#awkwardanime

[awkwardanime]

Awkward Anime Episode 14.1: When Marnie was There - Anna’s Step Forward

In 2014, Studio Ghibli released another visual adaptation of a classic novel after the well received Secret World of Arrietty in 2010, this time with Joan G. Robinson’s When Marnie Was There, originally published in 1967. Anna Sasaki, a 12 year old orphan who lives with her foster mother (and father, who’s never around), is socially alienated and resentful after the death of her mother and grandmother. Always on the outside looking in, she’s sent to the seaside to live with a kind couple (relatives of the foster Mother), in hope of not only helping her asthma with the fresh sea air, but to have the quiet breeze and the coastal lifestyle bring Anna’s spirits up.

After the success of his directorial debut with The Secret World of Arrietty in 2010, Hiromasa Yonebayashi decided to take up the chance to bring Marnie to the big screen, this time without having to be conscious of the thoughts of Hayao Miyazaki, who co-wrote the screenplay for Arrietty. With full creative control promised this time around, the Director’s main intention was to create a visualisation of Joan G. Robinson’s detailed descriptive words that expressed the familiar feeling of anxiety for young people, hoping it would help those in a similar situation to take that step forward.

“I thought many people who live in this constricted present-day society could also share this empathy”

Hiromasa Yonebayashi knew in what way to visualise and tell this story, doing so in a similar way to that of Arrietty, with focus solely towards character development. By surrounding the protagonist with emphasis on atmosphere,the audience is able to connect with Anna from the very start. The opening scene epitomises what the long term Ghibli employee’s principles comprises of, along with the knowledge he has gained from working under the famous Hayao Miyazaki and Isao Takahata.

“I think the environments and relationships that surround people who are afflicted have a great impact on their psychological healing”

The Studio always sets its tone for the film from the word go, telling us who is the main piece to the puzzle and what the feature length picture will be about. When Marnie is There’s opening 2 minutes is no different, as we see toddlers playing in a small playground as a young student sits in a somewhat reclusive way. Knees touching, arms close together as she continues sketching the scenery around her. As her classmates sit in their own groups chatting away, the thoughts of this girl are told to the viewers, setting the tone:

“In this world, there’s an invisible magic circle…the circle has an inside and outside… these people are on the inside… and I’m on the outside…but I don’t really care.”

Hesitant to hand over her sketch book to the teacher, she is saved by the fall of a child. Mere seconds later, clutching the book close to her chest as beads of sweat appear, we are told as to what the main theme will be. I love this scene. Perfectly visualising what an anxiety attack can feel like, just the small task of having to show her art to a teacher leaves her worrying. It is important to point out that the attack she had is described as an asthma attack, but it is clear to see that Yonebayashi focused on the mind of this character to be seen as the cause of her attacks, and not a symptom. What I found to be interesting is that with all the people around her enjoying themselves on this sunny day, her pencil sketch was only that of the playground, showing the view in its simplest form. I loved that Yonebayashi added this touch to enhance the insecurities of Anna. No people to burden herself with, alone… that’s what she’s comfortable with. We get the descriptive definition of who Anna is at the start, both through her thoughts and the wonderfully drawn facial expressions on a simple school day. The last line we hear as the scene ends sums up who Anna is at this moment, giving the audience that compassion and hope for a pleasant ending:

“I hate myself”

Yonebayashi's idea with Anna was to portray a 12 year old girl. The pre-teen is filled with much negativity within herself that leads her to become this silent, angry girl. Arriving at the seaside, I as a viewer immediately was shown the setting that would be the focal point to lifting Anna’s spirits. Her relatives are a laid back and down to earth couple, the Oiwas, completely the opposite of Anna thus we see her fake smiles quite a lot here. As much as I love the Oiwas in this story, I would have liked to see some type of confrontation between them and Anna as they are a little too relaxed about Anna disappearing at night and insulting one of the local daughters - to bring a little more depth to both characters I feel an argument or talk would have really brought even more insight into Anna’s thoughts and feelings. That being said, I understand the roles Yonebayashi chose for the couple here, as it could be said this is just what Anna wanted and needed at this time in her life. Letting her enjoy the time however she wants, to not be overbearing which definitely is something we all craved as an adolescent.

“Anna builds a wall around her, she refuses help from the outside, but at the same time she’s screaming out for it as well, and eventually she realises she’s loved by the people around her and she’s gradually adapting to the realities of life”

Anna’s uneasiness emanates from her belief that she belongs nowhere and that she has no true family. What becomes apparent quickly is that this is a film about belonging and family. Those are the two main themes I feel are present throughout, all for the end goal to be Anna being able to actively explore her surroundings, chasing for answers about her family herself - which leads her to Marnie. Connecting with Marnie, Anna suddenly feels part of something, part of a friendship. Instantly connecting with this secret girl who lives in the distant Marsh House, the two’s relationship is definitely an almost interdependent type of friendship, however different they may be. As important as Marnie is in this narrative, the main point of this animated feature was to express the feelings of adolescence and anxieties within young people.

