Adapted from Baku Yumemakura’s mid-‘90s manga series of the same name, Patrick Imbert’s “The Summit of the Gods” might reflect the awed and glassy tone of recent French animation (the similarly ethereal “I Lost My Body” comes to mind), but its most formative influence is fittingly Japanese: Studio Ghibli.
You might sense it in the structure of Imbet, Magali Pouzol, and Jean-Charles Ostorero’s screenplay, which unfolds through a series of nested memories à la Isao Takahata’s “Only Yesterday” — or “Citizen Kane.” More specific is how this film rustles with the same melancholic beauty that swirls through every frame of Hayao Miyazaki’s magnum opus “The Wind Rises.” Where that melodrama weighed the creative spirit against its most awful cost, this adventure story reaches even higher in its bid to understand why some men are compelled to climb the world’s tallest mountain and/or die trying.
You might sense it in the structure of Imbet, Magali Pouzol, and Jean-Charles Ostorero’s screenplay, which unfolds through a series of nested memories à la Isao Takahata’s “Only Yesterday” — or “Citizen Kane.” More specific is how this film rustles with the same melancholic beauty that swirls through every frame of Hayao Miyazaki’s magnum opus “The Wind Rises.” Where that melodrama weighed the creative spirit against its most awful cost, this adventure story reaches even higher in its bid to understand why some men are compelled to climb the world’s tallest mountain and/or die trying.
- 11/30/2021
- by David Ehrlich
- Indiewire
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