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Jul 3, 2021
I have never cried for as long as i have in a movie ever. Genuinely. There were multiple points in this film where my eyes were stinging after having the tears just set in my eyes for ten minutes as a time. Granted, I was eating a solid burrito with salsa out of my spice tolerance so it seemed logical.
Then I finished eating… I was still crying.
I had intended to watch this film earlier than this, after I had finished the series of Hibike Euphonium. Yet for some reason I put it off. Life seemed busy I suppose. But as my yearning for
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more Naoko Yamada grew mighty and mightier, I had to check it out. For my love of her visions, and my curiosity of her upcoming projects.
My oh my what I was missing.
The aesthetics of the film already clicked with me upon seeing images of it, prior to full viewing. The character designs have this beautiful long and stretched quality. Everyone looks a lot more humanoid but int he best sort of stylised ways. It gives this instant connection and empathy through how soft & emotional the characters appear. Futoshi Nishiya, the character designer, spreads this quality through his other designs such as in The Shape of Voice. Where that same empathy can be felt. There’s an aspect to these designs where they seem like fantastical beings who are somehow only managing to survive. Which fits well with the struggles in this film. The film presentation is also top notch. Manipulating the frequently beautiful techniques of the digital anime medium that KyoAni have perfected over the past decade. The backgrounds have a dynamic form of realistic, apropos of the very grounded human drama whilst not being visually drab.
With all that has been mentioned, character design, backgrounds, and drama, the film begins with these correlating elements to introduce us to the focus of the film. It is with these attributes that create this chilling and delicate human experience that rooted me into this film head first. This is a film that so gorgeously illustrates the struggles to communicate. The interlocking conflicts that build, stemming from this moment, is a beast understandable to myself and many others. I began to really feel sorry in here as I gazed at Mizore’s, the protagonist’s, attempts to bridge and get close to people. It’s this heartbreaking difficulty that you feel as though you also haven’t built up the strength to manage it. Pushing you to be happy for her to maybe even gain the ability to speak and create an understanding between people. It’s something that tussled with me most in this film. Just watching as some characters can’t get people to understand them really shout in my head “I know”.
It’s not just Mizore that is unable to communicate properly. All of the characters are draped in this cover of unclarity which they are attempting to free themselves from and get to doing what they want. This being best communicated through the superb direction work. Naoko Yamada is known to have an infamous interest in the symbolic meaning of legs. With this film rooting that interest to its very core. The cutaways between legs always having something extra to say about the barriers between each character. Legs will even be explicitly shown changing positions as to correlate with the change in situation or role in the scene. Stand out scenes are in the beginning of the film, where there is a lot of fixed shots on legs that expertly communicate the problems our characters face. The confessions of Noizomi also stand out to me, where they effectively convey the change and reflection her character through her change in position. These details are charming with how they add dressing to the cinematography and give you something else to stare at. But ultimately, you grow to find it a very useful tool to understanding and connecting to the film that they become so important to your viewing. And there’s an appropriate amount of thought put into each scene where you can simply focus on legs as the dramatic visual to inform you on the conflict present. Frankly its hard to recall a particularly powerful moment because the imagery is so consistently embedded. But it’s also my first time viewing this film, and since it was quite an emotionally explosive session it’s fine that I didn’t soak up everything.
But I would be remiss if I just kept ogling at legs this whole time. Not that I always could anyway due to my tear stained eyes. My ears were very active throughout this film. The moments of orchestra in the original series always impressed me with how they were able to channel such emotion. Even to change the emotion with the same piece at a different time in the episode. That sense of emotion is ever present here. Especially with the swathes of silence found scattered throughout, the music delivers in portraying the perspectives and struggles of these characters and it really strikes accord with me. Much like it’s their secondary voice that we can maybe understand better than the words that presently escape them. For me at least, I can hear and feel that voice.
That is what truly devastated me at the climax of the film. All of these things unifying in this brilliant moment that was just so beautiful and powerful. It was something I could just understand so instantly. And it was as though the film proved to me at that moment how great it was. Not to say all was only revealed until that moment. But that, the mountain we climbed lead us to a place that was just what the journey was taking us towards. And that it was so satisfying to witness it, and follow everything as we came back down.
I haven’t mentioned it at all but the concept of the musical piece Liz and The Bluebird is also wonderfully integrated into the story. As are the subsequent scenes that bridge between the film. Really it’s something I don’t want to explore here because it is so beautifully put in the film. That is something which must be experienced on your own.
