the household in order to survive. Arrietty (Mirai Shida), her father Pod (Tomokazu Miura) and mother Homily (Shinobu Ohtake) have recently settled down in their comfortable refuge. However, Arrietty’s first experience of ‘borrowing’ unfortunately leads to their discovery. Paranoid about the danger resulting from being found, the family decide to move. Yet, Sho and Arrietty form a dangerous friendship that is being threatened by the maid of the house, Haru. 

Arrietty’s plot is simple with a light-hearted and gradual pacing. With fewer characters when compared to the likes of Princess Mononoke or Spirited Away,  Arrietty is intended to be a more character developed and focused story. However my problem with the film comes in the form of the Japanese voice-acting which is usually solid in a Studio Ghibli production. The cast is filled with Ghibli ‘regulars’ and well known Japanese names. Kirin Kiki who plays Haru, the suspicious and intrusive maid, is fantastically villainous in her performance. Mirai Shida also performs well as the youthful voice of Arrietty with a charming and whimsical grasp of the character. However the characters of Spiller, Pod and Sho fail to really develop and aren’t very memorable. Their limited personalities and lack-lustre voice work definitely hinders the film, somewhat contrasting with the joyful and captivating temperament created by the stunning visuals, soundtrack and other performances. 

However, what Studio Ghibli always gets right is its beautiful animation. From the gorgeous backgrounds, to the simplistic yet emotive facial expressions of the characters, the various animators and artists have outdone themselves. There’s a real richness to each ‘shot’, with a colourful palette and incredible intricacy to every minor detail.  The difference in scale and atmosphere between the environments of the human characters and that of the ‘Borrowers’ is elegantly designed and composed. The result is a ‘world’ that only the imaginative and unique qualities of animation could truly portray. Soundtrack-wise, Arrietty’s score and theme song have been composed by French musician, Cécile Corbel. Taking influence from traditional Celtic music, it’s a brave departure from the usual works of Joe Hisaishi. However it’s a fantastically composed score that perfectly mirrors the visual richness of the film. The predominant use of the harp gives a calming, angelic tone that does well to enhance the delicate essence of Arrietty’s world. 

Overall Arrietty is a delightful film that is a fantastic debut for the youngest director of a Studio Ghibli film. Hiromasa Yonebayashi has crafted an animated picture that is full of colour and emotion. However its simplistic story and dialogue, whilst accommodates for a younger audience, doesn’t hold the subtle complexities as seen in other Studio Ghibli works like Only Yesterday or Whisper of the Heart. But that doesn’t stop Arrietty from being a thoroughly enjoyable animated film. Highly Recommended

7/10 

The Films of Hayao Miyazaki: Part One (1979- 1989)

The Films of Hayao Miyazaki Part One (1979- 1989)

My ‘Japanese Cinema Month’ is nearing its end. And after flicking through my reviews, I have failed to write about the most inspirational and prolific directors of Japanese cinema and animation, Hayao Miyazaki. While many will be aware of his award-winning Spirited Away and the recent Ponyo, his filmography goes back to well into the late 1970s. Now at the age of 70, his capacity and ability to craft films that continuously gain critical acclaim and awards, is simply amazing. In the animated world, and general cinema for that matter, I don’t think any director has managed to dish out so many fantastic and unique films. Thus I give you my take on his filmography: 

The Castle of Cagliostro 　(ルパン三世カリオストロの城）(1979)

Most definitely the least known Miyazaki film is The Castle of Cagliostro. This film was part of the Lupin III (Lupin the 3rd) franchise, which was based on a manga, based on Maurice Leblanc’s fictional character; ‘Detective Arsene Lupin’. Prior to his work with Studio Ghibli, he had been a co-director of the ‘anime’ series of Lupin III.  And thus The Castle of Cagliostro was his first feature length film, and it is awesome. 

The plot follows Lupin III, a masterful and professional thief. After successfully completing a heist in a Monte Carlo casino, he realises that the money is fake. He traces the notes back to a small country called Cagliostro, where the sinister Count is counterfeiting money and sending it worldwide. Thus we follow Lupin and his crew as they investigate the conspiracy, eventually leading them on a search for a national treasure. Meanwhile, they also attempt to rescue the Princess from marrying the duke. The plot consists of everything from intense action to tasteful romance and humorous comedy, thus keeping the audience truly interested and engrossed.

