Trivia:
When Umi Matsuzaki and Shun Kazama are embarking on the prodigious ship, there is a sign at the bottom of the wheel house (bridge) which says "Ghibli". This is the name of Hayao Miyazaki's studio. See more »
User Review
Gorō Miyazaki finds amazing form. A great addition to Studio Ghibli's filmography
Rating: 8/10
Gorō Miyazaki returns after his 'not so impressive' Tales from Earthsea
in 2006, with a wonderful adaptation of Tetsuo Sayama and Chizuru
Takahashi's 1980s manga. After gaining negative reaction, including
winning the 'Worst Movie' and 'Worst Director' awards in the 2006
Japan's Bunshun Raspberry Award, many have been apprehensive towards
Gorō's next project. This criticism has certainly hurt Gorō reputation,
but it all seems too critical. Many seem to forget that Tales from
Earthsea was his directorial debut, and with his father being the great
Hayao Miyazaki, it was always going to be tough for Gorō to make a
spectacular first impression. However From Kokuriko Hill is a fantastic
addition to Studio Ghibli's strong filmography and certainly proves
Gorō Miyazaki has enough cinematic and animation knowledge to work
under the prestigious banner. It's charming, funny and refreshing after
the constant magical and fantasy approach of the studio, and Japanese
animation in general.
The story takes place in Yokohama in 1963, where we follow High-School
student, Umi Komatsuzaki. She looks after her grandmother, younger
brother and sister, whilst completing the housework. Each morning she
raises her 'Safe Voyage' flag, and heads to school. After witnessing a
stunt by the 'Culture Club', Umi meets Shu, a fellow student who is
'second-in- command' of the club, and Shirou, the President of the
Student Council. It is this new found friendship and relationship
between Shu and Umi which builds and matures revealing an intertwining
background and charming romance. Alongside this character-driven story
is the struggle occurring between the high-school and the various
students of the 'Culture Club'. The dilapidated building filled with
history and memories is being threatened to be demolished. It's up to
the students to convince the 'adults' that their creation and interests
are preserved.
Written by Hayao Miyazaki and Keiko Niwa, the story is realistic and
historic in theme. Gone are the cutesy, magical monsters and
characters, as well as the environmental commentaries Studio Ghibli is
best known for. Instead From Kokuriko Hill deals with the 'Rise of
Post-War Japan' and the incoming Tokyo Olympics. The film certainly
creates a fitting atmosphere. Shots of Japan's growing exporting and
importing industries, office businesses and the hustle and bustle of
Tokyo, clearly indicate the modern transformation of the country. We
also experience the tragic nature of the Korean War and the impact on
families and friends. The story also focuses on the widening gap/ split
between traditional Japanese culture and the modern, business age. It
was during this 'miracle' period where Japan looked forward, rather
than back, and the contest between the 'school' and the 'students'
dramatise this theme. The contrast between the old buildings and
industries of Yokohama, and the trains, cars of Tokyo symbolise the
changing ideologies and philosophies of the nation.
While it may sound very mature when compared to previous Studio
Ghibli's films, it still deals with adolescents in a adult world, like
Nausicaa and Laputa. However whilst magical characters and mysticism
connect with the imaginations of children, From Kokuriko Hill uses its
high-school environment and the sincere, pure nature of childhood
relations to connect with younger audiences. It's the characters that
help with the portrayal of the story and the bring these environments
and themes to the screen. And they are fantastic. While not as
memorable when compared to the likes of Chihiro (Spirited Away) and
Totoro (My Neighbour Totoro), they still possess enough personality and
charm for the audience to care for them. We are introduced to various
different students, all whom have different personalities. However the
film focuses on the main characters of Umi and Shu and therefore
unfortunately leads to other characters not being fully explored or
developed to the same extent. Umi is beautifully portrayed and
developed. Her calm, mature exterior hides her damaged background. We
experience the loss of her father, and the growing pressure and
responsibility she has gained with her mother studying abroad.
Meanwhile, the strong-willed, charming personality of Shu, also
obscures an uncertain background that becomes clearer with the
relationship with Umi. Gorō and the writers have carefully constructed
the characters and story, achieving a steady pace that allows for a
deeper exploration into From Kokuriko Hill's world.
The film looks amazing. After the spectacular animation of the previous
Studio Ghibli production Arrietty The Borrower, it would seem
impossible to top the artistic achievement of that film. However From
Kokuriko Hill manages to. With its detailed interiors and sublime
visual portrayal of Yokohama and the coast, its simply jaw-dropping to
see the painstaking animation, artistic competence and talent that was
involved in creating such an beautiful film. Clever sequences of
animation liven up dull scenes like climbing stairs, as the 'camera'
constantly follows the characters rather than having still 'shots'.
Alongside the fantastic animation is the soundtrack which is brilliant
as always. Satoshi Takebe mixes long-flowing orchestral pieces with
lively, jazz-like tunes like those of Kiki's Delivery Service. It all
adds personality to each scene without over-powering or distracting
from the visual nature of the picture. Aoi Teshima 'Summer of
Farewells' is a fantastic theme song, that remains in the memory well
after the end of the film.
Overall, From Kokuriko Hill is a wonderful piece of animated cinema
that certainly shows Gorō Miyazaki growing talent. Not only is it a
beautiful work of art and song, but it's a triumph in story-telling and
character development. While it isn't as memorable as the likes of My
Neighbour Totoro and Spirited Away, and moves away from the magical
essence of Studio Ghibli, it is still is impressively constructed and
directed. And with the unfortunate inevitability that Hayao Miyazaki,
Isao Takahata and Toshio Suzuki won't be around forever, it is
reassuring that young artists and directors are successfully proving
themselves as the future of Studio Ghibli.
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