Why Dragon Ball GT was a mistake.

Dragon Ball, the 1982 manga which stole the hearts of young readers around the world rocking the likes of Shonen manga in the process together with it's anime in 1986 and it's second part dubbed  "Dragon ball Z" , undoubtedly the most famous adaptation,  in 1989. As the manga ended after a good ten year run and the anime followed up a year later the first of many generations were devastated by the end of their trusted childhood saiyan causing a massive plea for a continuation . It is horrible -even heartbreaking- when a part of your dire childhood ends after such a long run, we all wan't more. But at what price? An ending isn't always the worst alternative.

Rumored to be the best manga ever made, Akira Toriyama struck gold when he unleashed dragon ball upon the world captivating many generation which still grows t'ill this day. It's testament goes as far as being an inspiration for the big 3 of shonen manga's: Naruto (Massashi Kishimoto), Bleach (Tite Kubo) and  One piece ( Eiichiro Oda). 

Being part of the late golden age generation, I was first accustomed to dragon ball z and its Ocean dub when it hit television here in 2001 long enough to remember the sudden transition to the Funimation dub , before dragon ball kai and it's chewed up dub. And before I knew what Dragon Ball GT was...

The Inevitable end

After 325 chapter the story was drawn to an end (pun not intended... at first). It may not have been the best and most fulfilling one but it was the perfect closure we needed; peace was restored for a long time Gohan was married and independent with a promising child and Goku found a new hero who is the reincarnated version of the most ruthless villain, the only one who effectively destroyed the earth!Thus a perfect hero in his second life, kind yet inexperienced and full of power. Though we had a hard time accepting that , Akira Toriyama ensured peace that seemed to last. But with the never ending requests coupled with the creators consent and Funimations opportunity to milk yet another franchise...

Let's face it: when you love something to the point of Nostalgia it becomes hard to admit that it had to end even if the ending was right and satisfying, people will want more at any cause even if it ruins the franchise and what it stood for.
We all know that secretly, the only thing fans wanted was to relive the experience even if forced to choose between moving on or a more plausible alternative. Well, this happens when people aren't careful for what they wish for... 64 episodes of filler.

Grand Tour... Seriously?

Every transition in dragon ball from dragon gang to Z warrior had it's traits. We all enjoyed the journey to find the dragon ball and the friendship and adventure which had Chinese element based on "The journey to the west" as we explored the universe and it's many enemies we had the occasional comical relief be it the odd names (Briefs, pilaf, Oolong) or the perverted hermit. A good writer knows when to sacrifice element for innovative features to ensure the good rating which leads to the following:
I think Akira Toriyama realized that you cannot mix two crucial elements while maintaining an exciting story.When the journey ended, Toriyama went another path and choose a more action orientated approach by implementing other worlds and life forms deeming earthlings too weak to spice it up he also indulged his character into the new found dimension. Drifting away from the trusty monkey king to powerful Saiyan Effectively differentiating the two parts of goku's life. Dragon ball GT however, went a different way...

The Goku in Gt feels like a desperate attempt to recreate the dragon ball journey on a galactic level

Although there was a debatable superior among the two parts, they where both acknowledged as great due to their respective properties. But what if you could take the best out of both? The answer is: you can't.
By introducing the black-star dragon balls (and pilaf for some reason I can't possibly understand) which turned Goku back into the child he was in the beginning of all saga's, giving him somewhat the same allure as in dragon ball. It is pretty obvious that that such convenience-with the exception of made up dragon ball scattering around the galaxy- did not have any significant impact on Goku or his surrounding. Not only did they have a start, they also had a "re-newed" hero to attrack long time fans. If not for that then why didn't they just keep Uub like intended?  And (off-topic)  for god's sake why is vegeta's hair flat ?!