The one thing that doesn’t seem perfectly set with me is the pacing of this film. While I don’t find it an issue, it does have the sense that this is an extended episode of the TV series. Ultimately, I find that nature to the film charming. And if it is a longer TV episode, it is the best episode there is. This is something I’m keen to explore and feel towards upon rewatching. This uncertainty is why I would say the story as being a 9/10 but the film 10/10 overall. It is the immense lack of distaste or disinterest on first viewing that makes me feel so strongly about this film. In terms of firsthand impressions, this film has successfully captured my love. And I applaud it.
Quick things i loved without saying much:
- Reed making is such a cool looking craft and I love how Mizore makes her own.
- Band members hanging in musical groups is super cute and I love to see the little communities formed here.
- Taki-sensei once again giving inadvertent life advice makes me wonder how aware he is of fundamentally changing the lives of these performers haha.
If I am to mention rankings, I don’t know if I would say this is definitely better than The Shape of Voice. But I’m willing to say they’re both equally fantastic and are wonderful benchmarks of Naoko Yamada’s bright and beautiful future as a director. I certainly hope to see her make as many she feels need. But all the more, it is these relatable and touchingly executed stories that invest me in the media of film. And i am always happy to see more.
Thank you KyoAni, may you heal and grow to be stronger than ever before.
Reviewer’s Rating: 10
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May 27, 2021
This review was written on April 12, 2021
Been a long time since I first watched this film, since then, i have read the original manga and worried since if the film will still be worthwhile as a work of the story.
I am glad, still love it and find value in its existence.
Generic reaction stuff:
- The story explains a lot more than I assumed it forgot from the manga.
- It’s not that sad its just really shocking and intense i think the manga is probably more sad just to sit through and deal with all the depression and stuff.
- The ending is
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not as intricate or grand as the manga but it works. I cried at the end in that typical joyous inspiring fashion and it worked really well. If they gave an epilogue to the film I’m sure it’d feel complete and cool and perfect but it works.
Anyway here’s all my thoughts on how cool this film is and how Naoko Yamada is the coolest person ever
It was lovely to just really soak in a lot of the visual nuance of a Naoko Yamada work. I’m not sure if she storyboards the whole film, although i have reason to believe she does, however her creative touch can be felt throughout. The use of film lens filtering creates such a unique and alluring film style. It’s able to create such a unique focus on the intended key points of the frame. The blur on characters amplifying the feel of isolation and loss of understanding between characters being captured in a way unique to the medium. Some scenes even having replications of the red, blue and green key light colours fluctuating as though the camera cannot process the raw light in the space. Other elements of light are beautifully represented. In a perfectly animated fashion, showing how lost our understanding in people can be by presenting the characters in such ethereal and perplexing light. While perhaps not as perfectly manipulated colours as in her previous film Tamako Love Story, it is a beautiful film to witness. All the characters brought to life in lovely tones that are bleak enough to still feel optimistic. And the character designs lovingly evoke the unique style found in the manga. Each character being able to show their personality and character so clearly through their individualised eyes and other features.
It wouldn’t be a Naoko Yamada film without having some classic leg iconography. And there certainly is some great leg perspective. One of my favourite moments is actually a deliberate seclusion of legs. In an early scene of the film where Shouko steps into a pond in order to retrieve her books, Ya-Sho looks to her while her legs crouch down and are perfectly obscured from his view. Symbolising the confusion he faces and inability to discern or move in to attempt to understand Shouko’s life and mind, taking it all for granted. There is also great regular cinematography that expertly highlights the distance and emotional blockage between characters. It creates such a longing and tragic feeling that further amplifies the general intensity of the film. Becoming familiar with the story already gave me a great amount of time to soak in the visual complexities, which made this rewatch all the more worthwhile. I mean god damn, this film is so perfectly pretty whilst trying to exercise its theme’s as powerfully as possible.
I reference the film as The Shape Of Voice first because I’ve definitely realised the significance of the title. This film really shows more the complexity of shaping voices rather than described in such a diminished fashion as A Silent Voice. Which is far too singular and dramatic than the complexities the film encompasses. I kinda have an issue with this story in general where i get really confused how I’m supposed to feel about anything after the “bridge scene”, the really dramatic one you’d know if you’ve seen or read it. I think i kinda get it now how Ya-Sho is just unable to process the different people around him enough. Even if they’re not the best people it’s only fit for him to improve and try and understand people more. Which works right after he decides to spend his whole holidays with Shouko and actually has to stick around and prove himself to her mother and family. I’ve come around to understand this a lot more and really get a strong feel for both versions. Although I feel as though the beginning scenes of the film is a little vague in terms of flash backing and that’s probably the weakest part of the film. Not that it’s all bad but definitely the least sharpened in a fairly polished film. Which is to say, bloody great.
