I occasionally get asked why I like anime and what makes it so unique. The response "it's not just for kids; anime is for grownups too" is one that you hear frequently in response to questions like these. I used to say the same thing, but after giving it some consideration, I realized that's not actually true of a lot of what's out there. If we're being completely honest, not much anime actually deals with complicated subjects. Sure, there are some anime out there that are full of sex and/or death and/or "mature themes," and a lot of things that are more complex than children are considered to be able to handle.
Let's start with Ghibli. Although I generally don't believe in brands, Studio Ghibli is one name that I can confidently and regularly link to the highest standards and best quality. In this instance, Isao Takahata, rather than the well-known Hayao Miyazaki, is in control as producer. They do about as well as one may anticipate in this pairing, but not quite in the manner one would anticipate.
The resulting movie isn't as kid-friendly as other Ghibli movies since it lacks the entertaining characters and action-packed scenes that kids will enjoy in movies like My Neighbor Totoro or Nausicaa of the Valley of the Winds. If you look at the tags, you'll see that "slice of life" is the most common description of this movie, and that's even more accurate than the label usually is. Taeko, a 27-year-old office worker, simply combines her memories of her 10-year-old self with her working holiday on a farm, and the way that experience makes her question the course her life is taking.
This is a prime counter-example of "for grown-ups" animation for those trying to persuade a skeptic that anime isn't simply huge-eyed, glittering Majikal Girls, spiky-haired swordsmen, big robots, charming animal caricatures, and the odd scattering of tentacled obscenity. The acting is exceptional; Miki Imai as the adult Taeko, Toshiro Yanagiba as her companion Toshio, and Youko Honna as the little Taeko are all organic, convincing, and utterly terrific, and the rest of the ensemble are all about as talented. The anime's script may be the greatest I've ever read; it's so fantastic that it makes writing scripts seem simple.
The aesthetics are also up to the typical high Ghibli standards, but with a unique twist. The adult characters all have genuinely carved cheekbones and other facial contours, which are uncommon even in the most meticulously drawn anime. Takahata and his team have focused on muscles. Characters have a considerably wider and finer emotional range than is typical since they are able to pick up on minute variations in facial expression.
Masaru Hoshi's music is completely pleasant, serene, and totally appropriate-but the Hungarian folk choir is here to steal the show from out of left field! This unusual decision is perfect. It's eerie material with undertones that suggest the hidden, benign, but great force of nature, and even though it makes no logical sense, it just works. For once, the Harumi Miyako song that closes the movie is a beautiful piece of music that perfectly complements the movie.
Producing a live-action Only Yesterday would not have been difficult; the movie doesn't feature any fantastical settings or technology, weightless clothing or hair, or anything else out of the ordinary. The fact that it could easily be done in live action doesn't necessarily make that a better stylistic choice, but the fact that it works as animation by showcasing innovative animation ideas combined with great talent can do nothing but improve it. This is impressive because it was a calculated risk that paid off.
If the movie has any flaws, it would be the pacing; for a film that is by its very nature slow and gradual, it may at times be a little too leisurely and gradual. Additionally, while most of Taeko's memories are important, a few may seem a little sparse and peripheral. It's true that I'm kind of blown away by it, but I also realize that it's not flawless, so I deducted a mark. You also need to be in the right frame of mind to enjoy this movie to the fullest. The appropriate moment finally arrived this morning after months of waiting, and it was delivered.
Let's start with Ghibli. Although I generally don't believe in brands, Studio Ghibli is one name that I can confidently and regularly link to the highest standards and best quality. In this instance, Isao Takahata, rather than the well-known Hayao Miyazaki, is in control as producer. They do about as well as one may anticipate in this pairing, but not quite in the manner one would anticipate.
The resulting movie isn't as kid-friendly as other Ghibli movies since it lacks the entertaining characters and action-packed scenes that kids will enjoy in movies like My Neighbor Totoro or Nausicaa of the Valley of the Winds. If you look at the tags, you'll see that "slice of life" is the most common description of this movie, and that's even more accurate than the label usually is. Taeko, a 27-year-old office worker, simply combines her memories of her 10-year-old self with her working holiday on a farm, and the way that experience makes her question the course her life is taking.
This is a prime counter-example of "for grown-ups" animation for those trying to persuade a skeptic that anime isn't simply huge-eyed, glittering Majikal Girls, spiky-haired swordsmen, big robots, charming animal caricatures, and the odd scattering of tentacled obscenity. The acting is exceptional; Miki Imai as the adult Taeko, Toshiro Yanagiba as her companion Toshio, and Youko Honna as the little Taeko are all organic, convincing, and utterly terrific, and the rest of the ensemble are all about as talented. The anime's script may be the greatest I've ever read; it's so fantastic that it makes writing scripts seem simple.
The aesthetics are also up to the typical high Ghibli standards, but with a unique twist. The adult characters all have genuinely carved cheekbones and other facial contours, which are uncommon even in the most meticulously drawn anime. Takahata and his team have focused on muscles. Characters have a considerably wider and finer emotional range than is typical since they are able to pick up on minute variations in facial expression.
Masaru Hoshi's music is completely pleasant, serene, and totally appropriate-but the Hungarian folk choir is here to steal the show from out of left field! This unusual decision is perfect. It's eerie material with undertones that suggest the hidden, benign, but great force of nature, and even though it makes no logical sense, it just works. For once, the Harumi Miyako song that closes the movie is a beautiful piece of music that perfectly complements the movie.
Producing a live-action Only Yesterday would not have been difficult; the movie doesn't feature any fantastical settings or technology, weightless clothing or hair, or anything else out of the ordinary. The fact that it could easily be done in live action doesn't necessarily make that a better stylistic choice, but the fact that it works as animation by showcasing innovative animation ideas combined with great talent can do nothing but improve it. This is impressive because it was a calculated risk that paid off.
If the movie has any flaws, it would be the pacing; for a film that is by its very nature slow and gradual, it may at times be a little too leisurely and gradual. Additionally, while most of Taeko's memories are important, a few may seem a little sparse and peripheral. It's true that I'm kind of blown away by it, but I also realize that it's not flawless, so I deducted a mark. You also need to be in the right frame of mind to enjoy this movie to the fullest. The appropriate moment finally arrived this morning after months of waiting, and it was delivered.