Thoug it was "supervised" by Akira Toriyama it did not mean it was his work, the only thing memorable added to the mix that could be credited to him was the super saiyan 4 form which was beyond believe.
GT went to far and contradicted  the original work by forcing important characters who settled down in the peaceful years  to take up the mantel as earth protector once again. Not only does it feel cheap it also has consequences on your image of the said characters in the original work, like Trunks & Goten who I can't stand in GT and because of it cannot 'un-link' the image of the young duo in Dragon ball z and their unfortunate  aftermath. It was ridiculously obvious that the younger generation was more interesting by the teenage life than battle, but due to the incomplete list of active Z- warriors and active saiyans left at the end of chapter 425 they had to improvise and make one dysfunctional group of fighters who were extra's for the only 2 characters who mattered, I don't even have to mention their names it is that obvious.

That is it... I may hit some nerves I may get some positive feedback, but I'm only describing the obvious. Do comment about your own view, It would be appreciated.

Also...

If you enjoyed this, you have no right to call the Garlic -and any other filler- bad

M.

• Follow me on Facebook / twitter (Subscribe! )

"Ohayo" (Good Morning) a NHK short film by Satoshi Kon

Ohayo (オハヨウ), Ani-Kuri 15 

Ani-Kuri 15 where 15 Short Films that ran on the japanese tv channel Nippon Hōsō Kyōkai (NHK) 3 seasons long as fillers between programs. I was able to retrieve the last one made by satoshi Kon in 2008. For those who saw it on Twitter/Facebook/Google+ keep sharing!

Paprika

2006

• Visit the film hub for updates

*Also I will review Paprika AFTER I finish one or two other Films.

Comment below !

Ponyo on the cliff (2008), The not so credibly sea adventure.

Directed | Written by: Hayao Miyazaki
Produced by: Studio Ghibli

Awards

• Best Composer; 3rd Asian Film Awards
• Animation Of The Year - Best Film Score; 32nd Japanese Academy Prize
• Ofuji Noburo Award;  63rd Mainichi Film Concours
• Future Film Festival Digital Award - Special Mention |Mimmo Rotella Foundation Award; 65th Venice Film Festival

""Gake no Ue no Ponyo (Ponyo on the Cliff by the Sea)," exceeds even "Totoro" in simplicity, with a core target audience about as old as its hero — 5. This is not to say that those who have mastered hiragana (or the alphabet) will be bored, as long as they leave their expectations for the usual Miyazaki film at the door."- Mark Shilling, The Japan Times

The surprising turn of the Ghibli-signed animated Epics filled with young heroes and brave tales to joyful eye-popping adventure was quite well-received in 2008 among critics and younger audiences. Ponyo sure came unexpected to the core-fans of the Miyazaki titles, well at least the  female role is present.


The joyful successor of films like Nausicaä Of The Valley Of The Wind (1984) The award showered Princess Mononoke (1999) ,the Oscar winning Spirited Away (2001), The oscar nominated Howls Moving Castle (2004) all spawned from Hayao Miyazaki's mind does not fail to please an audience. However, even if it became Anime of the year at the prestigious Japanese Academy Awards in 2009 I still think it failed to reach that level we are all acquainted to.

Despite the aforementioned reflection on this film. I would like to clarify the fact that this isn't a bad film. Better yet I was quite fond of it and the clear and vivid visuals are the greatest I've ever seen in terms of simplistic shading, it is hard to loose interest with the waves dancing on the screen with a constant tone of blue. There is nothing wrong with this movie...except for it's lowered target demography which tends to downplay potential story and credible conscientious choices. Keep in mind that I am way to old for this movie, I wish I would have known before hand, should've taken the hint from the trailer...

Story

When a humanoid goldfish like creature escapes from some kind of magical captivity cast upon her and her many dozen siblings by her father , wizard Fujimoto (Jôji Tokoro) to strand on seashore were her life is saved from dehydration by a 5 year old boy Sôsuke (Hiroki Doi).
Realizing the dangerous of human explore to little Ponyo and the consequences of it Fujimoto takes her back suppressing the human DNA she was exposed to which is making her human while unleashing a concentrated power deep beneath the sea that will awaken the next Devonian age with her second break-out attempt and her successful change to a human toddler.
The magical bond between a two beings to young to be determined as love is the center of this film and the core that drives this stories and it's lush visuals. It strikes me as impressive how complicated choices are dealt with such care and simplicity without undermining the estimated intelligent of it's viewers unlike western animation. Like when Sôsuke has to either truly "love" her and make her fully human or leaving her to become sea foam. The destruction and flood of the planet is very present and lively drawn (Fun fact: Hayao Miyazaki himself took the task of drawing the waves in this film. Worked out quite good believe me).