I’d say this and the manga are in similar level of greatness, and it’s just that the manga stands tall against all this time while holding all its greatness. But the film has superb directing, and is able to hold the story dear to a strong degree. Very beautiful and i love it. Defo gonna watch the blu ray extras with all the staff interviews, maybe download the soundtrack too.
Reviewer’s Rating: 9
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Jun 28, 2020
Feels old but still quite impressive. The art catches me as a particularly early film for Hosada. The characters have a very sketchy aesthetic, weirdly similar to Yoshiyuki Sadamoto’s character designs for Evangelion. Along with the backgrounds as well as general colour palette being very dull and not that interesting. And at points the animation looks as though it’s been sped up. Which is kinda funny as it’s intended to achieve a comedic effect but it still looks super jarring. But apart from that it’s very solid. The time traveling device is pretty interesting and is well used for themes of taking chances and letting
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life take its course. Apart from also creating suspenseful moments there are quite a few gags that are quite enjoyable when the time traveling is being used. I quite like the main girl in this. How she’s kind of a weird normal girl who gets anxious about difficult things so she uses time manipulation to try and get easy answers which all go away for what she’d actually want. It’s an enjoyable and slightly tragic but optimistic look at enjoying your life well and not trying to make everything work but playing well so that you won’t be lonely. The romance aspect of the film is particularly strong with these concepts. And the way they develop with the two mains and their goals of appreciating the world are really cool to see how they work out. I had a nice time with this film. Not my favourite Hosada as I think Mirai and B&TB are better in quality and effectiveness but this film was really cool.
Reviewer’s Rating: 8
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Jun 28, 2020
This film rules hard. A developmental Miyazaki film that has great charm for its time. The film exudes a bouncy and comical energy. Every frame of this film has a wonderful animated feeling. Always holding a special poignant energy. The visual gags and style is fantastic. The way they bounce around and perform great feats of movement is a blast to watch. But it’s all very clear and not that ridiculous. At times they’ll have gags of characters trying to avoid danger by having really long and physically impossible movements like swimming up a waterfall. But it’s not a tension thing. The fact remains that
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they’ll fall down a waterfall, the humour is that it’s extended for so damn long and it’s full of energy. It’s so funny. All the characters are so perfectly simple but enjoyable. You have a clear sense of how they act and it’s super rewarding to see how it all goes out. But also this film is the smartest in the franchise. It’s actually such a great commentary on wealth and ownership and satisfaction. Lupin on his journey to steal something he can’t easily obtain, all the while with a villain who’s obsession of ownership is so strong and he creates a counterfeit money scheme which fuels the whole world. It’s really clever with all its story elements. We see all these grand castles and think that it’s the great prize we’d go for. But our hero goes to seek some girl locked in a room cause he longs for a prize that is far greater than any riches. Whereas the count keeps her in there and uses her for exactly what he wants in his dictating fashion. I think Miyazaki also has some strong themes of purity going on and not diminishing it. Like I’m pretty sure Lupin calls the count a pedo at one point. But it also shares his views of preserving and letting the youthful spirit be free. Instead of being diluted out by old pressures. Which also pays off greatly at the end with the final scene. They take such a classically simple comedy anime and they put some clever narrative to it. It’s so cool to see. But the action set pieces are no small achievement. They’re all so inventive and memorable. From the literally perfect opening car chase that is so cool on all levels. The suspenseful and violently rhythmic hotel brawl. And the clock tower battle with its fast paced but not too nauseous direction. I can tell Miyazaki definitely times his sequences in his mind. The flow is incredible with how all the actions and perspectives fold between one another. And the score is perfect. Yuji Ohno takes some wicked jazz and he’ll just chuck it in to make it great. The variations are cool on the song Fire Treasure and it’s a beautiful theme for the film. It makes me wanna get a suit, drive in my fiat and rob a casino. In summary this film is like pretty classically amazing
Reviewer’s Rating: 10
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Jun 28, 2020
Dig it hard. 60’s slice of life is my favourite underused genre. Holy shit I vibe with the style of this movie so much. Goro Miyazaki took his skills from Earthsea and put it into a realistic but bloody charming little venture. The cool side stores, the vintage uniforms and how people store potatoes in secret trap doors. It’s so cool to watch and I feel the vibe of living in this time and having a sense of ambition and life. The way how (Hayao)Miyazaki has approached his films has always had this sense of focusing on children’s world views and making them act. Goro