The characters are all well developed and the voice work is great, matching the personalities relatively nicely. Animation-wise, while showing its age now, it still remains a beautifully detailed and colourful picture. You easily forget these slight issues when the story is constantly entertaining and gripping. The European setting is amusingly created, complete with Fiat 500s and extravagant palaces. 

Overall this is a great animated film which tones down the crazy and outlandish tones of the Lupin III television show, and presents an interesting and engrossing plot. Though not the most memorable of Miyazaki’s creations, the animation is great and the characters are well crafted and engaging. 

Nausicaa of The Valley of the Wind　（風の谷のナウシカ） (1984)

Miyazaki and Studio Ghibli’s "first" film together, Nausicaa of The Valley of the Wind is a fantastic start to a prestigious run of animated films. Following the 1980s era of post-apocalyptic genre, the film has a very Dune influence to it in terms of subplot and atmosphere. Giant insect creatures roam the earth, seems very similar to the sand-worms of Frank Herbert’s novel. However, it reduces the various philosophical messages into a child-friendly film that is filled with action and proper story telling.

The film is set after numerous centuries of war have devastated the planet. A conflict between feuding clans and forces continues to be fought, whilst a race of giant, intelligent bugs, Ohmu, poison the Earth’s atmosphere. Princess Nausicaa leads the people of the ‘Valley of the Wind’ as they suffer at the hands of the civil conflict and growing environmental danger. The plot holds contains the moral statement between man and the environment, and female heroism. War and technology have led to a lack of compassion and understand of the planets ecology, and thus ‘mother-nature’ is retaking her lands.

The characters are wonderfully created and expressed on the screen, visually and audibly. Princess Nausicaa is a true female heroine and leader, quite similar to protagonists like Pocohantas. Yet, she is driven by the will to protect her people, and bring harmony between everything living. Strong-willed and compassionate, her character is remarkably memorable and likeable. The animation is good, but definitely looks dated now. The characters all look unique, however the desert backgrounds certainly lack the imagination and detail of Miyazaki’s latest creations. However, its the story that is the main focus and this very much comes through. 

Overall, Nausicaa of The Valley of the Wind is a brilliantly constructed film. The animation, characters and plot have all been carefully managed to form a story that is epic and balanced. 

Castle In The Sky （天空の城ラピュタ） (1986)

Using similar themes of conflict and war, Castle in the Sky is a engrossing adventure story influenced by Jonathan Swift’s, Gulliver’s Travels and by the miner strikes in 80’s Wales. The European-esque setting and mining communities clearly show these influences in Miyazaki’s film. However, Castle in the Sky trades in strong moral messages for a streamlined yet deep, children’s adventure story filled with action and mysticism.

The plot follows the newly formed friendship between a young orphan, Pazu and a beautiful girl Sheeta, as they protect a sacred pendant that is the key to an ancient civilisation in a floating castle called Laputa. Our main characters are chased by sky pirates and evil government agents, as they try to find this lost city. Whilst, Nausicaa was a much more mature animated film, Castle in the Sky’s child protagonists bring a much more accessible experience to younger audience. Miyazaki reframes from his usual ‘coming of age’ drama, to portray an adventure from the perspective of a child. Again, morally the film focuses on the greed of the human race, in which force and mercilessness are used to gain riches and power. And the fact that friendship always prevails. However this undercurrent isn’t as abundant or as visible as that of Nausicaa.

Pazu and Sheeta’s journey doesn’t result in an over-complex or drawn out relationship, but focuses on the sudden nature of their meeting. Sheeta simply falls from the sky at the beginning, sparking off the two’s adventure. And its this manner in which we are introduced to the characters that enables a much more childhood spirit to come through. Their immediate friendship strengthens and overcomes dramatic events during the film. I think it’s this simplistic nature that allows for a much more nature and sudden attachment to the characters, rather than being bluntly shown the two’s relationship. 

The various action scenes in the air are beautifully portrayed and intense, with the animation being dazzling, vibrant and detailed. The sense of height and depth is fantastic, as you stare down at the ground from gliders and the mystical Laputa. Laputa, itself is beautifully realised, with influences from medieval castles and gothic architecture. This subsequently creates an even more magical impression to the ‘Lost City’. 

Overall, Castle in the Sky is an entertaining adventure film. It isn’t as memorable as Nausicaa of The Valley of the Wind, but it is well worth a watch. With a strong mixture of drama and action, this is a tense and compelling animated production. 