However, when the serious intentions of the movies are downplayed to fit the demographic expectation it took the dramatic punch out of it. I am always used to fully developed content from blood to full-blown heroism, this movie however, does not share these qualities. Sure, I enjoyed the adventures and the amazing escape when the flood was unleashed both underwater and above water (mostly underwater...that was magical). But the overall importance was lost when the pure-hearted decision was milked ad pushed to the foreground too many times. That is all good and sweet for children but it pushed so many amazing things to the background like the kind protective independent mom and the father at sea stuck with many other boots on unknown sea right after he failed to make it to see his family <--- interesting stuff right there, didn't become that interesting in my opinion.

Rating
7,5 - Children's sea adventure
This rating might be unfair mainly because I far exceed the expected age for this movie. But I still think that this movie is good and that a younger audience will fully enjoy it and so will a more sentimental one. The visuals and character are truly great especially the bold mother and her crazy driving skills. But, -and i can't say it enough- it still doesn't reach the Hayao Miyazaki standards that captivated me at an amazing rate.I'm pretty sure that my past self would have rated this 8,9 though. But right now, I don't think I will watch it again...so soon. Will you?



M.

• Follow me on Facebook / twitter (Subscribe! )

Millennium Actress (2001), An animation within a play.

Directed by: Satoshi Kon | Written by: Sadayuki Murai
Produced by Madhouse Inc.

Awards

• Best Animation Film & Fantassia Ground-Breaker Award; 5th Fant-Asia Film Festival
• Ofuji Noburo Award; 56th Mainichi Film Awards
• Orient Express Award; 34thSitges - Catalonian International Film Festival

"The film's matter-of-fact, realistic animation style makes a fitting contrast to the topsy-turvy nature of its narration. Though the moments of drama have an inescapable corniness, as a piece of visual legerdemain as well as a rumination on the place movies have in our personal and collective subconscious, "Millennium Actress" fascinatingly goes where films have not often gone before." - Kenneth Turan, Los Angelese Times

Millennium Actress (Sennen Joyū), the second work of the late Satoshi Kon which takes a turn from the illusion-indulged thriller violence to a fictional biography based on the life of real veteran actress Setsuko Hara. The movie that sets out to be a biography of an old secluded former actress rapidly turns into a vivid adventure filled with passion and drama as old memories are remembered and portrayed with the use of her early movie scenes as memory-recollection medium's. This brilliant display of "a play in a play" meant to set you of guard from the beginning truly is a Satoshi Kon signed feature.


When long time fan Genya Tachibana (Shôzô Îzuka) and his young jovial cameraman set off to document the  aged former actress Chiyoko Fujiwara (Miyoko Shôji), they find themselves reliving more than an old star's biography/Filmography. Chiyoko's love for film was at start a mere mascaraed for her love for a mysterious activist she fell in love with. The story entrusts us with the delicate story of how her feelings and stubbornness kept her searching for this man for decades in a time of national oppression and war in 1930-1940.


The clear and sharp color were slightly polished and uplifted from it's predecessor Perfect Blue becoming -in my humble opinion- more keen to the eye which could be joyful and quite dark  undertoned in dramatic entries.The Shadows are soft implementing the clear shading I so admire in this Animated Film.

Chiyoko's life told through her various scenes and character incarnations

The movie didn't have a wide variety of main characters but many recurring ones that cleverly substituted unknown antagonists in her film scenes to form the row of collage-like memories such as the man with the scar that hunts down the mysterious activist throughout the film . The characters that it did posses (even if they had very little character development) were the ones I LOVED. Not once did I think that Genya or his easy-going cameraman where an annoyance or in the way of a particular film scene of the actress' past, on the contrary they filled the position of spectators and main duo of this film, the ones that where in her plays and in Genya's case: the one that played a roles in her film scene-memories he watched and cried to. Genya's interrest and respect for Chiyoko is also explained and exploited and comes together in this -what can only be described as- satisfying closure.

