Studio Ghibli on DVD

[zedz]

The quintessential example of this is Walter Fischinger's poetic abstraction using Dukas's music, 'Study No. 8', which was plagiarised into the clodhopping anthropomorphism of Disney's 'Fantasia' ('unresisting imbecility', to quote Stravinsky).

Oskar Fischinger's version of the Dukas is indeed head and shoulders above Mickey Mouse's, but it's just one in a long series of single-handed medium-stretching masterpieces from him, another of which was very nearly Fantasia. Fischinger was hired to do the opening Toccata and Fugue segment, but was sacked (too abstract, too arty, too original). It's still the most abstract sequence (in a clod-hopping sort of a way), but there's precious little Fischinger there.

As for Ghibli recommendations, seek out as much as you can. Miyazaki is magnificent, and none of the films are missable, but if you want some even less Disney-inflected gems, try two of my favourite Takahatas: My Neighbours the Yamadas and Only Yesterday. The latter is sort of like cartoon Ozu.

[tryavna]

if you want some even less Disney-inflected gems, try two of my favourite Takahatas: My Neighbours the Yamadas and Only Yesterday. The latter is sort of like cartoon Ozu.

Yes, yes, yes! Only Yesterday is brilliantly evocative film. You simply forget it's animation that you're watching after a while.

I can't imagine watching anime films for the soundtracks

Believe it or not, there are some people I know who are huge fans of anime soundtracks -- cheese and all! Actually, I must confess that sometimes they hit the right note (pun not really intended). I think the soundtrack for Castle in the Sky is particularly good.

[Gropius]

Thanks for the further tips; Takahata sounds interesting. I have read good things about Grave of the Fireflies also.

Another thing I forgot to mention that makes me immediately sympathetic to Miyazaki is the fact that he named one of his films after the third, and most underrated, book of Gulliver's Travels. However, I wonder if he was aware of Swift's satirical use of language, since 'Laputa' equals 'the whore' (la puta) in Spanish.

[Michael Kerpan]

As for Ghibli recommendations, seek out as much as you can. Miyazaki is magnificent, and none of the films are missable, but if you want some even less Disney-inflected gems, try two of my favourite Takahatas: My Neighbours the Yamadas and Only Yesterday. The latter is sort of like cartoon Ozu.

As much as I like Miyazaki's films, I like those of Takahata even more. "Only Yesterday" is my favorite of all. I would say, however, that "Yamadas" is even more like cartoon Ozu. "

[Nadsat]

However, I wonder if he was aware of Swift's satirical use of language, since 'Laputa' equals 'the whore' (la puta) in Spanish.

Check in this website.

[forweg]

I had previously been sceptical about anime (all those 'cute', westernised faces), but I just saw a couple of Miyazaki films on one of the cable channels here, and of course have been forced to change my opinion. They're showing a few more, but all in the American dubbed versions.

Yes, it is rather unfortunate that, because the vast majority of "anime" is filth, the rest gets unfairly neglected as well.

Outside of Ghibli, I strongly recommend works by Satoshi Kon. He is one of my favorite directors in any field, animation or not. In particular, Millennium Actress and a television series called Paranoia Agent are gems.

Kon also seems to express anger and irritation at the "cute" obsession you mention.

[zedz]

Outside of Ghibli, I strongly recommend works by Satoshi Kon. He is one of my favorite directors in any field, animation or not. In particular, Millennium Actress and a television series called Paranoia Agent are gems.

I'd also recommend his trippy, reality-twisting Perfect Blue, which takes the cutesy cliches (it starts out as the story of a teeny-pop girl group) and turns them inside out, then inside out again, and so on, ending up in extremely strange (Lynchian?) territory.

[Michael Kerpan]

Outside of Ghibli, I strongly recommend works by Satoshi Kon. He is one of my favorite directors in any field, animation or not. In particular, Millennium Actress and a television series called Paranoia Agent are gems.

Kon also seems to express anger and irritation at the "cute" obsession you mention.