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raises it up so damn much the kids are running a crazy democracy village society all in an old extracurricular building. And the passion is hilarious. The enthusiasm brought from each tiny moment we see of the clubs is so great to watch. And this metaphor of using past skill and using it bring enjoyment into our lives and futures might be similar to what Goro Miyazaki’s experience was. Wanting to preserve and keep the passion of animation alive instead of it being torn down by a flashy consumer lifestyle. And I think it’s reflected well in the main girl. A totally fitting Ghibli girl with her kind and comittied attitudes and wanting to keep everyone around her comforted and stable. The parallels can be seen their and how she raises her flags as a sign of guidance hoping that people of her past will know where to go and see her. But she’s able to find new people she can stick by and walk her own path beside with confidence. I think this actually works better for an animator’s metaphor more so than Mary and The Witches Flower. Instead how this is cemented in a companies future. And the growth of the characters is a progressive step to continue on instead of a strange end to the beginning. I quite enjoyed this film despite having to borrow two scratched dvds to play it. But it was worth the weight.
Reviewer’s Rating: 8
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Jun 27, 2020
Still a total masterpiece. It feels so old but it’s so well made. It has a simple story of confidence and resistance all wrapped in the connection to the world we go through. The world-building is so realistic and purposeful. The way how they interact with the worlds of humans, forest and spirits is super effective and immersive. It creates a memorable environment that flows to the narrative in such a great way. The characters are absolutely perfect and the growth they go through is really wonderful. Miyazaki’s appreciation of the unclouded judgement of children is exemplified well here, and it feels definitely like a
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practice to what would happen in Spirited Away. They’re both sensitive young girls who have to trust but at the same time still fear the world they move into. Combined with their mother’s illness it’s a challenging world in both their concern but it’s so empowering and heartwarming to see them surpass it and live in these times. I relate a lot to Satsuki in how she seeks to survive and support the lives of her family in her mother’s absence. And her sense of control is quite strong but the fragility underneath is very believable and beautiful. The spiritual aspects of this film is fantastic in how they’re used. The build up with Totoro’s influence and how the characters grow is perfectly balanced. Their trust of connecting and appreciation of the world they live is payed off in a beautiful poetic way. With Satsuki giving Totoro the umbrella paying off with him helping her find Mei in the end. It’s such an interesting world but it’s such a great message of confidence and hope. The ways that the actual spirits are portrayed is also really cool. With only the girls seeing them at select times and subtle hints that everyone has seen them before strengthens the belief that they are in fact real. The adult’s belief in spiritual is also really cool. In other films adults may brush off and say that they aren’t real but in this film everyone wants to connect and feel safe in this world so they wouldn’t they deny it. And Totoro’s design is so perfectly cute and weird. A character that would only ever make sense in animation or else it would look terrifying. And the little ones are adorable. I watched the Japanese dub and honestly, it’s kind of rubbish? Like especially with the Dad and Nanny, they can’t really quite capture a certain suspense for the moment and it feels super weird. In the English one they have great personality and emotional nuances that also feel real and it’s epic. Also the joke where Satsuki just says she drew Mei as a crab wasn’t in the original and it’s a bit bland in the Japanese version. But yeah this movie is perfect and I love it dearly.
Reviewer’s Rating: 10
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Jun 27, 2020
Damn that was some hot thrilling animal sex drama. I’m extremely captivated by the earnest passion in the direction. This show definitely shows the absolute auteurism that can be displayed in 3D. At times it’s shot very much like a j-drama show, but then it goes into something so stylised and emotionally poignant. The mixed media aspect feels unique. At points I felt so tempted to read the manga only because the experience seems so fresh.
It helps already that the writing is fantastic. With some wonderfully philosophical love and drive in the motivations of the characters. The strange and wonderful ways they unfurl and
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are revealed, it’s wonderful to watch. And feels very understandable. Their need to be strong, or to know how they feel, not let others tell them how to feel because they know they’re strong. I find it interesting how much the ease of death is referenced. And violence in general. When characters are nearing death or potentially about to kill someone there’s an eerie naturalism to it. And I feel so detached like a spectator. Because I know it’s just exactly what these characters will do. But it’s all the more horrifying.