Anna Sasaki’s journey from a lonely depressed girl, to someone who’s full of life and happy is a very honest representation of what losing connection to those around you can lead to. There is an emotional complexity in this film that I have never seen in the very best Disney films. Forget mature children, adults need to  sit down and battle with these themes.  A film about a young girl standing on the outside looking in, battling her insecurities day by day, to later become someone who is so in touch with everyone and everything around her. Visually presenting the importance of how to overcome low self esteem and depression; treating the audience with respect and maturity, When Marnie Was There is a must see.

“There are so many children who feel lonely and separate from others, cut off from others, even though they’re always connected by SMS. They still feel left out, or feel lonely. But when they see Marnie, maybe they could take a little step forward. If they could do that, then maybe it’ll have been a worthwhile work to do”

Please share if you enjoyed this analysis and remember to eat those tiny trees!

Check out previous Eps:

Ep 13 - Hotarubi no Mori E

Ep 12 - The Wind Rises

Ep 11 - The Secret World of Arrietty

Ep 10 - Tokyo Godfathers

Ep 9 - Garden of Words

Ep 8 - Kimi No Na Wa

Ep 7 - The Boy and the Beast

Ep 6.2 - Fading innocence of Ame

Ep 6.1 - Wolf Children Poster

Ep 5 - My Neighbor Totoro

Ep 4 - Summer Wars

Ep 3 - Spirited Away

Ep 2 - Koe no Katachi

[awkwardanime]

Awkward Anime Episode 13: Hotarubi No Mori E

Takahiro Omori is no stranger to adapting famous Japanese stories and his 2011 45 minute animated feature is no different, telling the story of a young girl  falling in love with a mysterious “man”, whom she meets in an enchanted forest of the mountain God where spirits live. He explains to her that the touch of a human will make him disappear. When I was first recommended this film, the image I had in my mind was that of a melodramatic emotional roller coaster. What I got though, was very much a down to earth story amplified with stunning animation to produce a well done, bittersweet love chapter that most people write in their book of life.

Wait, stop right there! Spoilers ahead, so listen to me when I say you should go and watch this short film! Hurry back! You’re back? You watched it? Don’t you lie to me! Okay good, you may carry on…

Simply, this movie is, in my opinion, a delicate piece of art. I’m sure many had their heartstrings wrenched by this film, and I too was one of those people. But, not in an over the top, wiping my eyes constantly type of way. No, this truly wrenched my heartstrings by playing those notes oh so softly, I never once felt overly sad, never felt like crying, never gritting my teeth as my eyes witnessed a well told story.

The main challenge for Omori was to portray the monologues from the manga in a visual way - to represent the relationship between the two.

There were no melodramatic lines that I expected, there was no anger in the voices of Hotaru (young girl) and Gin (”man”). Director Takahiro Omori purposely told this plot with the use of sounds and atmospheric imagery to compliment the dialogue between the two main characters. Omori intentionally filled the animation with rustling leaves and constant chirping of cicadas, due to the significance of the Summer season to the story. I could easily see the extra attention that was devoted to the lighting and colouring of the film, with the forest being dim green which allowed the animators to then add the element of light shining through the canopy of leaves and hitting the characters with the right intensity.

“Fundamentally, it’s important that a character’s personality, visuals and role in the story not be a mismatch from the original story. So, it’s a balancing act.”

The original 2002 Manga had a rare moment focusing on Hotaru’s school life, however Omori in the adaption made sure to include moments, showing the outside world that she lives through each and every day to give that extra depth to her character and personality that could have easily been overlooked. I loved that the first 51 seconds of this movie was filled with aesthetically pleasing shots of the impending setting while hearing the sounds of chirping to add that ambience. It immediately had me relaxed, giving me the message of “sit back and relax, as we show you what the world has to offer - both good and bad. This is life”.

Having Hotaru tell her memories in a retrospective story, was a fantastic choice by Mr.Omori. It provided that human feel and had me as the viewer knowing how this relationship would end. Predictable is a word that is normally used in the criticism of a plot. Here though, for me that predictability helped me see the movie as it is and in the end made me enjoy the journey more. I definitely see how the ending would have had more of an emotional feel if there was no narration by Hotaru, but for me the way it was done was perfect. It epitomised what love is about. The nostalgia you’re brought back to. The day when you first lay eyes on a crush and you fall deeper into that hole knowing it’ll end in heartbreak. Young or Old, there will always be that memory of the one that “wasn’t meant to be”.

The fact that Hotaru’s walking strides got longer and longer while walking as the years went by, getting ever closer to matching up to Gin, portrayed that their love was to reach that middle ground, where they would be able to spend more than just a summer together. However, that ever present Mask which covered the face of the “non human” constantly reminded the audience and more importantly, broke Hotaru’s smile every time she saw it after a fun summer day. Knowing that you can’t touch the one you love, for both Hotaru and Gin, it must have been heartbreaking. Gin especially, as we never hear his thoughts or experience his lifestyle. We are told what his story is and that is simply enough to feel empathy and sadness towards him. Trapped in the forest of spirits, maybe those first words he spoke, “Hey, shorty” ,were said with the intentions of befriending a human, helping a young child find their way out, expressing his longing of leaving without walking out himself.

