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Nov 17, 2014
I've always been a huge fan of Miyazaki ever since I first saw KIKI'S DELIVERY SERVICE, but for his supposed swan song, I honestly don't know what to think. Perhaps because of this, I cannot rate it as highly as his other films. Don't get me wrong, THE WIND RISES is not a bad film at all. It's as colorful and beautifully animated as any Ghibli movie, and of course Joe Hisaishi's music is sublime. There are also moments that truly do recall Miyazaki at his most imaginative. But if you're expecting another movie filled with action, wonders, and magic as his other movies, you
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will probably be disappointed, because THE WIND RISES is as far removed from the rest of Miyazaki's output than even his less fantasy-oriented pictures. Rather than aiming for the exuberant joy and wonders of LAPUTA, TOTORO, the dark, epic spectacles of MONONOKE, NAUSICAA, and even the surrealistic SPIRITED AWAY and HOWL'S MOVING CASTLE, this movie is mostly down to earth, with only the occasional moments of pure spectacle. It's also his most "adult" film to date; perhaps because of this, THE WIND RISES is also cursed with the misfortune of being Miyazaki's least accessible film.
Although financially successful in Japan, THE WIND RISES has not been without its share of detractors, particularly Miyazaki's target audience. Controversially, the protagonist of this story is Jiro Horikoshi, the man who was responsible for creating some of deadliest airplane bombers during World War II. In fact, this film is very loosely based on his account. Naturally, one would expect that Horikoshi would be portrayed as a tyrant considering the outcome of his crafts. But in a rather daring and almost dangerous move, Miyazaki presents the man as a gentle, ambitious soul who simply wants to achieve his dream of flying rather than as a psychopath bent on destruction.
Speaking of dreams, the most memorable sequences in the movie are those which involve Jiro's fantasies of being airborne. In one such scene, an extensive, dialogue-free prologue which opens the film, we see young Jiro wake up from his countryside home, climb to the roof and board an elaborately customized craft, soaring across the Japanese countryside to the strains of Joe Hisaishi's typically melodic score. This sequence comes to a crashing end when a massive zeppelin and shadowy blob monsters straight out of HOWL'S MOVING CASTLE and SPIRITED AWAY descend upon the boy and render him unconscious. Otherwise, the rest of the "dream" scenes (which are interspersed throughout the languidly paced story) feature Jiro interacting with the charismatic Italian aircraft designer Caproni. "Airplanes are beautiful dreams," intones the air designer to the short-sighted Jiro who he refers to as "Japanese boy", "Engineers turn dreams into reality."
Otherwise, the remainder of THE WIND RISES follows Jiro as he grows from a not-so passive school boy who spends time reading books by his hero into an adult who becomes an aircraft designer instead of a pilot due to short-sightedness. This is a forty-year cycle of a journey that unfolds in over two hours. Regrettably, this is also one of the film's biggest shortcomings: not only are the scenes involving Jiro's growth less intriguing than his flights of fancy, they slow the movie's momentum to a snail's pace. Miyazaki is no stranger to producing movies that push over the two hour mark, but THE WIND RISES feels even longer than that, with most of the scenes being slow, drawn-out conversations between Jiro and his colleagues.
Aside from the aforementioned "imagination" bits, the only other major highlight of THE WIND RISES happens about a third of the way through in which an earthquake literally tears through Japan and causes a passing train to derail and crash spectacularly. This is arguably my favorite moment of the movie because it showcases Miyazaki at his most visceral. The execution of the tragedy is powerfully conveyed through the dramatic staging and animation. Aurally, this scene is impressive as well; rather than the natural sounds of earth rumbling and winds, Miyazaki instead chooses to employ a wordless, monotonous "chorus" of voices to substitute for both. The effect adds an emotional, organic layer to the scene, especially when we witness the tragic aftermath of the tremor.
Also intriguing is the sequence where Jiro and his friend Honjo travel to Germany. Not only does Miyazaki treat us to splendid tours of the aerial wonders of these massive "war machines", we get to see the characters speak German. Much later on at a hotel, Jiro meets Castorp, a German-accented defect who eerily denounces Hitler and, perhaps rather ominously, predicts the downfall of Japan.
Alas, such moments are tragically undercut by the film's much more languid second half, which shoehorns a tragic love story involving a gentle painter woman whose internal clock is ticking. I don't know if it is just me, but neither Jiro nor his lover Naoko come across as particularly compelling characters, and perhaps because of this, we are given little reason to care about them. A "courting" scene in which Jiro attempts to fly a paper airplane to Naoko's balcony is inspiring, but sadly that's about as interesting as this love story gets.
More detrimental, unfortunately, is the dub by Disney, which is surprisingly disappointing considering I've always loved the studio's English work for Ghibli's films, the performance I found to be the weakest being that of Joseph Gordon-Levitt. Now in all fairness, Joseph is not eccentrically cast, but I just didn't find him compelling as Jiro; to me he sounded like he was giving a stiff, monotonous performance, which is disappointing considering that many of the leads in Disney's other dubs (eccentrically cast or not) have done well. Apparently in the Japanese version (which I haven't seen), Jiro's voice actor (ironically, former Miyazaki animator Hideaki Anno -- now well known for NADIA and EVANGELION -- turned in a similarly ineffective performance. I don't know it's just me or if it's the style of the character, but either way, this is, I'm sorry to say, the dullest performance in any Disney dub I've ever listened to. Some will argue that he's trying to emulate Anno's take, which, IMO, has the potential danger of coming across as a carbon copy instead of a genuine performance, especially if the original was apparently not as good as it could be. Emily Blunt fares a little better as Naoko, but the love scenes between her and Levitt are shockingly ineffective: however much emotion Blunt gives, Levitt's distressingly wooden performance sadly nullifies any bit of chemistry between the two. Too bad, because with better voice direction the love story could have been less draggy than it comes across as.
One actor I was particularly looking forward to hearing was Mandy Patinkin, having enjoyed his rollicking turn as a pirate in the controversial but still grossly underrated CASTLE IN THE SKY dub. Sadly, his turn here is nowhere nearly as entertaining; his role is just to be a down-to-earth boss with zero comic timing. He more or less plays it well, but I was still disappointed, considering his previous work. The rest of the actors also consist of names such as Darren Criss, Elijah Wood, and DIRTY DANCING's Jennifer Grey, but to be honest, they didn't really stand out to me all that much, and their parts are so scanty that one wonders why they were cast at all. One would think that more experienced voice actors would take the job instead (the first Ghibli dubs had a much better balance of that).