Click to enlarge

Rating
9,8 - True Drama!

I loved this movie from beginning t'ill the last frame. The moving story and misfortunes in her lives illustrated by her own film scenes is a a clever concept in which her life is shown true fragments of her best moments and career. Every scene has its feel and moment that has been carefully portrayed through well written screenplay. I can only hope others enjoy it as much as I did even after the movie ended. Do comment if you saw this movie already and if you liked it as much as I did.

M.

• Follow me on Facebook / twitter (Subscribe! )

Metropolis (2001), the fictional future of many pasts

Directed by: Rintaro | Written by: Katsuhiro Otomo
Produced by: Madhouse

Award(s)

• Best Animation Film - 2nd Place;  5th Fant-Asia Film Festival
• (None out of 3 Nominations)

"Playing like a candy-colored hybrid of Fritz Lang's film of the same name and Ridley Scott's Blade Runner, Osamu Tezuka's Metropolis borrows its plot liberally from numerous legendary sci-fi sources (despite the fact that the original manga was released in 1945, certain cinematic aspects can't help but appearing overly familiar), all the while dazzling viewers on the same cutting-edge visual level as suchanime classics as Akira and Ghost in the Shell. "-JASON BUCHANAN, Rovi (Allmovie) 

Fritz Lang and Osamu Tezuka 

The 2001 adaptation of the 1949 manga of the same name by no other than the godfather of manga himself, Osamu Tezuka which in turn is inspired on the innovative 1927 silent film Metropolis by Fritz Lang. This movie shows it's worth as a piece written by the man behind the acclaimed cyber-punk manga Akira.
The filtering process from genius silent film and sci-fi predecessor to many great films in hollywood's golden age of cinema to a memorable manga brought forth by one of it's pioneers and all time legends who also claimed that he based his work of a single still image of its name sake is a remarkable homage,marvelous and a debate starter of preferences between the above-mentioned works .Be that as it may, the name and premise of this movie spans generations of great minds and great screenplay.

Now I admit that I never saw the original motion picture, therefore not being able to discuss which version is undeniably better. But I can however, compliment this films stunning visuals and accurate recreation of Tezuka's art style while enhancing the monumental posture that is Metropolis and its heaven-reaching tower.I'd also state that the film and animated film both posses an element of originality of it's own cancelling the thoughts that this movie is a copy or a cheap homage. It is not...

This movie is a colorful blend of animation and futuristic technology while preserving aspects of the presumed year the manga was made, probably due to the accurate adaptation of Osamu Tezuka's work (with the exception of some character changes).
While the animated feature and character development fair well in this movie, some turns of events do not and linger in my mind even after I finished this movie...twice.
 For example:

1. The japanese Detective Ban Shinsaku (Kôsei Tomita) who -together with his nephew Kenichi (Kei Kobayashi)- is the main protagonist who came to metropolis to arrest Dr. Laughton for the crime of human Organ-trafficking. Due to unfortunate events they find themselve separated: The detective with it's robot guide (with a serial number as name I won't even try to write that...) and Kenichi with the Tima  (unbeknownst to both of them that she is a robot made for a destructive purpose). Logic has it that the detective will search for his lost nephew who could be dead for all he knows.Well...he does not. While he shows faint signs of concern he does not search thoroughly for his nephew to the point that 5 minutes inward in the movie you can see him eat a hot dog like their is no problem in the world. It's an insignificant flaw but it does raise some moral questions.
2. There is an escape scene where Kenichi has to run away and hide with Tima for safety while being shot at repeatedly. It isn't exactly news that antagonists are horrible at aiming. But to miss 5 shots at two people standing still? That's pushing it... I know that it would have crippled the chasing scene and important turn of events but he could've at least scraped him.

