I stumbled across Batman Ninja and had to click ‘watch’ because the premise sounded pretty fun – Batman, his enemies and allies are sucked back in time to Feudal Japan… and it’s exactly as crazy as it sounds.
Above the wildly bold strokes when it comes to the storytelling is what I thought was a really pleasing visual style and a fairly seamless integration of the CGI with the ‘hand drawn’ style; I really liked it and wished I could find images to show the full colour range of what the studio did, it was often beautiful.
Supposedly the English subtitles present quite a different story to what the original screen writer had in mind but for me, I didn’t feel like the film was meant to be a dialogue-heavy character study, there are few moments of introspection/reflection in any event – it’s mostly action scene to action scene, with the ante being ratcheted up nicely each time. And yeah, too many villains/allies get too little screen time but it works for me even so.
Aside from a pretty great Joker performance from Wataru Takagi, I also really enjoyed the character designs by Takashi Okazaki (Afro Samurai) and I’d recommend taking a look at this if you wanted to see what DC + Anime looks like (though it’s not the first time Japan has taken on Batman).
Compared to my last Ghibli-related post, this time I’ve chosen a film not directed by Miyazaki (though he did write the script) but instead by Yoshifumi Kondo.
Whisper of the Heartis another Ghibli adaptation, this time of a manga written by Aoi Hiiragi. While Whisper of the Heart has less action than early Ghibli works, it is full of conflict – and not simply the cliched teen angst to be found in many works aimed (unfairly?) at younger audiences.
Whisper of the Heart (Mimi o Sumaseba) 1995
Instead it focuses on the conflict of the writer which immediately hooked me of course, or perhaps, the conflict of the creative person – whether it’s main character Shizuku (who desperately wants to be a writer) or Seiji, her love interest, who is striving to become a violin-maker.
Most of the film focuses on the struggle these characters go through, trying to please themselves, take their dreams seriously, to work for them, while also trying to accommodate their families’ wishes and deal with their feelings for each other.
Woven within the film’s central narrative are smaller stories, the mystery of the cat Muta, the story behind the fantastic statue ‘The Baron’ and his lost love Louise, and the story young Shizuku is writing (starring the Baron), and finally the struggle to produce a complete draft that she is happy with.
Any writer or creative person should be able to relate to her frustration and excitement. On one hand, she can’t wait for someone to read it, on the other she’s convinced she’s not good enough yet. I definitely relate, and it’s part of why the movie appeals to me so much, I reckon.
Whisper of the Heart also features a classic country song written by John Denver as something more than simply soundtrack – throughout the film Take me Home, Country Roads is rewritten and performed by Shizuku, and also by Shizuku and Seiji in addition to appearing over the opening sequence – I’ll got youtube links for each (John’s version, the very earnest Olivia version and the English dub of Shizuku and Seiji on vocals and violin).
And before I wrap up the review – I should mention the ending – apparently some folks feel the proposal scene is a little too much, and years ago I remember thinking I was in agreement… but I since the, I’ve come to feel that it was meant to be a sweet (perhaps somewhat naive) gesture, which suits youth pretty well.
And here’s Miyazaki on the ending (taken from Nausicaa.net):
Q: Wasn’t Seiji’s proposal
a bit too sudden?
Many thought so. In the manga, Seiji merely says “I love you”, but Miyazaki changed it to “Will you marry me?” Miyazaki defended his position by saying, “I wanted to make a conclusion, a definite sense of ending. Too many young people now are afraid of commitment, and stay on moratorium forever. I wanted these two to just commit to something, not just ‘well, we’ll see what will happen’.”
For the first post here at the Review Heap, I wanted to jump back to a write up I did a fair few years ago – because if I’m going to review/highlight anime (amongst the other things I’ll ramble on about here) then I should start with the studio that really had an impact on me (though as a kid of the 80s I remember mostly Astro Boy :D).
So, up first it’s Spirited Away!
Miyazaki’s work as a director seems so warm and I guess I naturally gravitate toward his films. That isn’t to say that I don’t enjoy Takahata’s work, or the films of the other directors from Studio Ghibli, but I’ll probably end up reviewing the Miyazaki ones first.
Spirited Away (Sen to Chihiro no Kamikakushi) 2001
Perhaps like many Western audiences, this was my first exposure to Studio Ghibli and its wonderful films – though I didn’t see this movie until about three years after it’s English-language release.
I was actually at uni and had recently borrowed the impressive 1001 Movies You Must See Before You Die. Inside, I noticed Spirited Away and went straight to the university library where I borrowed the DVD and that was it. I was hooked.
Written and directed by Hayao Miyazaki, Spirited Away is the story of a young girl who has to work in a spirits’ bathhouse in order to save her parents, who’ve been transformed into pigs by their own greed.
A pretty simple description of the plot, right?
But it gives an idea of the main source of tension, I hope. What it fails to show is the stunning attention to detail found in the animation (common to Ghibli of course) and the great character arc at its heart.
The way protagonist Chihiro goes from being basically an annoying child to a person of resolve, and one who can turn those around her into friends, is one of my favourite aspects. It also provides an emotional core that’s a big part the reason I’ve watched the film a fair few times now.
But perhaps my favourite element of Spirited Away is the setting.
The bathhouse is located in an abandoned amusement park and it’s beautiful, detailed and vivid, both in terms of its social and physical structure. And part of that colour definitely comes from the variety of spirits who visit it, among the most memorable being the close-mouthed Radish Spirit and the old River Spirit, who also embodies the environmental themes Miyazaki often includes in his films.
Another stand out aspect of the movie (and most Ghibli films) is the music.
Provided by Joe Hisaishi, it’s a moving score, I reckon with so much of it feeling both magical and familiar.
An Academy Award winner and an amazing film, Spirited Away isn’t quite my favourite Ghibli movie, but I’m kicking off with it because it’s where I started and if on the off chance you’re looking to see what Studio Ghibli is like, you probably couldn’t find a better starting place.