Even though I consider this to be the worst of the Disney-Ghibli dubs (NOTE: by that I do not mean it is an outright BAD dub; it's not, it's just average, at least to my ears compared to their others), there were three performances I truly did enjoy. Martin Short plays Jiro's curmudgeonly cantankerous, "short" sized boss, Kurokawa with gusto and humor, breathing a lot of much needed zest into the dub. This is the sort of charismatic, interesting type of character audiences should expect from an animated production, Ghibli or otherwise, and Short effortlessly steals every scene he's in. Just as good is Mae Whitman as Jiro's sister, Kayo. Again, being blessed with a great role to begin with, she provides a lot of spunk and energy to the role and makes her arguably more sympathetic than her dull brother. The great Werner Herzog also gets to have a lot of fun as the German-accented Castorp, especially when he sinks a drunken brawl in a lively tavern scene. Finally, Stanley Tucci is TERRIFIC as Caproni, providing the character with charisma and a charm which is impossible to dislike. The Italian accent he provides is very appropriate as well. On that note, the use of accents for the different characters is also a plus, as is the use of children from the opening scenes. If anything, these assets prove that even an inferior Disney Ghibli effort can still have its share of saving graces.
Perhaps another major problem I have is the ending; while the fate of the love story isn't hard to guess, but Miyazaki instead chooses to close the film with yet another dream sequence. Instead of coming across as a genuine conclusion, this last scene feels strangely unresolved. What happens to Jiro after the scene? What became of his career? Sadly, the movie doesn't answer any of these questions, and as such, the denouement doesn't feel like a genuine conclusion. It's almost as if Miyazaki ran out of creative juice and decided to stop his movie on an uneasy note. PONYO was especially guilty with this practice, and it's unfortunate that the same is true here as well. Even MY NEIGHBOR TOTORO, PRINCESS MONONOKE, and PORCO ROSSO, abruptly as they ended, had a sort of genuine resolution that this lacks.
Still, take my complaints with a grain of salt and go see THE WIND RISES. Even if it is by no means Miyazaki's best film, the moments that truly excel really show that a genius such as Miyazaki never ceases to amaze, whether at his most vigorous or his most down to earth. On a final note, it's a shame that this will be Miyazaki's last film; the man has left behind a legacy of richly animated treasures that many have not taken notice of at first but are gradually finding audiences. He will be missed.
Reviewer’s Rating: 8
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Mar 12, 2012
Even a prolific animation studio like Ghibli can turn out a lesser effort. Hiroyuki Morita's THE CAT RETURNS was my personal least favorite Ghibli movie, but that film, simplistic and shallow as it was, seems to have much more accolades than 2006's TALES FROM EARTHSEA, arguably one of the first productions from the studio to split audiences and critics alike.
Ironically enough, the controversy actually began prior to the film's release. It has been stated that Hayao Miyazaki had expressed interest in directing a film based on Ursula K. LeGuin's famous fantasy novels, but the author, displeased with previous attempts, declined... until the success
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of Miyazaki's HOWL'S MOVING CASTLE (arguably one of the director's least excellent but still brilliant efforts). However, it was ultimately decided that the film would be handled by Miyazaki's own son, Goro, under the persuasion of producer Toshio Suzuki. Miyazaki Senior was most displeased by these turn of events and it is said that his relationship with Goro became strained during the production period. Perhaps Hayao had reason to fear that his son was not ready to tackle such an ambitious story; although TALES FROM EARTHSEA performed well financially, it was attacked by critics and even fans of the books. In fact, Goro received the "Worst Director" Golden Raspberry Award for his first attempt. All of this sounds like a cruel, undeserved fate for the debut of the son of Japan's most respected animator, but even author Ursula K LeGuin has been disappointed with Goro's film. In fact, TALES FROM EARTHSEA would not even see a release in the United States for another five years.
The criticisms TALES FROM EARTHSEA has received are not without merit. Anyone expecting another PRINCESS MONONOKE or CASTLE IN THE SKY will probably be disappointed for, while this film shows moments of brilliance and imagination, it falls short from the upper echelon of those films. The problems lie in the storyline and characterizations.
Fans of LeGuin's books will probably be even more let down by this movie. It is based heavily on the third book, "The Farthest Shore", but while most of the situations and characters survive the transition to the screen, Goro attempts to incorporate elements from the other books into the film. But he does so in a way that only results in a tangled, confusing plot which not only feels rushed, but very incomplete and disorganized. Sometimes events happen without explanation, and what little explanation we get is unsatisfying; maybe fans of the books will grasp what Goro's intentions are, but others will find themselves asking questions which unfortunately, never get answered.
The film gets off to a promising start with a stormy sequence in which a ship at sea witnesses a bloody clash between two dragons. It's exciting and intense, with a brief flash of gory violence that brings one to mind of the similarly graphic moments from PRINCESS MONONOKE. TALES FROM EARTHSEA is still on that fine start when we see Arren, a teenage prince, inexplicably murder his father and escapes into a desert. He is rescued from wolves by Sparrowhawk, a kindly sorcerer with a scar on his face (for reasons that readers of the first book "Wizard of Earthsea" will recognize). Sparrow's mission is to restore the balance that has been disrupted in the mystical land of Earthsea.
However, when these two adventurers cross paths with other characters such as a moody, introverted “slave” named Therru, a warmhearted farmer, and an evil wizard intent on gaining (predictably) eternal life, it becomes evident that Goro is trying to cram too much story worth of at least four books into a two hour film. Aside from giving the characters little time to fully develop into fleshed out personalities, the film works in a very confusing and frustratingly murky subplot about a shadowy “clone” of Arren that shows up from time to time to torment the youth. This is handled very awkwardly, with zero foreshadowing and the whole “explanation” behind the whole thing leaves questions instead of answers. I was also very unclear about the climactic finale in which a girl transforms into a dragon; again, this is done with no explanation, that it only makes the audience baffled instead of thrilled.
Perhaps another big issue with the film is the pacing; as mentioned, the film’s best sequence is the opening dragon fight, but such action moments are rather scanty throughout the rest of the movie, resulting in long, extensive stretches where nothing really happens. For instance, at the halfway point, there is a long sequence in which the characters end up working on a farm. Although intended to provide character development, this sequence only slows down the film and feels more like padding than anything else. Brief moments such as Sparrowhawk and Arren talking about blistered hands after helping to plow the field feel strangely detached from the rest of the plot instead of anything else. The real areas in which Goro shows strength as an animator are the dream sequences—and there are quite a few in this tale—in which the characters find themselves standing on sunlit landscapes with luscious colors one moment and nearly drowning in an ooze-infested lake the next. These are actually far more interesting than much of the talkier scenes in the movie.