Animated to perfection. What can I say? The producer of this movie Shuko Yokoyama along with the Studio Brain’s Base did a fantastic job to add to the bittersweet atmosphere. The contrast between light and dark was used during the festival to represent its bizarre nature, showing that Hotaru should not be there. Omori intended for the art to represent a “different world” where the background scenery was obscure and the blue sky brighter than normal. This had me mesmerised throughout. The the spirits that appeared and warned Hotaru constantly were drawn in the most fantastical way, I still have that scene of the armed branch of a tree appearing and holding onto Gin playing on repeat in my head. The beauty of animation never ceases to amaze me.

A bittersweet, doomed from the start love story told in the most fantastical way, scattering the setting with phenomenal drawings animated beautifully to optimise our senses as an audience. I love the silence, the music and the movements that had me tingling with goosebumps appearing all over. I may want to get that checked out

Reminding us of the love chapter that we go through, meanwhile letting us know that it won’t last. A terrific piece of gentle heartbreak, this truly brought me back to the bittersweet endings that love brings. The important thing to remember :

With love, just like every book, the next chapter is always better than the last. Happy Valentines Day

Please share if you enjoyed this analysis and remember to eat those tiny trees!

Check out previous Eps:

Ep 12 - The Wind Rises

Ep 11 - The Secret World of Arrietty

Ep 10 - Tokyo Godfathers

Ep 9 - Garden of Words

Ep 8 - Kimi No Na Wa

Ep 7 - The Boy and the Beast

Ep 6.2 - Fading innocence of Ame

Ep 6.1 - Wolf Children Poster

Ep 5 - My Neighbor Totoro

Ep 4 - Summer Wars

Ep 3 - Spirited Away

Ep 2 - Koe no Katachi

[awkwardanime]

Awkward Anime Episode 11: The Secret World of Arrietty

Hayao Miyazaki turned 77 on January 5th, 2018. The number of masterpieces that he has created and produced has rightfully gained him worldwide popularity and accolades, but more importantly, respect.

2008. 40 years on from when he first expressed his desire to adapt the famous children’s fantasy novel The Borrowers by Mary Norton and do it justice on the big screen, the green-light was finally shown and so the writing and production began. Yet surprisingly, although having a major role in planning and writing the screenplay for the adaptation, Miyazaki willingly stepped aside to give key animator Hiromasa Yonebayashi the chance to shine with his Directorial debut. The youngest Director of a Ghibli film took his opportunity with The Secret World of Arrietty in what is, in my opinion, perfection in its simplest form.

“I wanted to capture a beautiful world that is full of vigour, just like the fresh sprouts springing to life.”

Ghibli has constantly shown the importance of creating an atmosphere that is engraved into the tone of the film from the very first shot, whether it is one of anxiousness, inevitable sadness, coming of age, or wonder. Yonebayashi certainly saw this animation as his chance to show his strengths in creating a vivid atmosphere and he did so in great detail. What was produced, without a doubt, exceeded my expectations when I first witnessed this film 1 year ago. Re-watching it for the 4th time does not waiver my opinion in the slightest. In fact, it only enhances my belief that this is a phenomenal piece of heartwarming artwork, which certainly expressed the Animator-turned-Director’s message:

“Animation is created for the children, therefore it is important to depict with care that the characters in the stories are living righteously”

The story is very simple. That’s exactly it. Somehow Ghibli manages to portray this fantasy adventure as a simple story, but in the most expansive and detailed way. It’s funny how looking on it, the plot is very threadbare and simple. Yet I never felt that way while I was watching. I was enthralled and engaged throughout. This is the true beauty of animation; where, if done right, it is possible to create density in simplicity. The Director stated that working as an Animator he was always dealing with short individual shots and understanding Hayao Miyazaki’s thought process improved his own thinking behind a narrative to the point where he would not look over any frame:

“Each small shot is complete with storytelling, visual and aural elements”

The one aspect of this 94 minute animated feature that gave me goosebumps throughout and really enhanced this story into a great adventure was the use of sound and music. The timing and usage of silence as we see Arrietty and her Father scatter across the walls of the house on her first “borrowing” emphasised Pod’s (The Father) sense of inevitable danger, with the visual representation of the dark chasm below filled with scurrying rats done well. Knowing when to add and reduce sound within a movie is a difficult factor to perfect. As Arrietty stops and gazes at this wonderfully bigger than life Kitchen, her senses are expressed to the point her shock and awe is shared with me as the viewer. We see the open wide shot of the kitchen, along with what seems to be loud yet muffled footsteps. This one scene is simply perfect. Amplifying the footsteps above in a hollowed way helps us as an audience not only understand the importance of what this tiny being is surrounded by but also feel her amazement. Adding that ambience to the atmosphere without screaming it out at you. Density in Simplicity.