On the other hand, I definitely _don't_ recommend Kon. While "Millennium Actress" was somewhat interesting -- I was totally unimpressed by both "Perfect Blue" and "Tokyo Godfathers".

;~}

[forweg]

While "Millennium Actress" was somewhat interesting -- I was totally unimpressed by both "Perfect Blue" and "Tokyo Godfathers".

I actually somewhat agree. I enjoyed both of the films you mention, but didn't find them particularly special or interesting. I don't understand why Perfect Blue is considered Kon's "masterwork" or whatever. It's actually my least favorite work of his.

But that doesn't change my opinion of Millennium Actress and (especially) Paranoia Agent. They both changed the way I look at animation. (Believe it or not, television series' can sometimes be superior to films in Japanese animation.)

Paprika also looks promising.

(Er, and sorry for getting this thread off-topic.)

[manicsounds]

To get back on topic... Optimum UK will release "Only Yesterday" in September, which is still unreleased by Disney US.

[Caligula]

Only Yesterday, as well as the other UK Studio Ghibli films, are available at Moviemail for 8.99 GBP each (55% off SRP).

Shipping at .50 GBP per item to the UK, 1 GBP per item to Western Europe and 1.50 GBP per item to the rest of the world, is quite reasonable too.

[colinr0380]

Believe it or not, there are some people I know who are huge fans of anime soundtracks -- cheese and all! Actually, I must confess that sometimes they hit the right note (pun not really intended). I think the soundtrack for Castle in the Sky is particularly good.

That's me! There are some great soundtracks - I constantly play the first Hakkenden album, and the Akira soundtrack - but I love the cheese as well! The Armitage III soundtrack has got some brilliantly cheesy country and western style songs. It makes me groan but I find myself humming along as well!

I don't know how it happened but I've also got the first Records of Lodoss War album without ever having seen the series! I don't really want to see the series now though - it's more fun making up my own images to fit the music!

Only Yesterday has now jumped to the top of my must buy list along with the Criterion Jigoku and Playtime, the second Fantoma Fassbinder box and the five disc Dust Devil releases!

[manicsounds]

I got the remastered Lupin III Castle Of Cagliostro from Anchor Bay, and have some minor problems. The picture quality is great, much better than the old non-anamorphic Manga disc, but...

The anamorphic widescreen image is slightly windowboxed, so overscan won't affect tube TV owners. On a widescreen tube TV, very thin black bars are on the top and bottom of the 1.78:1 TV.

As for Plasma or LCD owners, there will be black borders on all 4 sides.

Not a huge problem for me, but maybe for others it might be distracting, as for Anchor Bay not using the full resolution, I think might be Ghibli's part. I'm sure they used the same transfer from the Japanese DVD, which for some reason, Ghibli releases are all windowboxed anamorphic.

Also, I don't know why, the opening and closing credits of the film are in English only, as opposed to the old DVD having Japanese. The older credits had animated motion in the credits, but the new English credits are of stills instead.

[cinema16]

Oskar Fischinger's version of the Dukas is indeed head and shoulders above Mickey Mouse's, but it's just one in a long series of single-handed medium-stretching masterpieces from him, another of which was very nearly Fantasia. Fischinger was hired to do the opening Toccata and Fugue segment, but was sacked (too abstract, too arty, too original). It's still the most abstract sequence (in a clod-hopping sort of a way), but there's precious little Fischinger there.

Fischinger quit Fantasia, he wasn't sacked, and requested his name be removed from the credits. One prominent reason, Disney insisted on making his abstract designs much more representational.

Lots of Fischinger masterpieces on the first DVD in a series, here

[Gloria]

Only Yesterday is, IMO, the best film Ghibli has released (along with Totoro), and is one of my personal favorites of any genre. It's a shame Disney's not in a rush to release it, but I suppose it would be hard to market here.