The lack of compelling characters is another major shortcoming with TALES FROM EARTHSEA. Sparrowhawk, for instance, is nobility personified, and as such, is pretty boring. Arren could have been a compelling troubled hero — sort of a darker version of Ashi-taka from MONONOKE, but his character development comes across as rather hazy to be interesting. The slave girl Therru, despite showing some backbone and the bitterness of San, isn’t much more endearing than her co-stars. Cob probably ranks as the most disappointing villain in any Ghibli film; oh sure, he’s creepy and acts evil, but he doesn’t have much of a personality, and lacks the charisma of, say, Muska from CASTLE IN THE SKY. That he doesn’t get much to do in the film is also a letdown. Cob’s slavetrader captain henchman, Hare, is much more effective as a badguy, and arguably is the only interesting character in the whole movie to display any personality. He sneers, cackles, rasps threats, and is remorselessly ruthless. It also helps that he is voiced by Cheech Marin in the Disney-produced English dub... who naturally gives the best performance in the whole film!
Speaking of the dub, this is probably my least favorite of the Disney Ghibli dubs, not because it is badly done—Disney has never produced an unlistenable dub as far as I’m concerned; their past dubs have all been fantastic, contrary to what others may say (yes, even the ones with extra dialogue and music). Perhaps because of the murky nature of this movie, it is difficult for the dub to be as effective, despite the efforts of everyone involved. Still, the performers and voice director Gary Rydstrom do their best: As mentioned, Marin plays the part of Hare perfectly and steals the show. Timothy Dalton does an excellent job as Sparrowhawk, embuing him with wisdom, warmth, and subtlety. Mariska Hargitay is also very good as the kindly farmer Tenar. Matt Levin as Arren is a bit of a trickier issue: he starts out somewhat flatly, but he gradually improves and gets especially good at the end. On the other hand, Blaire Restaneo’s Therru is the least effective of the voice cast; she shines brilliantly in singing the film’s only song, a melancholy acapella solo originally rendered by Aoi Teshima and does all right in the tense scenes, but I wasn’t so sold on the rest of her scenes. Willem Dafoe’s Cob works best in the climactic scenes where he rasps his way to the tower, but otherwise spends most of the time talking in a very soft, monotonous voice. I don’t know if it was supposed to convey darkness or not, but I didn’t find it particularly effective (in fact, I was chuckling upon hearing him speak for the first time) and I’m still not sure if he was the right choice for the character. Simply put, he’s no match for Mark Hamill’s Muska. The rest of the voices are fine, although they’re not nearly as memorable as in any of the other Ghibli dubs. Even purists who insist on watching the film in Japanese will probably be disappointed, as the voice acting, or at least what I’ve heard, isn’t much more effective than that of the dub.
Probably the most pleasing aspect of the film is its musical score contributed by Tamiya Terashima. Ghibli films have excelled with gorgeous soundtracks, and this is no exception. Using melancholy melodies and a full orchestra and chorus reminiscent of Hans Zimmer, Terashima provides a gorgeous and poundingly dramatic symphony that compliments the mood of the story perfectly. (As mentioned, Therru’s song midway through the film is a haunting highlight.) And of course, the animation is as richly detailed and beautiful as any Ghibli film.
There are moments where TALES OF EARTHSEA does exude some haunting visuals, but all in all, it’s probably the weakest of the Studio Ghibli movies by far. Had Goro Miyazaki opted for a less daunting storyline, then maybe he wouldn’t have received so much backlash for his debut feature. As such, the obvious failings of EARTHSEA shows that he is not yet ready to fill his father’s shoes. But even with all that said, is this movie still worth watching? Absolutely, especially if you’re a Ghibli completist. Even with its faults, TALES FROM EARTHSEA still has its share of high points to make it worth a look. But don’t expect another instant classic; on that level it falls short.
Reviewer’s Rating: 6
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Aug 17, 2009
It has been widely agreed that Hayao Miyazaki is a master at his craft when it comes to combining rich animation with thoughtful storylines and similarly imaginative characters. His movies, from Nausicaa, My Neighbor Totoro, Kiki's Delivery Service, Castle in the Sky, and Princess Mononoke to the recent Howl's Moving Castle are all not only gorgeously rendered in terms of art, but in terms of moviemaking as well. Can this man do no wrong? Not really, but it is impossible to expect everyone of his movies to always be five star marvels. His newest film, Ponyo, an unashamedly family-friendly tale of
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a "goldfish out of water", is as lushly animated and alive with interesting characters as you would expect... and yet this is the first film of his which treads into "lesser" territory. Don't get me wrong, Ponyo is not a bad movie by any means. As mentioned, it is a sight for the eyes and is as charming and adorable as Totoro and Kiki. The problem is that the story doesn't stay afloat to satisfy anyone eager for another engrossing, in-depth plot.
It starts out on a moonlit night underwater, in which we see one Fujimoto, a mysterious (and somewhat neurotic) magician on the prow of his submarine, metamorphosizing plankton into live-size jellyfish. During this, a cute little goldfish (with the head of a human) swims out of his craft and takes a forbidden voyage to the "human world". Before you know it, she finds herself in the arms of Sosuke, a little boy (who bears a strange resemblance to Kanta from Totoro but is more like Pazu from Castle; interestingly, the director created him after his own son) who finds himself quite taken with her. What begins is a variation of the "boy gets goldfish-struggles to hide goldfish-loses goldfish" scenario. This is the best part of the entire movie, in which it showcases Miyazaki's fascination with childlike discovery and the struggles of keeping a new friend a secret. It should be interesting to note that he never butts heads with his mother about this.
At this point I am going to take a break and talk about who is my favorite character in the movie--Lisa, the mother of Sosuke. She's caring, kind, and very supportive of her son, but also has a bit of an aggravated temper, particularly when she gets annoyed with her seafaring husband, Koichi, for continually staying out at sea instead of keeping his promise to return home. In one memorable and hilarious scene, where Sosuke is sending a flash signal from the front porch of his house, an incensed Lisa makes no secret showing her disdain for her husband staying away from his family (Sosuke, naturally, softens the whole thing by sending a friendlier message after seeing a light show from his father's ship). She is also a VERY reckless driver, as witnessed in the scenes where she narrowly zooms her car across a dock where a ship is about to pull in. It helps, too, that I happen to have a parent named Lisa, who is pretty much the same person (save for the driving part).
Anyway, Fujimoto takes the goldfish (whom Sosuke has named Ponyo) back to his underwater farm and tries to talk her into staying away from humans. Ponyo, however, who has taken a liking to Sosuke's hand sandwich (and tasted his human blood from a cut on his finger) insists on becoming human. So, of course, she breaks into her father's secret chamber and drinks his magic elixir. Before you know it, Ponyo becomes a hyperactive four-year old with short crimson hair (the spitting image of Mei from Totoro) with magic powers; she rides on an oversized tsunami of fish across the ocean in search of Sosuke, sending a hurricane all over the entire town. (This sequence, in which gargantuan ocean waves threaten to swallow Sosuke and Lisa's car as they blaze toward their home on a cliff, is the most exciting in the entire movie.) The storm ends when Ponyo finally finds Sosuke and is subsequently taken in by Lisa.