The turn of events and cruel human-to-robot violence fuel the main thoughts that robots are abused and misunderstood as one of it's biggest enigma struggle to understand that she is not human and is destined for great destruction. That concept is constantly pulled back and forth in terms of importance in the movie it didn't quite stick, it was a mere reminder of interaction between humans and the machines much like The Animatrix portrayed  but less impressive. They should have worked on it more is what I'm getting at. Some bonds like the detective and his appointed robot partner where hardly credible and forced. I often found myself not believing them.
 The kind-hearted kenichi finds a fitting place in this turmoil and creates strong bonds with them and Tima in particular. The chemistry between the two said characters is portrayed as strong and emotional and plays an important role near the end. It is a shame that that bond wasn't exploited more to maximize the emotional and moral impact at the end of the film.

Rating

7,5 - Futuristic thrill !

The first animation film that taught me that not all movies are for children. I still cherish this childhood memory that screened at midnight on my old TV. The dept and visuals of this film are a mixture of Osamu tezuka particular characteristics and Fritz Langs original picture. It is not the greatest movie but it still deserves some respect and attention. 

M.

• Follow me on Facebook / twitter (Subscribe! )

Perfect Blue (1998), an anime psycho-thriller

Directed by: Satoshi Kon | Written by: Sadayuki Murai, Yoshikazu Takeuchi (novel)
Produced by: Madhouse

Awards

• Best Animation Feature; 2nd B-Movie Film Festival
• Best Asian Film; 1st Fant-Asia Film Festival
• Best Film - Animation; 17th Fantasporto

"The film is inundated with frightening and sordid imagery. I would definitely categorize it as a horror film complete with vicious stabbings, a naive female victim being stalked and hunted, and a staged rape scene that is downright chilling. Don't be fooled into taking your kids to see this one just because they like Power Rangers. This one will be rated R and deservedly so."    - ATHAN BEZAITIS, Filmcritic

Perfect Blue  (パーフェクトブルー Pāfekuto Burū), Satoshi Kon's first Film as a director which was screened in 1997 at the FantAsia International Film Festival. The exceptional and reality-twisted story is one of the first in the -by then improved- Satoshi Kon films like it's acclaimed and highly acknowledged like-minded successor madhouse marvel Paprika in 2006. The story takes you through the life of a young girl Mima (Junko Iwao) who goes from Japanese Pop-idol to become an actress as her life and reality spirals downwards shattering the common sense of reality and dragging it down with it emphasizing the events throughout the movie.



The background and animated visuals are stunning and true to the Madhouse quality in the 90's, It is clear and pleasant to the eyes while accentuating certain feelings of a scenes by clever use of lighting and reflections while maintaining an animated sense of reality.
Satoshi Kon was not afraid to remind his faithful audience that this is in fact a fantasy-thriller. The gruesome stabbings and unpleasant nudity is to be taken seriously and is a considerable change from the silent beginning of the movie, beginning with a frightening accurate websites that practically follows her every move.
Mima's state of mind deteriorates to the point of paranoia which is cleverly portrayed as her growing role in the thriller TV Show shares the presumed same symptoms as her mixing real life experiences with her acted character's persona while dealing with her imaginary Idol self" which constantly haunts her. It is mind-blowing how the line between reality and delusion becomes non-existent to the point of psychological disorientation, what might be real could easily be a dream or her acting performance. This is the mind of a person who lost herself and is clinging on to her sense of desperate reality.

Be that as it may, the film's scenario had it's flaws: considering the fact that a few important individuals where brutally slaughtered you'd think that panic and fear would be a factor, well you thought wrong. It took two murder and a bomb injury (in front of a dozen witnesses) to strike some level of awareness that Mima could be in danger especially as one of these cases is the screenplay writer of the TV show she debuted in. It didn't necessarily affect the viewing experience but it did linger in the deepest depths of my mind... the whole time.

Rating:
**** A psychotic thrill!
The transition between reality and fantasy was sublime despite the forced entry in the psychotic aspects. The limits of the human mind are exploited and re-invented by this movie as the psycho-driven fantasy are accompanied by fragments of reality and moral understanding. the A truly great start as director for the late Satoshi Kon.

• This movie is rated R due to violence and nudity, keep that in mind.

M.

• Facebook / twitter (Follow me!)