Director Yonebayashi expressed his desire to take care of each individual shot and include the smallest details so that the visualisation from the eyes of the Borrowers is put across to the Audience. Small prickles around the leaves as Arrietty runs through the Garden, the bumps on a brick’s surface and the emphasis on tools used to help navigate and live life. In all their animated features this is one constant I notice. Focus on the little things that make up the inner workings of characters and story. Using double sided tape as a way to climb up a table. Ingenious.

“If you look at the background of Arrietty, you can see that the hand-drawn artwork is not inferior to computer generated at all.”

Once again the hand-drawn elements in a Ghibli film asserts itself as truly significant to adding to the overall atmosphere. As the characters moved through the backgrounds, they were walking in the field of art. It never fails to amaze me how bold colours give the more emotional scenes that extra kick, while the darkness in the inner workings of the home perfectly depict that sense of danger.

The one and only negative I have towards this film is that it simply ends too soon! I was expecting a few answers to questions that were raised, expecting a good-feel ending scene or at least an epilogue. What ended the animation was a very bittersweet moment, which definitely did wrap up a wonderfully told emotional relationship between the two main characters.

This is subtle done at its very best. Silence. Adventure. A simple story maximised to its very best. Perfection in its Simplest form.

“I was ecstatic even in animating water and schools of fish, which is an emotion that perhaps only an animator would comprehend”

Fun Fact! French singer Cécile Corbel sent a promo album to the Studio as she was a huge fan for years. Producer Toshio Suzuki wanted a Celtic-inspired film score and within 10 days she received an email from Ghibli stating the Director’s admiration for Corbel’s voice and her playing of the harp. Corbel eventually was assigned to compose the whole score, recording songs and more with a small orchestra. The first time a non-Japanese composer had worked with the Studio!

Please share if you enjoyed this analysis and remember to eat those tiny trees!

Check out previous Eps:

Ep 10 - Tokyo Godfathers

Ep 9 - Garden of Words

Ep 8 - Kimi No Na Wa

Ep 7 - The Boy and the Beast

Ep 6.2 - Fading innocence of Ame

Ep 6.1 - Wolf Children Poster

Ep 5 - My Neighbor Totoro

Ep 4 - Summer Wars

Ep 3 - Spirited Away

Ep 2 - Koe no Katachi

[awkwardanime]

Awkward Anime Episode 12: The Wind Rises

As I pressed play and the Ghibli logo met my eyes again, I knew that the following 2+ hours would have me immersed and hypnotised no matter what story would be told. Those feelings of wonder and curiosity, once the movie had ended, turned into the same thought that always goes through my mind after witnessing a Hayao Miyazaki film: “He’s not a bad at making films is he?” but also how the greatest Director in the world yet again shows his principles of life through storied complexities within simplicity.

I have simply run out of words to describe the art that Studio Ghibli produces every few years. In what was supposedly another “last hurrah” for Mr. Hayao Miyazaki, the highly acclaimed Director decided to take a different path creatively in 2013 with the release of The Wind Rises. As a hobby, Miyazaki loves to draw Manga for magazines, and his 2009 publication was deemed to be interesting enough to be adapted into a movie by his producer Mr Suzuki who constantly asked him:

“Why don’t you make a movie about this?”

The story of that particular 9 chapter Manga series in 2009 followed the career and dreams of one Jiro Horikoshi, whose love for the elegance of flight leads him to a non-stop working frenzy to create the perfect airplane… the Mitsubishi A5M. This story is actually a fictionalised biography of the man with the same name who did indeed design the most famous Mitsubishi planes back during the days of World War II. The story was also loosely based off the famous short story by Hori Tatsuo in 1937 titled The Wind has Risen.

“From the tragedy they experienced, these two people, as I continued to look at them, became the one protagonist in my film”

Funnily enough, the man himself was reluctant to adapt his manga into a feature length Animation as he originally believed it would be a huge gamble due to his adamant stance on how Animation should always be created to expand the minds of children and let their curiosity shine. It’s definitely clear to see why he had doubts about making this film, with political and ethical issues being raised by the movie. In fact, after the release in 2013, many of the Japanese political groups alongside the Japan society for Tobacco control criticised and accused Miyazaki about his decision to make his main protagonist a warplane engineer. With this fear, he even jokingly said to his staff that “Somehow, we are digging our own graves in a way by creating this film.”

The were many challenges that arose during the making of this film, as the Staff at the Studio were young and so they had to be taught about the small intricacies of the time period.

“How to sit on a Tatatami…How to walk in a Kimono. We all needed to learn once again the details of this way of life.”

Never can it be overlooked with a Ghibli film, and yet again this 2 hour story is filled with absolutely stunning animation. I found myself mesmerised by the artwork, notably how my eyes were made to believe the wind rose and ran across the fields as the love interest Nahoko Satomi brushed across her canvas. Throughout this movie, I constantly got goosebumps. I was drawn into the art and more importantly, the life of this young man who was simply trying to design and create the perfect plane.

