Starting Point: 1979-1996

Hayao Miyazaki

(Viz Media)

www.viz.com

By Chris Zimmerman
At 68 years of age, Hayao Miyazaki continues to flourish as one of the most respected and influential filmmakers today. Earlier this year, his film “Ponyo” opened in America after earning over $155 million dollars in Japan back in 2008 and becoming the country’s eighth highest grossing film.

Miyazaki has received praise from both critics and his peers including John Lasseter, the CCO of Pixar Animation studios, who also happened to write the forward for the book. Despite this, his work has only met with favorable success outside of Japan. While it may be a result due to lack of exposure, Miyazaki himself tends to shun the spotlight, preferring to be left alone to his art.

The essays and interview featured within offer a candid insight into the reclusive director’s innermost thoughts about everything from his work to the (then) current state of Japan. In his own words, Miyazaki describes what an animator’s goals should be and how the methods of animation have evolved over the years to what they are today.

The portrait he paints of himself is not a flattering one and may serve to surprise his fans. Inside he expresses his regrets that his work never permitted him much time at home with his family. He discusses how his wife was left to raise his children and how they inspired him to work harder.

“…they made me want to make movies for them, to show them certain kinds of work. My children were both my motivation for work and my best audience."

Also included are pages of notes (most of which are in Japanese) and meticulous sketches reprinted directly from his scrapbook. The notes that are written in English are fascinating to read especially those lined next to his sketches. Despite being only sketches, they display Miyazaki’s penmanship as most could be confused with finished drawings.

Starting Point is essential reading for any fan wishing to understand Miyazaki. This is the first and only collection to look beyond the man’s films, digging into his history and beliefs. Since it was originally published in Japan in 1996, Starting Point doesn’t cover his more recent and critically acclaimed work. There is however, more than enough here to keep fans occupied until hopefully a second volume is released.

Starting Point: 1979-1996 - A+

DVD Review: Cloudy With a Chance of Meatballs

My expectations were minimal when first sliding the DVD into my player. The trailers had done little to captivate my imagination save for provoking my appetite. Based on the initial previews, it seemed like just another unremarkable CG piece of cinema. Perhaps that is why I found myself pleasantly surprised by just how much fun the movie turned out to be.

Located in the fictional city of Swallow Falls, the premise of the story revolves around Flint Lockwood, a down on his luck inventor who desperately wants to discover the next big breakthrough in science. After several failed attempts that include “rat-birds” and “spray on shoes”, Flint has alienated himself from both his father and the town. Meanwhile, the town has fallen on difficult times with most of its residents destitute and living on sardines. In an effort to turn around the economic decline, Flint turns his attention toward creating a machine that can turn water into food.

Flint eventually succeeds and uses the machine to bring prosperity back to the town where he develops into a local hero. He soon develops a friendship with a cute but nerdy weather girl named Sam whose interests reflect his own. After finally achieving fame and status, Flint has everything he could ever want until giant meatballs begin crashing toward the earth creating the dilemma of how much food is too much.

What made this film such a pleasure to sit through was its way of playing on our roles in society and the clichés we make for ourselves. Flint’s relationship dynamic with his father is handled exceptionally well and will certainly be familiar to many. The romantic subplot, while also hackneyed, works quite well in that it avoids becoming just another pointless boring plot device. The audience becomes invested in Flint and wants to see him succeed on both fronts.

The animation is unique in that it is both simple while still ridiculously detailed. The characters maintain a cartoony appearance with large eyes to match their over sized heads, but all sport noticeable texture and depth that gives them a three dimensional appearance. Sam serves as the best example of this with her womanly figure and a face littered with freckles.

The film’s greatest strength however lies in its refusal to take itself seriously. Taking cues from Looney Tunes, Cloudy with a Chance of Meatballs stretches the boundaries of comedy. The humor is absurd and over the top but not so much that it turns the viewer off. It’s irreverent and silly without being tasteless.

Ultimately, Cloudy with a Chance of Meatballs should be considered its own thing. Comparisons with Pixar are inevitable, which is a shame because this is a movie that manages to deliver a straight forward story while still introducing the audience to outrageous concepts that in no way should work but do in the competent hands of the filmmakers. The film is cartoonish but believable, somehow meshing the two to create something emotionally purposeful and even sometimes beautiful.

Cloudy With a Chance of Meatballs - B

Special Features:

Directors' Commentary with Bill Hader

A Recipe for Success: The Making of Cloudy With a Chance of Meatballs

Key Ingredients: The Voices of Cloudy With a Chance of Meatballs

Flint's Food Fight Game

Extended Scenes

Early Development Scenes

Progression Reels with Introductions by Visual Effects Supervisor Rob Bredow

Interactive "Raining Sunshine" Sing-A-Long

Raining Sunshine” Music Video by iCarly's Miranda Cosgrove

Behind the Scenes of Miranda Cosgrove's "Raining Sunshine" Music Video

Make It Rain Food

DVD-Rom Link To Exclusive Online Fun

Spirited Away

Hayao Miyazaki has been referred to as the Walt Disney of his generation and it’s easy to see why. The patriarch of Studio Ghibli has produced, directed, and written several animated films that both critics and fans alike have taken to calling masterpieces. Spirited Away is no exception. It is without a doubt the finest piece of cinema to spring forth from Mr. Miyazaki’s amazing imagination. It transcends its own genre as few animated films do and takes the viewer on an adventure they won’t soon forget.