Spirited Away (2001), Re-written post

Directed & Written by: Hayao Miyazaki 

Produced by: Studio Ghibli

Awards

• Best Animated Feature; 75th Academy Award (oscars) , Critics Choice Award  - Broadcast Film  Critics Association Awards, National Board of Review, USA (NBR Award) &  Online Film Critics Society Awards
• Golden Bear (Best Film); Berlin International Film Award
• Silver Scream Award; Amsterdam Fantastic Film Festival
• Annie; Annie Awards

1. Outstanding Achievement in an Animated Theatrical Feature
2. Outstanding Directing in an Animated Feature Production
3. Outstanding Music in an Animated Feature Production
4. Outstanding Writing in an Animated Feature Production

• Best Film & Best Song; Japanese Academy Prize
• Best Film; Blue Ribbon Awards, Durban International Film Festival, Mainichi Film Concours &  Nikkan Sports Film Awards
• Special Combination "For artistic contribution to the field of animation"; Boston Society Of film Critics
• Audience Award - Best Film; Cambridge Film Festival
• Cinekid Film Award; Cinekid
• Best Animated Film; Dallas-Fort Worth Film Critics Association Awards, Mainichi Film Concours & New York Film Critics Circle Awards
• Best Foreign-Language Film; Film Critics Circle of Australia Awards
• Best Animation; Florida Film Critics Circle Awards & Los Angeles Film Critics Association Awards
• Best Animation/Family; Golden Trailer Awards
• Best Asian Film; Hong Kong Film Awards
• Reader's Choice Award - Best Film; Kinema Junpo Awards
• Best Director & Best Music Score;  Mainichi Film Concours
• Best Animated Film; Phoenix Film Critics Society Awards
• Best Narrative Feature (Audience Award);  San Francisco International Film Festival
• Best Motion Picture, Animated or Mixed Media; (Golden) Satellite Award
• Special Mention; Sitges - Catalonian International Film Festival

*And THAT'S the last Award. Can you believe this ? I had to group some awards in certain categories to make a descent list!

The  2001 animation indulged in fantasy-adventure that can only be produced by the illustrious minds of the Japanese animation industry (just being real people...). What started as a girl moving to another home ends in a nightmare-ish situation filled with ghosts, monsters and an old hag off a witch caused by a simple detour by a father who seriously needs to get a GPS. Chichiro (voiced by Rumi Hiiragi) is forced to surpass her fear and find a way to return to the human world and save her parents.A movie that captivated me when I was young and still does when I re-watched it.

The so-called "Japanese Walt Disney".

As a movie brought to us by the man who gave us My Neighbor Totoro and the nationally praised Princess Mononoke, it was already deemed watch-worthy before it even hit theater. So when the first scene rolled and million of viewer had their eyes glued to the colorful animation full of expectation and excitement,  It was decided...A movie that lives up to its hype has a richer viewing experience. Yes Hayao Miyazaki did it again, at the age of 60 he was still able to prove us that his craftsmanship hasn't rusted. The diversity of spirit and magical creatures where not only interesting on their own but also a great asset on their own as Chichiro tries to find her way true beings she never thought existed (I think some of them actually eat humans...who knows?). But i wouldn't praise a man for the collective work of a well oiled animation team now would I?

 Bringing us to the story of this film. The story of a young innocent yet faint-hearted girl who just happened to have a father that took a turn estranged from the main road and could not control his curiosity as he ended in-front of an old building which eventually lead him to an abandoned town which was surprisingly filled with a king's meal, which he and his wife ate....let me just momentarily interrupt this review by asking you: who does that?Eating food that's just lying there? Well they shouldn't of had that's for sure. Luckily Chichiro was too gullible t do so saving her from a curse that launched this small adventure driven by curiosity to a child's nightmare driven by the bizarre and colorful.
A once weak and courage-less girl is forced to face reality and pull herself out of a bad dream with the help of a young spirit boy who supposedly met her before named Haku and a few other people she meets and sadly also an old greedy witch named Yubaba (lit Bath crone), the owner of the hot baths that has the power to keep her  and human by making her sign a work contract which changes her name from "Chichiro" to "Sen" (hence the Japanese title) a name that almost made me forgot her real name throughout the movie. A great concept by using the power of names.