The audience knew that it was to be used for War, and so did the main character Jiro Horikoshi. Yet, that never crossed his mind… how his beautiful creations would be torn down in seconds by the “enemy”, Jiro simply loved his dreams of the “perfect plane” dancing across the horizon as the wind followed suit. This indeed is a simple story. Filled with deep issues. Who is in the right here? Is there a right or wrong here? These are the questions that Mr. Miyazaki purposely raised to the viewers by creating this story. The animator-turned-Director principles within his films are to show a plot that is never one dimensional. Life is never straight forward, and nor should it be.

“Things are way more difficult and complex. History is as well. We can’t easily just say ‘yes’ or ‘no’ to how we look at things.”

The life that popped out at me during the dream sequences were so fulfilling. Colours of green and blue, as the planes filled with ecstatic relatives gained momentum and flew, showed how wonderful life can be if you believe in something. To oppose that image of life bursting in colour, we saw the dark and dreary consequences of a disaster as an Earthquake along with the effects of War shattered the landscape of Japan. For me, the 5 seconds that warmed my heart was as Jiro was tending to the young Nahoko and her friend, he put his suitcase down and simply opened it up. The clothes puffed up and rose to the top. In this scene, I could almost see the suitcase being alive. Finally it could breathe again. I can’t get those 5 seconds out of my head.

A lot has to be said about the beautiful animation, so of course it is truly heart-warming that Miyazaki constantly praises his Staff at Studio Ghibli repeatedly stating about what gives him most satisfaction during the production of a film:

“I am most satisfied when my staff does good work. When one image or one scene that they draw is well done, I’m very happy”

Even though most of his highly grossed creations came in the past 2 decades, Hayao Miyazaki actually had already completed his dreams in animation by the time he was 40. After this time, once his ideas had all been brought to fruition, his biggest challenge was to keep creating new intriguing films. Remarkably, he had no idea what he was going to create in these past 20+ years, yet he still took that step to do so, truly letting his passion for creating, much like Jiro, never stop rising. To describe his creative mind to seek out new themes, he says “It was like walking into a dark room, not knowing where to go”

“Don’t follow the path of just one person. Strive to find your own path”

This film epitomises what many love about Hayao Miyazaki. The themes he chooses are not ordinary, you would not see many hit these topics, all the while giving you an intriguing and emotional story yet somehow making it seem “simple”. The Wind Rises is a movie that grabbed me instantly, with the inspirational outlook on life and the ever present green scenery that had me having to pick my jaw up off the floor numerous times, it is without a doubt an instant classic. I almost feel like it was made 20 years ago, it has that feeling to it. It was made just a few years ago, which shows how we as people can look back at history and not make assumptions, as well as taking this message into the future to see the world as what it is, and to get in your plane as you rise with the wind.

“ Le vent se lève! … il faut tenter de vivre!”

Please share if you enjoyed this analysis and remember to eat those tiny trees!

Check out previous Eps:

Ep 11 - The Secret World of Arrietty

Ep 10 - Tokyo Godfathers

Ep 9 - Garden of Words

Ep 8 - Kimi No Na Wa

Ep 7 - The Boy and the Beast

Ep 6.2 - Fading innocence of Ame

Ep 6.1 - Wolf Children Poster

Ep 5 - My Neighbor Totoro

Ep 4 - Summer Wars

Ep 3 - Spirited Away

Ep 2 - Koe no Katachi

[awkwardanime]

Awkward Anime Episode 10: Tokyo Godfathers

Throughout his film-making career, Satoshi Kon created and produced some of the most story compelling animated features in the late 90s and early 2000s. Tokyo Godfathers, the 2003 92 minute film, showed to Kon’s homeland that holiday specials do not have to be romance orientated where presents are handed to loved ones and ends with a kiss by the tree. The well renowned director, who’s untimely passing in 2010 still resonates with his fans, transcended with this one animation what it means to be homeless. This animation expressed, to me, a message not about the difficulties of living life, but rather the life that we all strive to live in.

Throughout this movie, there are many themes thrown in to create a dark yet not over-the-top feel, with mafia mobs and the portrayal of mental health subtly presented to the audience. Subtlety a word that is fitting to the personality that was Satoshi Kon. At the heart of this gritty yet somehow family feel film, there are 3 people without a home who find a newborn stranded and what follows is a race to find the young one’s parents and reunite them. The look, delivery and writing of these main characters are what transformed a good premise, into a fantastic story.

The typical “dysfunctional family” trope could be criticised here, but I never once was bored during this feature. The creator, when being interviewed throughout the promotion, always made sure to state that he “idealised” these characters and that “the story comes first, actors second.” He always believed in his thoughts and ideas, never once backing out of a project he believed in.The theme which is brought up in many anime movies that I have seen, is also present here. The use of a Pseudo Family.