It is after this moment, unfortunately, when Ponyo starts to run out of momentum. Although the scenes where Ponyo and Sosuke share a dinner of ham and noodles are cute and funny, many of the subsequent sequences slide into somewhat sluggish territory. The focal point of the plot is when environmentalist Fujimoto and his wife, a diaphanous sea-goddess named Gran Mamare (with the ability to shift from a titanic giant into a human sized woman) decide to test both Ponyo and Sosuke to see if the youngsters' love can save the entire planet, which, at this point, is in danger of becoming totally enveloped by water (the moon having grown to enormous size and satellites drifting into the ocean). Using a toy boat (oversized by Ponyo's magic), the two youngsters set out across their world, now transformed into an underwater aquarium, complete with gargantuan fish in search of Sosuke's mother. These scenes are still a lot of fun, especially when they are stopped by a fleet of friendly passengers, including a mother with her sickly baby.
Naturally, one would expect a finale of tension and real trauma to cap off such a story, and that is where Ponyo finally takes on water; the actual ending is both anti-climactic and undermines the joy and imagination that came before. It really is a shame, too, because for the opening hour and fifteen or so minutes, Ponyo is the embodiment of a child's watery fantasy captured on film. In fact, the entire aura of Ponyo feels like a fairy tale for children, and the movie plays out as such, and it is disappointing to discover that it doesn't finish as strongly as it starts.
On a technical level, Ponyo cannot be faulted. The animation is absolutely gorgeous to look at, produced entirely without a single shot of computer-generated-imagery, and naturally Joe Hisaishi provides us with yet another breathtaking musical score; the best moments being the rousing sequences underwater, accompanied by a chorus and a soprano voice. And the backgrounds are lovingly painted and detailed as any other Ghibli movies.
Having proved themselves worthy on translating and dubbing Ghibli's previous movies into English with top-quality results, Disney Studios and Pixar once again provide an English translation (courtesy of E.T.'s Melissa Mathison) and a mostly capable cast of actors. Compared to most of their other dubs, though, I do have some issues, although in all fairness, not enough to discourage anyone from giving it a view. Frankie Jonas (youngest member of the Jonas Brothers) is surprisingly good as Sosuke, sounding very natural and believable throughout. Noah Cyrus (younger sister of Miley Cyrus of Hannah Montana) as Ponyo, on the other hand, sometimes goes overboard in shouting her lines before eventually settling down toward the end. Leads aside, the rest of the cast includes Liam Neeson as the overprotective Fujimoto (who manages himself unsurprisingly well in the character), Cate Blanchett as Gran Mamare (in a reverberated voice and omnipresent tone which is not much different from her Galadriel in The Lord of the Rings), Matt Damon as Sosuke's father Koichi (who is good but nothing to write home about), and Tina Fey as Lisa. Of them, Fey is the best voice in the entire cast, imbuing the character with just the right amount of spirit and personality. Her scenes with Sosuke show real chemistry. On the other hand, Cloris Leachman, who was spectacular as Dola in Castle in the Sky, is disappointingly wasted as one of three handicapped elderly women (she barely has any lines!), who are also voiced by Betty White and Lily Tomlin. Of them, only Tomlin's character, a cantankerous woman named Toki, shows any real personality, but if I were casting the movie, I'd switch Tomlin with Leachman. The script adaptation flows well for the most part, although the inclusion of Japanese honorifics, like "sensei" and "san" feel somewhat out of place for a dub that's supposed to be targeted toward a wider audience. Probably the only really jarring drawback of the dub is a blasty techno-remix of the film's catchy (but ridiculously repetitive) title song, which thankfully doesn't occur until midway through the closing credits. Considering that the rest of the movie features a lovely score and a soprano-belted opera number at the beginning, it's a very curious, unfortunate marketing ploy. Compared to Disney's other dubs for Ghibli, this one is less seamless, but it still does its job well for the most part.
On the whole, Ponyo is a good film; a fine piece of animated work which is perfect for youngsters and family audiences. Due to the loss of momentum toward the end, though, it falls far short of classic status. Since Miyazaki at his least is still better than a majority of other animated films, though, I'll be generous and give Ponyo a full star recommendation, because any feature of his is still very much worth watching, particularly on the big screen. (Be sure to catch it in the theaters while you can.)
Reviewer’s Rating: 10
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May 23, 2009
Fans who remember Isao Takahata best for his relentless tearjerker, "Grave of the Fireflies", could very well react with surprise and shock upon viewing "Pom Poko". This lavishly animated tale about raccoons battling for their homeland (which was the biggest hit of 1994 in Japan) isn't so much a heartwrenching tragedy as it is an interesting amalgam of humor, drama, and action--all delivered in a way that is daringly original for animation. At times, the viewer gets treated to scenes which recall the one-two-three emotional punch of "Grave of the Fireflies", but even though the tone of the movie is somber, a handful of lighthearted
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moments elevate the overall production out of depression.
As this is a Studio Ghibli film, production values are spectacular. Backgrounds are painted with a tasteful mixture of simplicity and art, and the raccoons are as cuddlesome as you would expect--especially when they shape-shift from "ordinary" animals to Saturday-morning-cartoon style critters in the style of shows such as "Care Bears". (If you're scratching your head while reading this, don't be alarmed--according to Japanese folklore, raccoons have the power to transform into anything--including human beings!) The actual animation is as colorful and imaginative as you might expect from a Ghibli movie--and there is one scene where we are treated to cameo appearances by Porco Rosso, Kiki, and Totoro.
While "Pom Poko" has a story to tell and a meaningful message for one to think about, its character and plot aspects may come across as a bit off-putting to viewers expecting a typical animated feature. Indeed, while some raccoons identify themselves with distinguishable names and/or personalities (for example, Gonta is a burly, rough-and-ready raccoon who is always looking for a fight, while Oroku is the "wise woman" of the tribe), the story offers little in the way of character development. In fact, most of the action in the story is narrated (by Maurice LaMarche in English, Kokondei Shinchou in Japanese), which elevates the overall effect of the movie to that of a semi-documentary. For the most part, this approach works to a very interesting degree and is a refreshing change of pace. However, there were some scenes in the movie where I wished the narration could have been reduced a little bit, as it sometimes gets in the way of appreciating the beauty of the visuals onscreen.
Aside from this, the biggest controversy about "Pom Poko" seems to be centered on several scenes where the raccoons can inflate and/or transform their testicles(!) for multiple purposes. One particular scene involves a raccoon flattening his testicles against a truck, causing its driver to crash. Such moments may be alarming to children, but it is important to remember that while we see the testicles at times, the movie is, after all, animated. Even still, while a Japanese audience may take such scenes naturally, squeamish viewers in America could react differently. In fact, as a solution to handling this kind of translation issue, the English language version (produced once again by Disney) refers to the testicles as "pouches". That's a somewhat awkward decision, but it sure beats digitally removing the testicles from the scenes they're in.