That's how Yubaba controls you. By stealing your name. So hold on to that card. Keep it hidden. And while you're here, you must call yourself "Sen." 

-Haku

The metamorphosis from the faint-hearted and slightly annoying (in my opinion) Chichiro to the Strong and responsible Sen is well animated and well portrayed. Going as far to confront spirits that legitimately freaked me out earning the respect of the spirits,Customers and workers alike. Towards the end of the movie you'll realize that Chichiro wouldn't be able to do half what "Sen" was able to. The determination to free herself and her parents above all surprised me, mainly because as the story unfolded it was cast aside temporarily as she grew accustomed to her entourage willing to help her new-found friends. A kind of 'anime-cliché' tough, but I was fine with it.

Image taken from Ganool.com

Rating:

**** Spiritual enchanting!

I was blinded by the diversity in elements and thoughtful planing that went into this HAND DRAWN animation. Hayao Miyazaki emerged as my favorite animation director/Writer bringing with him all that is good in animation. I couldn't help but draw forth my inner-child (corny I know) and let him enjoy it twice as much as I did. It would be foolish to pass on this animation.Now if you'll excuse me,  Hayao Miyazaki's filmography is waiting for me.

M.

• Facebook <= click right here!/ twitter (Follow me!)

Requests/Questions? Click here

* I already wrote this,  read the original here

Mamoru Hosoda & Satoko Okudera next great work?

The Wolf Children Ame and Yuki (2012)

"Hana is a 19 year old student who falls in a "fairy-tale like" love with a 'wolf man', over the course of the 13 year story Hana gives birth to two children - older sister Yuki, and younger brother Ame or 'Snow and Rain'. At first the family quietly lives in city trying to hide their wolf heritage, but when the 'wolf man' suddenly dies Hana makes the decision to move to a rural town, far from their previous city life."

-Via AnimeNewsNetwork 

As Mentioned In my previous post made by the same award winning director-writer duo who -to my surprise- have practically received the same core distinctions with both The Girl Who Leapt Through Time and it's successor Summer Wars which being 'Animation of the year' at the Japanese academy prize, Mainichi Film Awards and the Tokya Anime Award at the Tokyo Intenational Anime fair. I would like to specify that The Japanese Academy Award is one of the greatest national distinctions for both movies and animation films alike.

The same man who directed such works as Digiman Adventure and who was in charge of key animation for Dragon Ball Z before that and who became a great acknowledged director after joining Madhouse Studios which resulted in the first of the two - soon to be 3 - movies with the aid Satoko Okudera's , a respected screenplay writer for both live-action and animated films. The notion of the Mainichi Film Concours and the Japanese Academy Awards aren't strange to her after winning in the category of 'Best Screenplay' with"Ohikkoshi (moving)" in 1993  and "Gakkō no Kaidan"  in 1995 (Mainichi Film Concours and Japanese Academy Awards respectively) and her more recent film "Kaidan" was well received at the 29th Yokohama Film Festival and received a festival price for -yes,you might've guessed it- 'Best Screenplay'.
The result of a familiar collaboration of capable directors and writors is always astonishing as two minds are always better then one. Just like the ingenious  Takeshi Obata & Tsugumi Ohba well known for the widely acclaimed psychologic manga Death Note.




Expectation
*** 

Although I am absolutely sure that this will make a great movie for a younger demography, I still can't shake the feeling that it won't triumph it's predecessor in terms of dept and credibility. I will still watch it tough. Even though the wolf-children and the romantic concept isn't that appealing to me...

The Wolf Children Ame and Yuki ( Ōkami Kodomo no Ame to Yuki)  will be released on the 21th of July this year in Japan. 

*Did you know?

1. that Mamoru Hosoda was commissioned by Ghibli Studio in 2004 (prior to his career at Madhouse) to direct the award winning film "Howl's Moving Castle" ? Which he accepted but left during early stages of production forcing Hayao Miyazaki out of his retirement.
2. that Mamoru Hosoda Established 'Studio Chizu', a small anime studio that will co-produce along Madhouse Studios for this film?

M.

• Facebook / twitter (Follow me!)