I recall Omoide poroporo (Only Yesterday) as one of the most wistful films I have seen... The recollections of a 60s childhood, mixed with the -somewhat melancholy- gaze of an urban office girl to the rural world she has grown to love -but is in danger of dissapearing- makes it well worth viewing.

It must be as close as an anime can get to Yasuhiro Ozu. Wonderful!

I had previously been sceptical about anime (all those 'cute', westernised faces), but I just saw a couple of Miyazaki films on one of the cable channels here, and of course have been forced to change my opinion.

I am often sad at the fact that some people has prejudices about animated films (and not just the Japanese ones) as a lesser form of filmaking. Even though most of the animated production is aimed at a young audience, this does not necessarily mean that they are sloppily done... I could say a number of animated features that would put to shame a great deal of "real-image" films. And animated films are, stylistically, one of the most visually exciting films on average (not to mention the most purely cinematic), and awesomely varied in form, from Disney to Malcolm McLaren.

Well, in Walt's defense, he has been dead since 1966.

Disney's last credit as a director was in 1945, but his brand lives on. I'm actually of the (vaguely controversial?) opinion that Disney did more damage to the growth of animation as a serious art form than anyone else in the 20th C.

Maybe the fault should not be entirely laid at Disney's floor? There are a number of people who just plagiarize the Disney style without offering anything new.

There is a lot of people who just limit themselves to imitate Disney, and then pretend they're giving you something new...and others, like Maclaren or the boys from Termite Terrace, who found their own language or riotously subverted the stablished Disney formula

There's a great period, in my opinion, at Chez Disney's, and it is the one that goes up the big strike. "Snowhite", "Pinocchio", "Fantasia" and "Dumbo" showcase a will to explore the medium and trying new formulas for the -then new- world of feature animation films: they remain still quite fresh and certainly powerful films.

However, the high cost involved in such exploration nearly made the company go bankrupt, so, that's why they evolved to formulas where they could keep in a safe ground.

Another factor is that, after the strike at Disney, the boss got rid of people whom he found too vindicative, or just those with an enormous creative talent that wouldn't submit to certain trite requests. Vladimir (Bill) Tytla and Norm Ferguson, for instance, were forced to leave the company. Others like Freddie Moore (the real father of what we know nowadays as "the Disney Style") was ostracised as (company-man explanation) "he didn't adapt himself to the needs of feature films"... Moore (like Tytla and Ferguson) was as much talented as any of Walt's "nine Old Men" or even more, but the "Nine Old Men" were no doubt better camp followers of good ol' Uncle Walt. (IMHO, I think that this was what originated the conformism of the"Disney style" as we identify it today)

[Michael Kerpan]

I recall Omoide poroporo (Only Yesterday) as one of the most wistful films I have seen... The recollections of a 60s childhood, mixed with the -somewhat melancholy- gaze of an urban office girl to the rural world she has grown to love -but is in danger of dissapearing- makes it well worth viewing.

It must be as close as an anime can get to Yasuhiro Ozu. Wonderful!

For an annotated script, that provides a fair amount of useful background information on "Only Yesterday", see this.

I actually see this utterly wonderful film as being more like a Naruse film than an Ozu one. ;~}

[Gloria]

I actually see this utterly wonderful film as being more like a Naruse film than an Ozu one. ;~}

Well, Naruse was on my mind, too, but then Taeko's view of the world is on average hopeful -when not outright cheerful!-... I think she would have adopted a sadder, or more melancholy, attitude if she had been played by the grand Hideko Takamine.

[Michael Kerpan]

Well, Naruse was on my mind, too, but then Taeko's view of the world is on average hopeful -when not outright cheerful!-... I think she would have adopted a sadder, or more melancholy, attitude if she had been played by the grand Hideko Takamine.

Actually, the Naruse film that this most reminds me of is "Lightning", which presents a very determined, very hopeful Takamine character. (No one has promised a subtitled DVD release of this masterpiece yet -- which is a very sad thing).