"Pom Poko" was obviously a nightmare for English dub writers Cindy and Donald Hewitt to translate (especially since much of the movie is rooted in Japanese culture), but I really have to commend them for their efforts. There is some Americanizing here and there, but there was little, if any, that I could find missing in their script. In fact, I was most impressed at how they handled the songs; while at least two of them come across as a little contrived and/or corny, others flow so naturally that you never would have sworn that these were originally Japanese folksongs.
Another interesting aspect of the dub is the voice acting. With the exception of Jonathan Taylor Thomas (star of TV's "Home Improvement"), the cast consists of veteran performers who are known for cartoon voice work; Tress MacNeille, John DiMaggio, Russi Taylor, Andre Stojka, and Clancy Brown, to name a few. Whether this was done to cut down on costs for big-name stars or for avoiding aural distraction is unclear, but when listening to the spirit and energy that the aforementioned voice artists give their characters, it really doesn't matter.
"Pom Poko" may be an unusual entry from Isao Takahata, and its foreign aspects may not appeal to everyone, but if given a chance, the film offers a colorful display of imagination and pathos as well as an experience unlike many that one will find from ordinary cartoons.
Reviewer’s Rating: 7
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May 23, 2009
Of all the movies Studio Ghibli has produced, "My Neighbers the Yamadas" could probably be the most unconventional of them all. This family comedy feels like a very jarring change of pace for director Isao Takahata, the man who gave us a heartbreaker in "Grave of the Fireflies" and a docudrama fantasy oddity called "Pom Poko"
For one thing, the feature is not--I repeat, IS NOT--plot-oriented. It comes across as a series of individual skits involving the titular family in their day-to-day life. The lack of a narrative may put off people beforehand, but doing so could very well deprive you of a most delightful--and refreshingly
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original--viewing experience. Watching how the Yamadas interact and go about life is every bit as poignant, funny, and off-the-walls as real family life can be; not only are we treated to disputes on who gets to watch TV, but we get to see stories such as the youngest sister, Nonoko, getting accidentally left behind at a shopping mall and all the trouble her parents go to in order to find her. The movie also relishes in silliness and surrealism--especially in the sequences where Mr. Yamada imagines himself as a superhero rescuing his wife and mother-in-law from crooks and the showclosing "Que Sara Sara", where the family floats through the sky on balloons. All these random events unfold at a roller coaster pace.
What I enjoyed most about the movie was the way it looks and sounds. For "Yamadas", the animation is produced in a newspaper comic strip style, which, given that this is what the movie was based on, is an ingenious match for its nature. Simplistic scribblings straight out of a serial fill the screen with a charm that is utterly irresistible. The catchy, tuneful score adds to the essence of the whimsical atmosphere. Employing bits of famous classical pieces on the soundtrack (such as Mahler's First Symphony, Mendelssohn's Wedding March, and Leopold Mozart's Toy Symphony) is a very inspiring touch.
There was only one thing about the movie that I found very confusing: at the end of most of the "segments" present in the film, we see what appears to be a quote taken from various poets. I was also unclear about the "pachinko" references, and the scene where Mr. Yamada is throwing cards down for his family left me puzzled. This is obviously a film steeped in Japanese culture--and one that is more likely to be understood by a Japanese speaking audience.
Which brings me to the biggest problem I have with the Disney dub: while English script writers Eric Garcia and Leo Chu earn points for attempting to remain as faithful to the original material as possible, they do so in exchange for making any effort in presenting this story to a wider audience who would be otherwise unfamiliar with the heavy references to Japanese culture. That alone makes "My Neighbors the Yamadas" the weakest of the Disney-Ghibli dubs I have heard thus far.
This is not to say that the dub isn't worth watching, however--on the contrary. While the script lacks coherency in places--although the writing is very amusing and very entertaining overall--I have no problems with Disney's selection of actors to record the voices. The incomparable James Belushi takes on the role of Mr. Yamada with exuberance and enthusiasm, and Molly Shannon voices his wife, Mrs. Yamada, with just the right mixture of sweetness and no-nonsense demeanor; the scene where Mr. and Mrs. Yamada argue over who gets to watch the TV is delivered with dead-on comic timing and believability--making this moment one of the dub's best moments. Young child performers Daryl Sabara and Liliana Mumy play the Yamada siblings, Noboru and Nonoko, whose interactions are so natural that you'll swear that they recorded their lines together--which, as a matter of fact, they did!... well, for the cookie scene, anyway. Tress MacNeille, a multi-talented voice actress best known for roles in shows such as "Tiny Toon Adventures" and "Animaniacs", has been cast in many of the Studio Ghibli English productions, and it is a treat to hear her another--she nails the crotchety old Grandma Shige to a T and beyond. David Ogden Stiers makes a brief appearance in the movie as well, narrating the titles of the various "segments" in addition to the verses displayed at the end of each episode.
Steeped in heavy references to Japanese culture and atypical of animated features mainstream viewers are used to, "My Neighbors the Yamadas" may have a hard time finding its audience; the film was not a great success in Japan, and at this point it is hard to tell whether it will suffer the same fate in America. However, it is highly unlikely that folks seeking creativity and something different from the norm will go wrong by discovering this delightfully inventive and charming film.
Reviewer’s Rating: 8
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May 23, 2009
Yoshifumi Kondo's first and only film for Studio Ghibli (he died a few years after it was completed), WHISPER OF THE HEART, is an absolute delight. Gentle but not syrupy, this modern-day story about a girl and boy discovering that they have a lot in common is beautifully animated, compellingly characterized, and full of heart (pun intended).
Based on a graphic-novel by Aoi Hiragi with a script by Hayao Miyazaki, the movie centers on Shizuku Tsukishima, a somewhat absent-minded but sympathetic young High School student who would rather read books from the library rather than study for her school tests. Shizuku discovers that a certain
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Seiji Amasawa checks out the same books that she does, as detailed on the library checkout cards. When Shizuku first meets Seiji in person, she thinks he's a "stupid jerk" (he makes a somewhat snide remark about her supposedly "corny" writing abilities), but she soon discovers that he is a strangely gentle fellow who longs to become a violinist yet feels that his playing isn't as good as others say it is. Shizuku can relate to this, given that she doubts her talents as a writer. The story takes a dramatic turn when Shizuku discovers that Seiji will be temporarily leaving for Italy to train as a violinist. This inspires Shizuku to pursue her own talent, and she proceeds to write her first story.
At the surface, this would sound like a rather simple love story, but that's not all WHISPER OF THE HEART has going for it. Miyazaki's screenplay ingeniously allows the viewers to identify with Shizuku as she expresses the following emotions: frustration, disappointment, fear, joy, and vulnerability. This is displayed not only in her growing relationship with Seiji, but with her daily interactions with her friends, family, and her inner thoughts. We even see Shizuku deal with humiliation (and even guilt) when a boy reveals he had a crush on her all along, yet she only considered him a friend. Sometimes certain movies can delve a little too much on these angst-ridden elements, but in WHISPER OF THE HEART, this is handled in a way that is not so overbearing (or frustrating even) to the viewer.