My Neighbour Totoro （となりのトトロ）(1988)

The character of Totoro recently appeared in Toy Story 3, and has become the icon of Studio Ghibli and Hayao Miyazaki. Seen very much as the Japanese ‘Winnie the Pooh’ or Mickey Mouse, this one character has had a massive cultural impact. (I have to admit, I have a Miniature Totoro plush in my room). Whilst the most child friendly of his works, My Neighbour Totoro is stunning, charming and has been carefully crafted by Miyazaki and his team. 

The plot focuses on Satsuki and Mei as they move to their new home in rural Japan. Their father is currently looking after them, whilst their mother is in hospital. Curiosity, and adventure soon sees Mei and Satsuki forming a friendship with their neighbouring tree/ wood, ‘rabbit-like’ spirit: Totoro (Keeper of the Forest). Gone, is the conflict and threat that were predominate in Miyazaki’’s last two films. Instead, My Neighbour Totoro, pushes for a much more pure and heart-warming experience, suggesting that imagination is the sole ingredient for a cute and engrossing adventure. 

The characters are all fantastic and lovely. Mei, about 5 years old, is the realistic young girl, full of energy and adventurous. Satsuki, about 11 years old, attempts to balance her own childhood, while acting as mature adult in place of their ill mother. We care about these realistic characters, as they remind us of ourselves at that age; playing hide and seek, climbing over hedges etc. However, the real impressive feat, is the character of Totoro. The large, egg-shaped, rabbit-esque creature’s name is in the title of the film, yet he never says a word. He sports a blank expression or a big-ass grin and is a bit of a sloth. However, Totoro is just delightful. The lack of audible character development, leads us to craft our interpretation and understanding of the character through Totoro’s physical appearance and movement. From, holding a child's umbrella in the rain, to flying around the landscapes, we build a comedic, cuddly and innocent relationship with Totoro. 

Overall My Neighbour Totoro is whimsical and enchanting. The child-like innocence and colourful imagination, certainly brings a smile to the faces of mature audiences as they reminisce about their child-hoods. It’s this emotional reaction that Miyazaki is countlessly able to induce from his audience that is astonishing. It also has a flying cat bus, what’s not to like. 

Kiki’s Delivery Service （魔女の宅急便） (1989)

Only completed a year after My Neighbour Totoro, Kiki’s Delivery Service is my personal favourite of all Miyazaki’s productions. Originally developed in 1987, the film only gained Miyazaki as its director after the success of his previous features. Based on the novel by Eiko Kadono, Miyazaki adds his charm and detailed imagination forming a film that is spectacular, heart-warming and delightful. 

The story follows 13 year old Kiki, who is a witch-in-training. Following the traditional values of witches, she leaves home for a year to establish herself in a community and gain  true experience. Equipped with a radio and her talking black cat, Jiji, she soon fits into a picturesque coastal town. She experiences setbacks, makes friend and must confront her maturing difficulties and adolescent worries. Setting up a delivery service, she soon makes integrates, and begins to realise her position in the world and appreciates her own talents. This is very much a traditional ‘coming of age’ drama that Miyazaki tends to portray in his films. Its simple premise allows for a greater focus on character development and therefore means an increased emotional attachment to the memorable characters. 

Kiki is adorable with her big red bow, and remains charming throughout the film, creating a character that the audience finds likeable and stays attached to. We feel her worries as she enters the real world, her problems and her eventual jovial experiences as she slowly settles into her surroundings. Jiji offers ‘moral’ support, and provides the main laughs as he complains and reacts to other people. Its this pure and everyday portrayal of a child’s day to day life that brings a change of pace from the usually intense nature of Miyazaki’s work. No robots, no villains or explosions, its simple story-telling, almost reminiscent of a nursery rhyme.

The European influences play a massive part in constructing the world that the film is set in. Essences of Swedish and Danish culture and society are clearly visible from the architecture to the landscapes. The animation complements these influences, and creates a realistic atmosphere with a detailed and colourful look. 

Overall, Kiki’s Delivery Service is thoroughly enjoyable and has been carefully crafted for a wide audience. The animation is beautiful, and the story is much more relatable when compared to his previous works, even with witches. I personally felt a greater attachment to this film, than any of the other Miyazaki features. Everything is balanced so perfectly that you can’t help but shed a tear at its brilliance. 

This concludes Part One of the Hayao Miyazaki filmography ‘breakdown’. The next part is here:

 http://lights-camera-critic.blogspot.com/2011/04/films-of-hayao-miyazaki-part-two-1990.html


FLYING CAT BUS AWAY!!!!!

In light of the events transpiring in Japan, I would like to make the following links visible. 

Please Donate: 

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