“I took pieces of people who I have met and put the pieces together to create them [The Characters]”

Animated features developed in Japan always seem to spread this message across the different directors, the message of how one’s parent or sibling do not need to be blood related. Satoshi Kon decided to create these challenging characters out on the street to give the story that kick. Although, his intention to make them homeless or not did not alter his thoughts towards the story. Why? Because this story can happen to anyone. Me and you could find a toddler or lost child tomorrow. Who knows? The homelessness in this film is done so perfectly that you connect so well with the personalities of each that you completely forget and honestly not care that they are homeless. I feel this is what Kon wanted to get across in his home country at a time when there were no homeless protagonists headlining projects.

“People say animation has limitless potential”

Kon desired that his art style was kept the same but with the centre pieces to be even more bold than his previous works as a Christmas movie really requires that spark in its visuals, and with the setting here being a damp, dark bustling city, the extra dedication is needed. As told by the Art Director Nobutaka Ike: “The Director wanted as many details as possible in this movie.”

This movie is so gritty and realistic but not too much, as in it never goes over the top and into that territory of dark and creepy. Full of small ties that we as viewers realise as the film rolls on, showing the significant coincidences and emphasising the story of miracles, family, love and forgiveness.

The only downside I could possibly bring up is that was there too much? Even then, that full on adventure feel to the movie is what Satoshi Kon worked so hard on to entertain us with his comedy and light hearted grittiness. This project was not a box office hit. In fact it lost much money for the distributor companies. Sometimes the quick poster that we see as we walk past billboards and advertisements we will come to regret later on, and this movie falls into that category of “I don’t know why I hadn’t seen this movie until now”.

There is no villain. No antagonist. In fact when Hana, Gin and Miyuki find who they believe to be the Mother of the child and reunite the two, it becomes clear that this woman who kidnapped this child from the true parents is just a regular woman, struggling with the circumstances, leaving her lonely and battling with her mental health. Funny isn’t it? How my description of the supposed “villain” of this story can perfectly fit anyone on this planet?

Just a regular, struggling with circumstances, left lonely and battling mental health.

What Satoshi Kon put out to the world here is a different side to him but within his usual realm of light hearted reality. A film full of Christmas miracles, this is truly one of the best animated stories out there, and is a perfect watch for everyone. Mr. Kon’s works that he left behind, truly shows us the calm, sophisticated man he was, but just like his movies, it had that oh so subtle smile. Rest well Satoshi Kon

When asked how he spent his Christmas days, he replied “Usually, I’m drinking with friends or family.”

He truly believed that animation has limitless potential and that drawn out stories do not simply have to be over the top slapstick. Dramas can be done and done well. His vision of animation being at the forefront in all genres gets closer to being fulfilled each and every day with marvelous pieces of animation from both the west and indeed in Japan being brought to mainstream attention.

“I want more and more artists to create unique stories in animation”

Thank you for everything Mr.Kon, your work has touched mine and millions of others hearts more than you’ll ever know. Thank you. Merry Christmas

Please share if you enjoyed this analysis and remember to eat those tiny trees!

Check out previous Eps:

Ep 9 - Garden of Words

Ep 8 - Kimi No Na Wa

Ep 7 - The Boy and the Beast

Ep 6.2 - Fading innocence of Ame

Ep 6.1 - Wolf Children Poster

Ep 5 - My Neighbor Totoro

Ep 4 - Summer Wars

Ep 3 - Spirited Away

Ep 2 - Koe no Katachi

[awkwardanime]

Awkward Anime Episode 9: Kotonoha no Niwa (Garden of Words)

Makoto Shinkai’s desire to show the world of modern Tokyo and how everyone has a story led him to developing the 2013 46 minute long animated feature Garden of Words. This was a unique movie in the sense that, as opposed to his other works, unusual camera angles were used and the story was wrapped up with 14 minutes away from the hour mark. I sat down just 24 hours before typing this review, a hot cup of tea in my hand, my blanket keeping me warm as I hit play, not expecting anything different to that of Shinkai’s other works.

“The story of Takao, who wants to know other people”

This film was intended to be shown as a unique romance between two similar minds with maturity at the forefront. Director Makato Shinkai has stated numerous times of how he wanted the feature to be promoted and viewed differently to other projects, with the focus on the scenery and the theme of helping being important:

“To enjoy like music in their spare time and provide a little bit of relaxation”

I may be one of the few, but I never once felt like the two main characters would “fall in love” with one another. Young 15 year old Takao up to the point he confessed to Yukino, I viewed as a talented, driven matured teenager. Proven by his passion in making a career out of shoemaking, the student at the centre of the story I felt was a terrific character to epitomise Shinkai’s views on maturity at a young age. The renowned Director from day one ensured that this would be a romance, but it was done so in the most perfectly subtle way that makes me adore the genius that is Makoto Shinkai even more.

“The feelings that wanting other people to understand him more through his work is the starting point of a craftsman.”

The idea to include crafting shoes as an element that drives Takao forward was well done. Shinkai has stated numerous times that these shoes were used to show the stages of life. Crafting your own path is difficult as it is, but for young Takao to shape a pair of shoes for a 27 year old who he knew was confused, speaks volumes about the immaturity of both characters. Yukino, a women lost in society, who didn’t reveal anything about herself to this young teenager, not even her name. Yukino said as the rainy season ended:

“I am no more mature at the age of 27 than I was at 15” - Yukino.