The film also works in a subplot involving a captivating antique shop containing all kinds of sparkling treasures, including a charming statuette of a cat known as "Baron". The kindly owner, Mr. Nishi, is warm and supportive of Shizuku, especially when she decides to write her story based on the aforementioned "Baron" statue. He reminded me of Uncle Pom from CASTLE IN THE SKY, a similarly gentle old man who sadly only showed up for one scene; having this kind of character play an even bigger role in WHISPER is a delight.
Speaking of which, the scenes where Shizuku imagines her story are among the movie's most imaginatively animated moments. The film's artwork, typical of Ghibli, is top notch, but one particular sequence (one of the studio's first experiments with computer animation) is especially stunning. Here we see the Baron come alive and escort a fair young maiden (who strangely resembles Shizuku) across a graceful sky of floating islets. The character of the Baron is quite charismatic and one of the more memorable characters in the film; the only other notable feline we see is a pudgy furball known as Moon (aka Muta), who appears quite grumpy whenever Shizuku tries to talk to him.
Incidentally, both of these felines appeared in another Studio Ghibli production, THE CAT RETURNS, a pleasant but merely forgettable family flick considered by many (myself included) as an inferior spin-off. Not that Hiroyuki Morita's film doesn't have any charm, but WHISPER has something that THE CAT RETURNS didn't have, hence why it holds up better.
Interestingly, John Denver's immortal "Take Me Home, Country Roads" plays a crucial part in the story: the first half of the movie deals with Shizuku trying to translate the song into Japanese. This part of the story obviously gave Disney a lot of problems in terms of translation, hence why it was delayed from its English release for quite some time. Fortunately, their dub handles it in a way that remains true to the original intent, yet at the same time makes it easier for American audiences to connect with. Here Shizuku tries to write her own lyrics for the song, with each attempt improving as she learns to write from the heart. This approach works rather well, as I could sense little, if any, lost in the translation.
As much as I've heard people criticize Disney for the actors they've chosen to voice the characters in their dubs for Ghibli's works, I have practically enjoyed every one of their voice casts (save perhaps THE WIND RISES). WHISPER OF THE HEART is another one of my favorite dubs from them. As the insecure Shizuku, Brittany Snow speaks in a very expressive, believable way without being saccharine, and has an equally lovely singing voice. David Gallagher--no stranger to voice acting, given his work in KINGDOM HEARTS--provides an excellent contrast to Snow through his understated yet effective turn as Seiji. Cary Elwes reprises his role as the debonair Baron from THE CAT RETURNS. The person who takes the prize for best acting in the dub, though, is Harold Gould, who brings just the right amount of warmth, poignancy, and compassion to the kindly Mr. Nishi. Of course there will always be fans who prefer the Japanese version, but for me, the dub gets my vote.
However you choose to see WHISPER OF THE HEART, this is another winner from one of Japan's greatest animation studios. I never expected to love it as much as I did, and chances are you will too, if you allow yourself to be charmed by its warm heart.
Reviewer’s Rating: 10
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Jul 21, 2008
Gainax's staggeringly ambitious, 26-episode series Neon Genesis Evangelion is declared as one of the most compelling Anime productions of all time. It also happens to be one of most controversial. On one side of the coin are a bunch of loyal, unbending followers that idolize the show. On the other are a group of naysayers who say otherwise. As far as my views of Evangelion are concerned, I fall somewhere in the middle. In many ways, the show is indeed brilliant and thought provoking--something rarely seen in any animated production, American or Japanese. At the same time, however, there are elements of Evangelion that rub
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me the wrong way.
The show, set in post-apocalyptic Tokyo-3, involves alien-like monsters known as "Angels" that continually threaten the metropolis. Only psychologically messed up teenagers -- who include introverted Shinji Ikari, enigmatic Rei Ayanami, and mean-spirited Asuka Langley Sohryu -- stand a chance against them. They do this by piloting their Evangelions -- giant, superpowerful, robot-like fighters. In charge of the whole thing is Misato Katsuragi, a tough, no-nonsense woman who cares for the children while dealing with her own issues. Also calling the shots is Shinji's cold, unsympathetic father, Gendo Ikari, who seems to have an agenda of his own, although we're not entirely clear about what it is. And then there is the matter over whether the real threat in Tokyo-3 is in the presence of the Angels or an even more ominous organization, known as SEELE, which is occasionally seen as a group of tabloids with numbers.
As mentioned, there are many aspects of Evangelion that are good and bad. The technical aspects of this show are impressive -- particularly the dramatic and emotionally charged battles between the EVAs and the grotesquely designed angels; a sense of mystery and intrigue exudes from its complex storyline. As a matter of fact, the show is at its best when it focuses on the conflict between the Angels and the human race. Furthermore, even though a majority of the characters are basically unlikable (save perhaps, for Misato), director Anno does dedicate some episodes delving into their tormented pasts. This is often done in surreal, bizarre, "dream" like sequences involving kaleidoscopic imagery and inner thoughts. Also interesting (and sometimes disorienting) is the use of classical music for several episodes toward the end, notably Handel's "Messiah" and Beethoven's "Choral" Symphony. (Speaking of which, Shiro Sagisu's moody and haunting score is very complimentary to this show, although it times it does delve into blandness.)
It has been widely touted that the characters of Evangelion are some of the most complex, socially washed out beings ever committed to Anime. On one level, it provides for some intriguing interactions, from Shinji's estranged relationships with both his father and the bitchy Asuka to Misato's own fractured love affair with her off again on again beau, Kaji. The character development becomes gradually less intriguing, however, as each episode exorcises the same angst-ridden issues over and over again, with little to no resolution. In the surprisingly grim and violent latter half of the series, the characters all head into a downward spiral. At the same time, Evangelion starts to become less intriguing (if sometimes confusing) and turns messy, almost to the point of being totally incomprehensible. Questions that viewers are likely to have about the plot are never answered, and some later episodes have scenes in which absolutely nothing happens that last too long.
Another problem with Evangelion is its ending or rather, lack thereof. While Gainax's previous TV show, Nadia, took a wrong turn at the midpoint, it did get recover for its last episodes and delivered a strong, if too short conclusion. Here, however, the story simply falls apart. The final two episodes, which are very much played out like extensive therapy sessions, eschew both action and coherency in favor of deconstructing the protagonists' minds. In doing so, it makes the mistake of underwhelming the audience. There are some interesting artistic styles, like Shinji being drawn as a sketch in deep space, but even this potentially experimental approach is compromised by the lack of a structure for a compelling conclusion.