The world building is so good in this. And it speaks through to the actions of the characters and how they feel about the world they live in. The peer pressure of wanting to eat someone’s fingers or assuming the instincts of people on biological nature. It’s all so tight with the narrative and world that is created.
But like also it’s so pretty. And they all look so cool. It’s nice to have a show with some shifting colours, and I can remember what moments of which specific character I liked in those colours. The colouring I think is what sets it apart from other 3D shows. It often bewildered me on what was and wasn’t 3D. But the 3D is so well done here. The actual expression and face animation has tones of range. Combined with the actual head shapes changing and shifting for certain moments. It feels so authentic and beautiful. The direction carries that as well. From it’s wonderful moments of purposeful medium shifts, to the bizarre but not complex shifts in design and presentation such as the imagery of character’s heads as outlines for important moments. It feels like a truly special piece of work, and one that feels so confident and accomplished in what it tries to say. I’m in awe of it’s nuance and could go on. But for now I’m simply in love, a prideful love a show that tries and really succeeds in its goals of presenting a story.
Reviewer’s Rating: 10
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Jun 27, 2020
Lupin III: The First. Terrible title, pretty amazing movie. An absolute classic type of Lupin adventure with everything you expect being executed well, BUT IN 3D!!!!!!!!!!!!!!!
The most notable feature about this film is its CGI medium, and I’m grateful that its executed so well. It has that touch of emotion as well as texture in reality that work well, what I would describe as less anime styled 3D of newer features like Beastars and more closer to a grounded and ‘live action’ approach to aesthetic. There’s that special 3D simulation about fabrics flapping and being pulled, and it’s abundant in here. When Lupin is
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falling out of a plane it’s hard to not be caught up in the astounding amount of movement, feeling in place with the energy of the scene. And it goes to this feeling I have with the film, where it feels like a truly beautifully manga that has evolved into a butterfly of a film. The style and texture is so much to wonder and look at on a single screen cap alone, that I could easily enjoy this as a series of panels and still frames. The fact that it flows into each moment with such precision while maintaining its quality is astonishing, and feels much more above a simpler/commercial anime feature of which Lupin often resides in.
It is by no means overdone in realistic style. The beauty in this film’s colouring shines strong. With the gorgeously vibrant character designs that are so iconic and never tiring, along with the wonderful scenery that is created. Such as the emotional duologues between Lupin and Laetalia that shifts on each of their meetings, each a gorgeous sunset that represents their relationship on a changing course throughout the picture. This also being included with the very solid direction done by Takashi Yamazaki, which is clear and well orchestrated. I will also mention now, the character animation is godly. This going with my moving manga comparison, it gives the illusion that each face is particularly sculpted of clay for a fraction of a second for maximum effect. Which is entirely possible, even though I don’t suspect Arc System Works style of insane processes but good 3D is no small achievement backed by passion. The character movement is also super sharp, the nuances or extremely bold action is an immersive treat. From that hilarious upside down goal post neutral pose for Zenigatta or when Laetalia taps Lupin’s shoulder in a realistically endearing/intimate moment, the movement is all purposeful and put to good use.
The story is a pretty classic Lupin affair. Nazis, magic books, you get it. The characterisation and interaction does not slack, which is the main reason we watch Lupin anyway. And the new girl is pretty heckin cool. She’s got a solid personal narrative and is very entertaining. It’s all definitely assisted by the voice acting, which is so very good. The current voice for Lupin particularly amazed me, since I only just watched Tokyo Crisis the other day and thought that Lupin was terribly generic. But to find out it was the same guy shocked me, and I must give my commandments to Kanichi Kurita. He carries that Lupin joy so strong and has refined it to be on par with the late Yasuo Yamada’s. It’s wonderful to still have Kiyoshi Kobayashi as Jigen, even though he sounds pretty damn old he fits so well. The other actors were good and felt befitting. But I will take note of Koichi Yamadera’s Zenigatta, which is so damn good and filled with an excitedly forceful version of the police inspector. And he was also Spike Spiegel, which amazes me.
The music is a banger once again, Yuji Ohno can somehow never get tired of slightly adjusting his pieces for a Lupin project, and chucking in a few numbers as well. I shall most definitely acquire the soundtrack for a good listen. Whenever I have the need to drive a Fiat and steal some stuff.
But yeah, this movie is fantastic and I will probably come back again for a good ol’ time.
Reviewer’s Rating: 9
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