Another relatively new discovery, the 1947 "Haru no mezame" in which Naruse portrayed very simply and beautifully the everyday life (happy and sad) of a bunch of high school kids, with a very young Yoshiko Kuga right at the center. This comes across as _very_ like a live action Ghibli film. ;~}

[Gloria]

Actually, the Naruse film that this most reminds me of is "Lightning", which presents a very determined, very hopeful Takamine character. (No one has promised a subtitled DVD release of this masterpiece yet -- which is a very sad thing).

Another relatively new discovery, the 1947 "Haru no mezame" in which Naruse portrayed very simply and beautifully the everyday life (happy and sad) of a bunch of high school kids, with a very young Yoshiko Kuga right at the center. This comes across as _very_ like a live action Ghibli film. ;~}

... My, you're right! I'm afraid I was vehiculing the views of a Naruse expert of my country who regards his films as a catalogue of gloom an' doom: he didn't like "Lightning", curiously... I suppose it was too optimistic for him!

Anyway, I was thinking myself of the struggling heroines (whose efforts are not blessed with luck) Takamine plays in "Ukigumo" (Floating Clouds) or "Onna gaidan wo ageru toki" (When a Woman Ascends the Stairs) or not-too-satisfied housewives Setsuko Hara plays in "Meshi" (Repast) or the"Yama no Oto" (Sound of the Mountain)... But then you're right that "Lightning" things are looking up for her female heroine... yes, Hideko Takamine there is more like Taeko (though Taeko's folks are not as hapless as Takamine's, ha)

I have not seen "Haru no mezame" (as, alas, "Magokoro" or "Bangiku"), but I'll definitely keep an eye for it...

I hope that "Lightning" gets one day an DVD release... well, I hope the same for other Naruse films which are not in DVD.

[Michael Kerpan]

... My, you're right! I'm afraid I was vehiculing the views of a Naruse expert of my country who regards his films as a catalogue of gloom an' doom: he didn't like "Lightning", curiously... I suppose it was too optimistic for him!

Having now seen 52 Naruse films, I'd have to say that upbeat Naruse films are not nearly so rare as conventional wisdom would have one believe. And there are other upbeat (or -- at least -- not downbeat) films other than "Lightning" that are very, very good. I simply can't imagine anyone (who is reasonably sane) not loving "Lightning".

.Anyway, I was thinking myself of the struggling heroines (whose efforts are not blessed with luck) Takamine plays in "Ukigumo" (Floating Clouds) or "Onna gaidan wo ageru toki" (When a Woman Ascends the Stairs) or not-too-satisfied housewives Setsuko Hara plays in "Meshi" (Repast) or the"Yama no Oto" (Sound of the Mountain)... But then you're right that "Lightning" things are looking up for her female heroine... yes, Hideko Takamine there is more like Taeko (though Taeko's folks are not as hapless as Takamine's, ha)

Actually, the more I watch "Repast", the more I see it as a (very profound) romantic comedy, with as happy an ending as one is ever likely find in real life. This definitely strikes me as one of the films that influenced Takahata most -- it has the same sort of natural-feeling blend of humor and pathos we find in "Only Yesterday".

I love Takamine's mother in "Lightning" (Kumeko Urabe) -- one of those wonderful character actresses who helped bring many films to life. Mitsuko Miura (the most refined of Takamine's sisters) actually comes across an awful lot like Taeko's middle sister. But most of Takamine's relatives here are delightfully appalling.

.I have not seen "Haru no mezame" (as, alas, "Magokoro" or "Bangiku"), but I'll definitely keep an eye for it...

I hope that "Lightning" gets one day an DVD release... well, I hope the same for other Naruse films which are not in DVD.

I suspect that we will never see more than 12 or so Naruse films on subbed DVD (only 13 came out -- even in Japan -- though almost everything was shown on TV there -- one or more times). Alas, Naruse's catalog of films is not likely to get the kind of comprehensive Western release that Ghibli films have gotten.