In spite of its faults, Neon Genesis Evangelion is still worth watching for many reasons. Its impressively directed action sequences, intriguing mysteries, and in-depth character studies have been seldom matched in others of its kind.
Reviewer’s Rating: 7
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Jul 21, 2008
For lovers of full-blooded sci-fi fantasy drama, Escaflowne is a must-see. Produced in 1996, this 26-episode series begins in modern-day Japan where we are introduced to Hitomi Kanzaki, an insecure, lovestruck student who has a special gift for telling fortunes using cards. She has eyes for the handsome captain of the boy's track team, but before she can confess her feelings, Hitomi finds herself magically whisked away to a far-off planet known as Gaea. This strange new place is filled with luscious forests and kingdoms that look as though they could have been drawn from 18th Century France, and are inhabited not only by humans,
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but by talking humanoid animal creatures as well! Two young men--Van, a brash, hot-headed young prince, and Allen, a charismatically charming knight--vie for Hitomi's affections while their girlfriends, sassy cat-girl Merle and lovely Princess Millerna, become jealous of her. As if this isn't troublesome enough, the entire world of Gaea is at war with the Zaibach Empire, led by the brooding Chief Strategos Folken, sadistically bloodthirsty commander Dilandau, and the shadowy Emperor Dornkirk. What follows is an epic drama that unfolds gradually as Hitomi deals with her feelings for both Van and Allen and the kingdoms of Gaea band together to defeat the opposing Zaibachs.
It's no wonder that this ambitious Japanese Anime series has been highly acclaimed by both reviewers and fans. For a television-made serial, production values are spectacular. The colors are rich and vibrant with imagination, and there are even some impressive, but subtle use of computer generated effects in various episodes.
What makes Escaflowne compelling as a series, though, is its labyrinthine storyline. Every episode built my interests, inspiring me to keep on watching, even when it sometimes slows down to concentrate on character development. Speaking of which, the folks who inhabit this tale are psychologically complex, showcasing positive traits as well as inner demons. Hitomi is a very confused, sometimes fickle young woman who is attracted to many people yet cannot seem to decide who she truly loves. Van is a socially washed-up young man who has suffered traumatic experiences in childhood and as such maintains an aggressive exterior. Allen, meanwhile, is handsome, dashing, and instantly wins the hearts of every women around (although it turns out that he too has an unfortunate past involving his father). While Van and Allen seem to respect each other at the forefront, their feelings for Hitomi threatens to cause tragic tension. Equally interesting are the scenes involving Folken and Dilandau. The former is calm and placid, while the latter is ever-ready to display aggressiveness.
The action sequences are skillfully choreographed, namely the ones where the titular mechanical giant--Escaflowne--an impressively customized suit of armor, squares off against similar mechas. Also worthy of note is Yoko Kanno's music, an ingeniously rich mixture of John Williams, classical music, and ethnic choral chanting. If anything, it was this soundtrack that captured my interests just as much as the characters and artistry. Kanno truly is a talented musician, and her works can easily hold their own against Joe Hisaishi's scores for Miyazaki's features.
All this, plus a whole lot more, makes Escaflowne an intriguing, creative series not only ideal for teenagers, but for a more mature audience as well. (Plus, it doesn't delve too much into excessive violence or mindnumbingly misplaced filler dreck, either.)
Escaflowne was first brought to the U.S. by the Fox Kids Network, and unfortunately it suffered from a series of cuts and drastic changes--notably the replacement of Kanno's masterful score with techno(!). Thankfully, the DVD release by BANDAI (which, by the way, has some interesting extras--namely the interviews with the Japanese staff) offers the entire series uncut and unaltered, and the Fox-produced changes have NOT been ported over to the DVD's English language track, so no problems there.
That said, some folks have issues with the dub, produced by Canada-based Ocean Studios; while it has its share of problems, notably occasional scripting mistakes in the TV series (Folken calling Van "brother" at a time when he's not supposed to, for one), and Andrew Francis' jarring portrayal of Dilandau (he plays him more like a spoiled brat rather than a maniac), this English track does benefit from some generally good voices. In particular, Kirby Morrow and Brian Drummond are superb as Van and Allen, Paul Dobson does an excellent job as Folken, but Jocelyn Loewyn takes the cake for the best performance overall as Merle; mainly because she reminded me of Angora Deb's delightfully sassy Leaf in the Lodoss War TV series (and I like these kind of voices, too). Kelly Sheridan, meanwhile, makes a decent Hitomi, although there are some times when she doesn't emote as strongly as she should. But even after hearing bits and pieces of the (higher-caliber) Japanese language track, I don't consider this dub to be too unaffordable for folks who can't stand subtitles.
Either way, chances are that you will find yourself absorbed in the dramatic power, twisting plot, and imaginative sceneries of Escaflowne from the moment you first lay your eyes on the dazzling opening sequences.
Reviewer’s Rating: 10
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Jul 21, 2008
As a 26-episode fantasy comedy Anime series, Gokudo is outrageously wacky, offbeat, and howlingly hilarious, crammed to the bone with more laughs than one would expect. If there were any title to rival Slayers for its humor and zaniness, Gokudo would be a worthy candidate, in that it refuses to take itself seriously while moving along at a zippy, roller coaster pace.
The title character of this tale is the most unlikely kind of hero anyone would ever want to meet--he's selfish, greedy, obnoxious, and has only two goals on his mind: money and hot babes! Gokudo is unabashedly an anti-hero, all right, and so
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one gets the impression that we're not supposed to identify with him. And yet, in spite of his disreputable qualities, there is actually something about Gokudo who is very likeable--perhaps because his personality is so over-the-top that one cannot help but laugh at him. The most comparable character to Gokudo is Lina Inverse, but unlike our favorite flat-chested sorceress, Gokudo has almost no redeeming qualities whatsoever--and yet he is all the more amusing for it. (He also tends to break wind in more than one location--particularly dealing with major baddies.)
His motley crew is an equally interesting bunch--there's Rubette, a tomboyish princess who shares Gokudo's temper and feistiness (somehow I know that these two are destined for each other), Niari, a lovesick womanizer of a prince who falls for every woman around, a gender-changing genie, a pregnant male panda(!), a pair of Chinese witches... and especially an annoying little midget from Hell, Ikkyu. With the exception of the genie, they are all some of the most self-serving, argumentative group of heroes you'll ever see--and yet the continuous laughs they provide throughout are precious.