The film centers around the character of Chihiro Ogino, an ordinary girl who falls into a fantastical world of magic and desperately searches for a way home. While this may seem reminiscent of Alice in Wonder Land or the Wizard of Oz, Spirited Away distinguishes itself through its imaginative cast of characters. Unlike other well known protagonists who are prone to being enchanted by the worlds they enter, Chihiro acts as though a normal person would. Upon entering the world, her fear is apparent as the fate of her parents is grim and her ability to return home doubtful. She is a reluctant hero; an innocent child that must find the courage to overcome her despair and find a way back, forcing her to grow beyond her childhood identity.

Aiding her is Haku, a young boy whose true appearance is that of a dragon. He appears to be everything she isn’t. He is brave and cunning having decided on a path that he believes will eventually lead to his freedom. His strength becomes her strength and by the end it is Chihiro that is coming to his rescue.

Holding both their fates in her hands is Yubaba, a witch whose personality is comparable to many real world bosses. She manages a bath house with several otherworldly spirits under her employ of which she appears to care nothing for. Both Chihiro and Haku have been forced into her service in exchange for what they treasure. Yubaba’s motivation is money, as she is often shown putting on a fake smile in the hopes of delivering customer satisfaction that will guarantee her a huge payday, even if it’s at the expense of her employees.

These are the inventive characters that people have come to expect of Miyazaki, each with a unique look and personality to call its own. The distinctive style that Miyazaki is known for only adds to the supernatural feel of the film and lends itself especially well to animation.

Speaking of the animation, Studio Ghibli has outdone itself. It truly is a sight to behold as the characters move in a fluid manner that is exceptional for hand drawn animation. Everyone displays an unnatural level of realism that further demonstrates why Miyazaki is unequaled in this day and age. The lush and vibrant colors combine with masterfully drawn backgrounds to make each frame a work of art.

The pacing is perfect, allowing the audience just enough time to take in the world projected to them without rushing from scene to scene. This is helped in part by the music which is charming and breathes a sense of wonder into the film. Miyazaki simply takes the perfect amount of time needed for each scene to make its impact.

Despite the fact that this is an animated film intended for children, it’s easily enjoyable by people of all ages. Never once does it insult the audience, rather it rewards them with an amazing story, breathtaking animation, and sympathetic characters that all come together to form a brilliant piece of fantasy. Its mix of wide eyed innocence and compelling story elements make it a modern cinematic masterpiece that lingers in the viewer’s conscious long after the final credits roll, leaving them breathless and craving more.

Spirited Away – A+

The Melancholy of Haruhi Suzumiya

This is a series that should be required viewing for any fan of anime. Its gorgeous animation mixed with surprisingly inventive and up-beat characters make it a delight from the moment it pops on the screen.

The basic premise is that unsuspecting high school student, Kyon accidentally forms a relationship with the eccentric Haruhi Suzumiya and soon strange off the wall characters begin entering his life forever changing the way he viewed the world.

What makes this show tick is its characters and none is more central than Haruhi. Despite the fact that the series takes place from Kyon’s perspective, Haruhi is indeed the cause for everything that takes place. This can be attributed to the fact that according a few members of the main cast, Haruhi is a God living out a life she created for herself without even knowing what she is or what she is truly capable of. To Kyon and everyone around her, Haruhi appears to be just an ordinary (albeit a bit nutty)girl who is uninterested in the real world and continuously searches for strange, other worldly, paranormal activity.

Kyon plays the straight man to Haruhi’s insane antics, often questioning the meaning of their activities and reprimanding her when he feels she is out of line. Despite the fact that he is constantly told of her Godlike status and the repercussions that can come from making her unhappy, Kyon never shies away from sharing his true opinions on her ridiculous plans. In fact, Kyon most of the time shares his feeling of annoyance at her demands through inner monologue that is often times laugh inducing. One can argue that it is because of Kyon’s attitude toward her that makes Haruhi so fascinated with him. Slowly the two form a close relationship that never feels forced, but rather a natural progression of where their friendship was destined to lead.

Three other peculiar characters are introduced, each one gravitating toward Haruhi so as to study her and determine what exactly she means to the universe. The first is Yuki Nagato, a “human interface” created and sent by aliens to monitor Haruhi. She is a quiet girl with an infatuation with books and computer games and is quit adept at everything she does. This includes playing the guitar when it comes time for a concert or hitting several home runs when Haruhi challenges a rival baseball team.

Next is Mikuru Asahina, a time travel who is the subject of Kyon’s affection. She often bumbles her way through the day, whining with a childish high pitched voice whenever Haruhi sets her focus on her. Haruhi often forces Mikuru into dressing in revealing outfits in attempts to gain the attention of fellow students.

Last and certainly not least is Itsuki Koizumi, an esper with supernatural abilities that only manifest when certain conditions are met. Itsuki is often the one informing Kyon of the side effects that could happen should Haruhi become depressed or self aware. There is a sly almost sinister quality to him as he always appears with a smile and appears to know more than he lets on. Needless to say, Kyon trusts him the least.

These five characters make up the SOS brigade, a club Haruhi invented to appease her colossal imagination, never once realizing the true identities of the bizarre characters around her. Most of the time, the show doesn’t even focus on the character’s true abilities only showing brief hints to the audience. The characters personalities and their reactions toward the world around them is the true central theme of the series. In fact, after watching this show, one would be hard pressed to find a group of more likable characters.

As I stated before, the animation is top notch, almost movie quality, with each character given a unique look to distinguish them. Each one moves in a lively manner that is unfamiliar to today’s cartoons. The opening and ending themes are catchy and especially memorable in their depictions of the SOS brigade dancing enthusiastically to the song.

This is a series that mixes enjoyable characters with a unique plot to create a something that is new, fresh, and interesting. Wholly original and immensely entertaining, The Melancholy of Haruhi Suzumiya is sure to please any fan of the genre.

The Melancholy of Haruhi Suzumiya – A+