[Gloria]

Having now seen 52 Naruse films, I'd have to say that upbeat Naruse films are not nearly so rare as conventional wisdom would have one believe. And there are other upbeat (or -- at least -- not downbeat) films other than "Lightning" that are very, very good. I simply can't imagine anyone (who is reasonably sane) not loving "Lightning".

Oh... I must confess I am green with envy: I have seen a round a bare dozen.
Re "Lighting", since my local reviewer had not praised it (you're right, his head may not have been working properly), and went to see it without spectacular spectations I enjoyed it much more... you know, you are led by someone to expect little and then you find a fine film like that... I agree with you that the actress playing Takamine's mother is very good in her role, she's the only character in the family who manages to appear as more positive than the rest... Still no wonder that the Takamine character wants to escape: I suppose she wants to prove that she, and nor her DNA, can take command of her destiny.

"Summer Clouds" also ends looking up -if you take the characters of the patriarch's children, who manage to get an independence their elders lacked at their age (not so much if you take the frustrated patriarch, who endured himself his father's rule only to find his children won't take it from him)

Actually, the more I watch "Repast", the more I see it as a (very profound) romantic comedy, with as happy an ending as one is ever likely find in real life. This definitely strikes me as one of the films that influenced Takahata most -- it has the same sort of natural-feeling blend of humor and pathos we find in "Only Yesterday".

... And particularly if we compare it with "Yama no Oto" where Ken Uehara behaves like a real jerk... In "Meshi" he is ignorant f Setsuko Hara's concerns, but there's some hope.

It is not often mentioned how good at comedy Naruse could be... even in the middle of a melodrama like "Ukigumo", the religious sect episode is wonderfully humorous (and its cinic stance makes it quite modern), and "Iwashigumo" was also very comedic... Not to mention the way Hideko Takamine scares out the Geisha who escorts Masayuki Mori in "When a Woman ascends the stairs": a turn worthy of Anna Magnani!

[Michael Kerpan]

Gloria --

I've been trying to keep the discussion of Naruse (one of my favorite activities) linked at least tangentially to Takahata. But it's getting harder to do. Maybe we need to find -- and resuscitate the Naruse thread that is buried somewhere. ;~}

Ah, here it is.


And, interestingly enough, the last post related to "Summer Clouds" (which arguably does have some relevance to the topic of "Only Yesterday."

[Gloria]

Aye you're right, I was, in fact, about to propose a Naruse thread or ressuscitate a previous one... I admit I got carried away. (We shall, hence, continue there).

Now, back to Takahata, apart from Omoide I have only seen "Tomb of the fireflies"... another impressive example that animation is far more than the "kiddie's stuff" some think... I got a lump in my throat right at the beginning. I'm not that emotional and I don't usually cry watching films, but with "Tomb of the fireflies" I had really to fight breaking in tears during most of the film.

I think that you can call that mighty cinematography.

Gloria

[Michael Kerpan]

Takahata is simply wonderful.

Even the weird "Pom Poko" is fascinating (even if not as fully successful as his best work) -- "Gauche the Cellist", "Grave of the Fireflies", "Only Yesterday" and "Our Neighbors the Yamadas".

I have to confess -- there are parts of "Fireflies" that cause me to get up and pace a bit. The pain one feels on the first viewing never entirely goes away, but on subsequent re-visits both the visual beauty and the moral complexity become more apparent.

[Gloria]

"Tomb of the fireflies" is indeed a film one finds hard to sit through straight. I read the original novel and, while touched, didn't move half way the film did. It makes you wonder what war is worth that makes small children to go through all that. Its sheer poignancy makes you angry.

You've mentioned "Gauche the Cellist", which Didn't come to mind when I was thinking about Ghibli! But I have seen that one, too!

This is all right one for kids, but a very constructive fable that can be seen by thoughened adults like me: a bit like the story of "Peter and the wolf" eh? Charming film.

It is strange nowadays to find films with the message of "Gauche...", as he becomes a good player by learning to listen to others (and says that without getting too syruppy).

Gloria