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Reviews
Karigurashi no Arietti (2010)
Great Debut for 'Youngest Studio Ghibli Director'. Beautifully animated and directed. But Japanese voice-work is disappointing
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 Kognei, 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
Kokuriko-zaka kara (2011)
Gorō Miyazaki finds amazing form. A great addition to Studio Ghibli's filmography
Gorō Miyazaki returns after his 'not so impressive' Tales from Earthsea in 2006, with a wonderful adaptation of Tetsuo Sayama and Chizuru Takahashi's 1980s manga. After gaining negative reaction, including winning the 'Worst Movie' and 'Worst Director' awards in the 2006 Japan's Bunshun Raspberry Award, many have been apprehensive towards Gorō's next project. This criticism has certainly hurt Gorō reputation, but it all seems too critical. Many seem to forget that Tales from Earthsea was his directorial debut, and with his father being the great Hayao Miyazaki, it was always going to be tough for Gorō to make a spectacular first impression. However From Kokuriko Hill is a fantastic addition to Studio Ghibli's strong filmography and certainly proves Gorō Miyazaki has enough cinematic and animation knowledge to work under the prestigious banner. It's charming, funny and refreshing after the constant magical and fantasy approach of the studio, and Japanese animation in general.
The story takes place in Yokohama in 1963, where we follow High-School student, Umi Komatsuzaki. She looks after her grandmother, younger brother and sister, whilst completing the housework. Each morning she raises her 'Safe Voyage' flag, and heads to school. After witnessing a stunt by the 'Culture Club', Umi meets Shu, a fellow student who is 'second-in- command' of the club, and Shirou, the President of the Student Council. It is this new found friendship and relationship between Shu and Umi which builds and matures revealing an intertwining background and charming romance. Alongside this character-driven story is the struggle occurring between the high-school and the various students of the 'Culture Club'. The dilapidated building filled with history and memories is being threatened to be demolished. It's up to the students to convince the 'adults' that their creation and interests are preserved.
Written by Hayao Miyazaki and Keiko Niwa, the story is realistic and historic in theme. Gone are the cutesy, magical monsters and characters, as well as the environmental commentaries Studio Ghibli is best known for. Instead From Kokuriko Hill deals with the 'Rise of Post-War Japan' and the incoming Tokyo Olympics. The film certainly creates a fitting atmosphere. Shots of Japan's growing exporting and importing industries, office businesses and the hustle and bustle of Tokyo, clearly indicate the modern transformation of the country. We also experience the tragic nature of the Korean War and the impact on families and friends. The story also focuses on the widening gap/ split between traditional Japanese culture and the modern, business age. It was during this 'miracle' period where Japan looked forward, rather than back, and the contest between the 'school' and the 'students' dramatise this theme. The contrast between the old buildings and industries of Yokohama, and the trains, cars of Tokyo symbolise the changing ideologies and philosophies of the nation.
While it may sound very mature when compared to previous Studio Ghibli's films, it still deals with adolescents in a adult world, like Nausicaa and Laputa. However whilst magical characters and mysticism connect with the imaginations of children, From Kokuriko Hill uses its high-school environment and the sincere, pure nature of childhood relations to connect with younger audiences. It's the characters that help with the portrayal of the story and the bring these environments and themes to the screen. And they are fantastic. While not as memorable when compared to the likes of Chihiro (Spirited Away) and Totoro (My Neighbour Totoro), they still possess enough personality and charm for the audience to care for them. We are introduced to various different students, all whom have different personalities. However the film focuses on the main characters of Umi and Shu and therefore unfortunately leads to other characters not being fully explored or developed to the same extent. Umi is beautifully portrayed and developed. Her calm, mature exterior hides her damaged background. We experience the loss of her father, and the growing pressure and responsibility she has gained with her mother studying abroad. Meanwhile, the strong-willed, charming personality of Shu, also obscures an uncertain background that becomes clearer with the relationship with Umi. Gorō and the writers have carefully constructed the characters and story, achieving a steady pace that allows for a deeper exploration into From Kokuriko Hill's world.
The film looks amazing. After the spectacular animation of the previous Studio Ghibli production Arrietty The Borrower, it would seem impossible to top the artistic achievement of that film. However From Kokuriko Hill manages to. With its detailed interiors and sublime visual portrayal of Yokohama and the coast, its simply jaw-dropping to see the painstaking animation, artistic competence and talent that was involved in creating such an beautiful film. Clever sequences of animation liven up dull scenes like climbing stairs, as the 'camera' constantly follows the characters rather than having still 'shots'. Alongside the fantastic animation is the soundtrack which is brilliant as always. Satoshi Takebe mixes long-flowing orchestral pieces with lively, jazz-like tunes like those of Kiki's Delivery Service. It all adds personality to each scene without over-powering or distracting from the visual nature of the picture. Aoi Teshima 'Summer of Farewells' is a fantastic theme song, that remains in the memory well after the end of the film.
Overall, From Kokuriko Hill is a wonderful piece of animated cinema that certainly shows Gorō Miyazaki growing talent. Not only is it a beautiful work of art and song, but it's a triumph in story-telling and character development. While it isn't as memorable as the likes of My Neighbour Totoro and Spirited Away, and moves away from the magical essence of Studio Ghibli, it is still is impressively constructed and directed. And with the unfortunate inevitability that Hayao Miyazaki, Isao Takahata and Toshio Suzuki won't be around forever, it is reassuring that young artists and directors are successfully proving themselves as the future of Studio Ghibli.
8/10