The opening half showed that the confused teacher found a personality who she knew could guide her into someone she can be satisfied with. We hear from a call with her ex that she told him of an “old grandma at the park” which shows how she perceived Takao along with her sense of shame towards being able to connect with a 15 year old student.

“The craftsmanship of Takao matched the portrayal of Yukino, who, tired of society, loses her direction in life"

Never disappointing with one aspect of his animations, Makoto Shinkai again focused dearly on the aesthetics of the scenes to enhance the experience for the viewer, which it more than did. The uniqueness of the angles of shots in this film left me in awe. Nothing can beat hand drawn animation, which is perfectly optimised by the use of computer 2d cells. Shinkai, to ensure that he included realistic and effective scenes, went out and actually filmed scenes on location with a camera similar to that of a live action movie.

“I devised it this way to effectively show in the work that rain indeed does make green more vivid.”

Rain was the constant symbol that perceived the relationship and connection between Mikano and Takao. Meeting only during the rainy days, I saw this as a sign from Shinkai that even though their personalities help better understand one another, it only creates problems. One important aspect I noticed is when they do meet in the park after Yukino leaves the school, the sudden clap of thunder is heard a minute after their conversation begins. The understanding between the two was still flawed at this point; rain was not used only for the colours of the reflective surroundings to look that more incredible, but to also portray the times they connect will always have a negative consequence.

Every single scene in this 46 minute long animated feature is stocked with dense subtlety. I felt relaxed yet engaged every second, trying myself to figure out the feelings I have towards this “romance”. The foot scene, from the mouth of the creator, “Was done as though it were a sex scene that I wanted to be conveyed in a visually rich way”. That foot fetish tho

The light sounds that fluttered my senses, the unique art to that of his other works and the confusion of figuring out the characters leads me to put this deservedly as one of my favourite Anime Movies out there. The ending did give me mixed feelings, as I feel this relationship did not need a sense of romance nor a confession, though I understand why Shinkai keeps to this theme of confusion within love. I loved this movie in the way that it made me realise that maturity does not come with age. Maturity can be realised in different ways, there is no way to know if any of us have truly matured.

Age does not equal maturity.

Please share if you enjoyed this analysis and remember to eat those tiny trees!

Check out previous Eps:

Ep 8 - Kimi No Na Wa

Ep 7 - The Boy and the Beast

Ep 6.2 - Fading innocence of Ame

Ep 6.1 - Wolf Children Poster

Ep 5 - My Neighbor Totoro

Ep 4 - Summer Wars

Ep 3 - Spirited Away

Ep 2 - Koe no Katachi

[awkwardanime]

Awkward Anime Episode 8.1: Kimi No Na Wa - The Red Thread of Fate

Director Makoto Shinkai was asked on numerous occasions when promoting his 2016 phenomenon Kimi No Na Wa about the inspiration behind the unusual connection of Mistuha and Taki, answering each time with the inclusion of a phrase that peaked my interest: The Red Thread of Fate.

“In Japan, there is always this talk about the red thread of fate that links two people together and that is where the idea came from.” 

The Red Thread of Fate is an East Asian belief originating from China which says that the gods tie an invisible red cord around the ankles of those that are destined to meet one another in a certain situation or help each other in a certain way. We see a red thread or cord as a massive symbol of the connection between the two timeline-crossed lovers throughout the entire film, yet there is never a need to explain the meaning behind this.

There was no need in delving into this as the people of Japan are aware of this belief in which the myth says that everyone’s pinky finger is tied to an invisible red thread or string that will lead him/her to another person with whom they will make history. Unlike the Chinese, the belief among the Japanese people is that this red thread is not limited to couples and that the two people will have an important story regardless of the time, place or circumstances.

Makoto Shinkai made sure that this connection was indeed the main plot as he has stated on many occasions about how “The main theme here is these two people have met and then meet again at the end”. Yet the additions of the comedic body-swapping and the “once every 100 year” comet was just as important as the main theme. These three elements make this into truly a remarkable film.

The flawlessly animated skies with the comet seemingly running across the horizon was a perfect way for Shinkai to tell of the connection between Mitsuha and Taki. As the animated feature rolls on, we see skies lit up with stars to emphasise the effect of this natural phenomenon, but we know that it was indeed a method for showing the braided ties which links our two main characters.

According to the Chinese Legend of the red thread of fate, the deity in charge of the red thread is believed to be Yue Xia Laoren(Yue Lao), the old lunar matchmaker God, who is in charge of marriages.

Strings are resembled from the shooting stars, a deliberate method by the Writer turned Director to symbolise the linked teenagers. The main focus from the start of writing in 2014 was the connection between the protagonist and romantic interest and every element that was put forward in this animated feature were cleverly used plot devices, from the body-swapping to the natural disaster.