The misadventures that Gokudo and his "friends" continually get into literally bounce off the walls with non-stop silliness and unpredictable plot twists. The story is divided into five "parts": In the first, Gokudo is sent to rescue a damsel from a castle with the promises of a rich reward and the life of a king as the prize. Then he decides to get involved in a desert trek that builds to a showdown with a mechanical giant. After that, we visit the kingdom of the Buddhas and Gods, where they manage to pick up a pint-sized brat of a goddess as an unexpected ally. The fourth arc, which is arguably the LOOOOOOOONGEST of the show, involves Gokudo and his friends switching bodies and exploring the underworld. In addition to being slowgoing, this arc makes the grievous mistake of recycling a sequence that may have been entertaining in one moment (the pop-idol quartet musical number) but now tedious in the next. The last arc involves a trip to some kind of native paradise where they face off with a pair of powerful gods and, of course, the final confrontation with the most unlikely antagonist imaginable--a manipulative old hag. Although the unexpected twists of the plot hamper the entertainment value at times (and the animation and music being little more than cheesy, low-grade quality), Gokudo is nonetheless a showstoppingly funny fantasy farce which should be a hit with comedy-fantasy-adventuregoers.
While people are bound to be, well, opinionated about dubbing in general (an argument not uncommon with Anime series and movies), I have to say that this particular English language track produced by New York-based Headline Sound is loads of fun. Daniel Kevin Harrison simply *is* Gokudo, the loud-mouthed, crude, impulsively selfish anti-hero of the piece. He sinks his teeth into the role with demonic, zany glee, and one of the primary reasons why the dub works is because of his performance.
He shares terrific chemistry with Angora Deb, another one of my favorite NY actresses, who plays Rubette. I have heard Deb in various other roles for dubs, my favorite of which is Leaf from Lodoss TV, but this is the first time I got a chance to experience her playing a lead, and she does so with glorious hamminess. One of her best moments is the episode where Rubette sings "red, red, red"; I was in complete stitches. Ed Paul also does a great job with Prince Niari; he sounded very suave and sexy while very courageous and daring at the same time.
The rest of the cast includes Greg "Ghim" Wolfe (credited here as Chunky Mon) as the Male genie, Jessica "Excel" Cavello as her female counterpart, Georgette Reilly as Ikkyu, J. David Brimmer as two basso-voiced heavies, Pete "Wagnard, Hiroyuki Miyazawa" Zarustica as the Panda, and various incidental roles performed by Rachel "Martina" Lillis, Billy "Parn" Regan, Lisa "Deedlit, Lina, Azalyn, etc." Ortiz, Megan Hollingshead, Meg "Pirotess" Frances, Liam "Hideaki Asaba" O'Brien, and others from the New Yawk dubbing crew. Add to this an equally entertaining adaptation provided by director Bill Timoney and, for a few episodes anyway, Rachel Lillis (which occasionally "Americanizes" Japanese jokes and strays from the original subtitle script, but not by much), and you have one heck of a dub to check out.
While Gokudo may probably wallow in the shadow of other shows of its kind (namely, of course, Slayers), those who give it a try will find it to be deliciously silly, zany, laugh-out loud fun.
Reviewer’s Rating: 8
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Jul 21, 2008
If you found Grave of the Fireflies depressing, just wait till you see Now and Then, Here and There. A shocking entry for Akitarou Daichi, the man responsible for the delightfully funny Animation Runner Kuromi, this thirteen-episode mini-series is often disturbing with nary a lighthearted moment; at the same time, though, it is very intriguing and interesting to watch.
The series begins on a deceptively cheerful note when young Shuzo Matsutani--who refers to himself as Shu, so that's what I'll call him from now on--is making his way home from a kendo practice match when he sees -- wouldn't you know -- a mysterious, quiet
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girl sitting alone on a water tower. The girl, who goes by the name of Lala-Ru, catches Shu's eye and he somehow manages to strike up a conversation with her. Suddenly, out of nowhere these giant snake-like machines appear and kidnap the girl. In trying to rescue her, Shu finds himself transported away from his cheery hometown of Japan into a dreary, desolate futuristic world adorned with the very fitting name of Hellywood. And this new place is sheer hell indeed; Shu finds himself prisoner on a dominating fortress where children from other parts of the world are being whipped into war soldiers. It turns out that Lala-Ru has a pendant that can bring water and life back to this desolate world, and the insane, maniacal despot who commands the fortress, Hamdo, wants it at any cost. Of course, Lala Ru does not have it; Shu took it from her in a vain rescue attempt only to lose it again when he is taken prisoner himself. Subjected to physical torture and abuse, Shu is forced to become a soldier and observe one horrifying atrocity of war after another.
As with Grave of the Fireflies, Now and Then, Here and There deals with the consequences of war as well as the plights of lonely individuals struggling to survive. Here, however, the trauma is turned up by a huge notch. The children forced into war are a rather surly, sometimes confrontational bunch forced to commit terrible crimes against their will, making this a potentially sadder and bleaker story. There are plenty of scenes of brutal violence, including backlashing, murder, genocide, and others that leave little to the imagination. But all these seem like nothing compared to one particularly mean-spirited subplot, in which a young American girl, Sara, is raped by one of Hamdo's soldiers. (We later discover that she is pregnant from this encounter.) There are also several moments where Hamdo makes somewhat sexual advances toward Lala-Ru, much to the chagrin of his lady lieutenant Abelia. Such sequences make Now and Then, Here and There a very difficult and sometimes painful series to sit through, although the show does end on a positive note (albeit somewhat awkwardly). Needless to say, this is not a series for either children or the faint at heart.
It also deals with some very compelling character studies, particularly in the cases of the children held prisoner at Hellywood. One of them, Tabool, is nasty and cruel, secretly scheming to overthrow the dictator Hamdo and conquer the fortress. His childhood friend, the emotionally wartorn and borderline dangerous Nabuca, hides a noble heart but often gives in to his darker side. (Of the characters, he is the most interesting.)
Technically, Now and Then, Here and There is not the most impressive show; the color palette is appropriately dark and imaginative, but the animation itself is more like traditional television quality, not up to the polish of shows like, say, Fullmetal Alchemist. Simultaneously, however, this style gives the series even more of an edge. The melancholy musical score is very fitting, although not necessarily one that will be remembered long after the show's over.
Also worth mentioning is the dub, provided by Central Park Media. The company's track record of dubbing has been shaky, although their dubs for Lodoss OVA, Slayers, Kuromi, and World of Narue are among some of their better ones. So, too, is this one. Although the ADR script stays a little TOO slavishly close to the subtitles, the dialogue flows fairly well for the most part. The vocal cast includes veteran dub performers such as Dan Green, Crispin Freeman, Rachael Lillis, Scottie Ray, and Lisa Ortiz. All do excellent jobs, but it's really Jack Taylor that steals the show as the psychotically evil Hamdo. His bravura role makes up for the some of the other weaknesses of the dub--one of which is that the children sound too mature. Ed Paul's Shu, although emotionally sound, takes some getting used to as well. All in all, though, it works pretty well for this kind of show.
With its dark, dreary nature and often painful sequences, Now and Then, Here and There is not an easy series to recommend; however if it's emotionally powerful Anime you're looking for, then this series may be worth a look.
Reviewer’s Rating: 8
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