Makoto Shinkai did confirm that the 2011 Earthquake in Japan was where the idea of using the comet as a blockbuster element originated from. While doing research in early 2014, he discovered that the specific Earthquake to hit Japan in 2011 is said to come approximately every 100 years. The story teller wanted that something to really enhance the plot and keep the audience on the edges of their seats.

“I thought that that a regular natural phenomenon could be the narrative tool I needed to tell the story”

All of these elements produce to me not a romance, but that of a story where one desires a certain life, that feeling of being in a normal town with normal friends and a normal family. Though what is normal? By saying “normal” I do not mean at all a “perfected” lifestyle where everything you dream of is your reality. We humans wander through life working and striving for something. That something, is familiarity. The feeling of yeah, this is my simple life and it’s natural.

Mitsuha throwing her red thread to Taki on the train clearly shows the dedication Director Makoto Shinkai put into researching to create a masterpiece. The circumstances of the main characters challenge the strength of that bond fate created. Time passes, personalities change and grow, but the one and indeed only one constant, is that Red Thread of Fate. The labyrinth of encounters and shared stories the two go through to only always be a thread away from each other.

“This is a story centred around the romance of Taki and Mitsuha, I wanted a symbol that connected the two of them.”

Please share if you enjoyed this analysis and remember to eat those tiny trees!

Check out previous Eps:

Ep 7 - The Boy and the Beast

Ep 6.2 - Fading innocence of Ame

Ep 6.1 - Wolf Children Poster

Ep 5 - My Neighbor Totoro

Ep 4 - Summer Wars

Ep 3 - Spirited Away

Ep 2 - Koe no Katachi

[awkwardanime]

Awkward Anime Episode 7: Bakemono no Ko (The Boy and the Beast): Fathers of Choice

“People have two sides, and a person first becomes appealing when you discover both of those sides - and worlds work the same way. I believe it’s having both Shibuya and Jutengai that makes the film’s setting an interesting one.” Hosoda on two worlds

Directors are regularly set on their principles and ideas, which is hard to leave to discover others. This animated feature, for me, showed and answered the question: Who is the man Mamoru Hosoda and what are his principles? One of his principles that he more than not portrays in his works is that of Family. Here, he gives the audience an open mind as to whether or not Kumatetsu was indeed the true father figure the young boy needed. This small child is shown at one point copying the movements of this large beast, witnessing the desire and indeed stinginess he too sees in himself.

I see many many relationships within this movie that are all “Father-Son” relationships, yet are portrayed in different ways, leading us to believe that Kumatetsu was the ONLY true parent to Kyuta. But he wasn’t. He was one of many people that helped bring the frail child into adolescence and adulthood.

“How possible it might be for unmarried men and adults not blessed with biological children to become fathers of choice.“

Hyakushubo and Tatara with Kyuta. Ren with his biological father. Kaede with her father. Iuozen with Ichirohiko and so on. The idea of these relationships were for Hosoda to show that the old days are gone, with Japan’s birth rate constantly dropping, he wanted to ensure people understood that in these modern times anyone and everyone can be a “Pseudo-Father”.

I saw the growth that these relationships developed as the movie rolled along, or in some cases lack of. Kumatetsu, as a character, did not change much in his personality. Brave, stingy, old fashioned, confident and never modest. Though what was clear to see was indeed the strength within both Kyuta and this beast forming that bond. Is Kumatetsu the ideal father for Kyuta? No. That is exactly why Hosoda introduced his biological father to us, along with other carers. I will always praise Hosoda for depicting family and relationships in a simple yet meaningful manner. He sought out to produce a Pseudo-Family relationship(s) seeking that confusion in the audience about if indeed the characters grew.

“I too realise that there have been many people, both famous and unknown,who have had a greater influence on me growing up than my own father"

Ren. Kyuta. The two names for a person living in two worlds. I believe that purposely adding “Kyuta” was a message from Hosoda. To express the identity uncertainty inside the character which creates that tension within the viewers minds of wondering “Who is he really?”

“I wrote the story with the hope that those children who were lost in their own lives would find some kind of answer in this movie and be able to share in it as well.”

Ren and Kyuta. They are the two different halves of one person. With life in the Jutengai, arose new problems within himself which he had to take care of. He wasn’t alone. The carers around him, kept distance so trust could build slowly. The point is that anyone can end up in a position of Hyakushubo yelling at Kyuta, or Tatara holding him in tears. Kumatetsu, Tatara, Hyakushubo, Kaede and his biological father helped him carve his own path. That’s all what anyone can do to help another, as parents or just as friends.

“Maybe everyone eventually will get a role to play doing these things that parents do with children. By doing so, they might experience the fulfillment of being a parent.“

Thank You, Mamoru Hosoda for expressing your family values and helping me to realise wrongdoings.

Check out previous Eps:

Ep6.2 - Fading innocence of Ame

Ep6.1 - Wolf Children Poster

Ep5 - My Neighbor Totoro

Ep4 - Summer Wars

Ep 3 - Spirited Away

Ep2 - Koe no Katachi