02 September 2008

Watashi no Kimochi (わたしのきもち, 2004-present)

This short animation produced for the NHK by Aiga areba daijobu is one of my kids' most favourite Japanese television shows (along with Anpanman, Pokemon, and Ichi-jo-man). The Watashi no Kimochi (My Feelings) stop motion animation shorts (usually 2-3 minutes in length) aim to encourage children to openly talk about their emotions. The shorts feature an animated paper cup character who goes by the name Kimotchi (キモッチ) who directly addresses the child spectator and asks the child to participate in games and to follow him on his impulsive adventures, both real and imagined. Kimotchi makes many silly faces and asks the child spectator to guess how he is feeling.

My children howl with delight at Kimotchi's silly antics and word play. Kimotchi particularly enjoys playing games with the Japanese language, making up tongue twisters in an apparently spontaneous manner. The success of the Kimotchi character is due in a large part to the skillful voice acting by Sadao Abe (阿部サダヲ). Abe is a well-known actor (Kamikaze Girls, Kisaru Cat's Eye, First Kiss) and lead singer of the wild & crazy rock band Group Tamashii [check out their hilarious hit song "I Want to Buy You Some Juice" 君にジュースを買ってあげる♥ - this live clip includes some amusing banter with Kotoōshū, who looks like a giant in the front row of the audience].

The animator Mitsuo Shionaga (潮永光生) is the creative force behind Watashi no Kimochi, acting as director, storywriter and character designer. Jun Sasaki (佐々木隼) and Hirofumi Oohashi (大橋弘典) of mupy animation, who regularly do animation for NHK, are responsible for the animation. The concept of an animated paper cup is clever in its simplicity, there are a number of challenges to be overcome in order to execute it as well as Sasaki and Oohashi have. For one thing, drawing on a paper cup is tricky and I wondered when watching it how in the world they managed to do the frame by frame continuity when drawing on a curved surface is so challenging. Fortunately, Sasaki's blog features wonderful entries complete with behind-the-scenes photos that answered all my questions about how they animate the paper cup. Sasaki has even posted a template of the Kimotchi (キモッチ) figure so folks at home can try making their own. He also demonstrates how they draw the character's face flat and then shape it into a cup. Here are some photos of the hundreds of drawings that they create for the character.
The fact that much of the settings for the animation are outdoors or indoors near a window or open door adds another set of challenges to the stop motion animator. Outdoors, the elements interfere with the continuity of the film such as the differentiation of light levels, wind blowing leaves, grass, and curtains, and so on. This is why most stop motion animators choose to do their 'outdoor' work on an indoor model where they can control the levels of light (example: Murata's My Road series).
Jun Sasaki's blog has photos of the team at work outside: controlling rain by using a gardening hose to create rain and covering Kimotchi with a plastic cup to keep his face from running in the rain. In the final product, they've left in some of the 'flaws' inherent in using real locations for stop motion (changes in light, jump cuts of grass moving, etc.) but I think that it gives the film an authentic, hand-made feel that only adds to the charm of its script.

Ginga no Sakana - URSA minor BLUE / Animation
© Catherine Munroe Hotes 2008

01 September 2008

The Diary of Tortov Roddle (或る旅人の日記, 2003-4)


This year Kunio Katō (加藤 久仁生 b.1977) won the Annecy Cristal at the Annecy International Animation Festival for his latest film La maison en petits cubes (Tsumiki no Ie) as well as both the Hiroshima Prize and the Audience Prize at the Hiroshima International Animation Festival. In so doing he is following in the footsteps of Kōji Yamamura who won the Annecy Cristal (in 2003 for Atama Yama) . Yamamura took the Grand Prix at Hiroshima this year for Kafuka Inaka Isha, as well as in 2004 for Atama Yama.

While Katō may be following in Yamamura's steps in terms of winning prizes at festivals, his animation style is very different. The Diary of Tortov Roddle (Aru Tabibito no Nikki, 2003-4), which showed at Annency in 2004 under the category films for the the internet, demonstrates Katō's distinctive style, which Iwa ni Hana likens to the art of Raymond Peynet.

The Diary of Tortov Roddle seems to be the films official English title, but I prefer the more literal translation of the Japanese title: A Traveller's Diary. The film consists of a series of six dream-like vignettes, each approximately two minutes in length, in which a tall, slender man wearing a tall top hat and riding a pig with long, giraffe-life legs recounts his travels through a strange and unusual land.

1.The City of Light (Hikari no to)
2.Midnight Cafe (Mayonakan no Kouhii-ya)
3.The Little Town's Movie Gathering (Chisana Machi no Eigakai)
4.Moonlight Travellers (Tsukiyo no Tabibito)
5.The Meloncholy Rain (Yuutsu na Ame)
6.The Flower and the Lady (Hana to Onna)

Each vignette contains an element of the surreal: cities on the backs of frogs, a fish jumping out of a coffee cup to eat a butterfly, an outdoor cinema projected onto the back of a shirt-wearing bear, slender rabbit people riding off into the sky aboard a flying streetcar, and so on. Vignette #3 seemed inspired both in theme and music by Cinema Paradiso (Guiseppe Tornatore, 1988) , and the flying streetcar in #5 is reminiscent of Galaxy Express 999 (銀河鉄道999, Rintaro 1979).

Katō uses a rather dark, blue-grey-green colour palette in The Diary of Tortov Roddle. His use of clean lines with a fill that has the softness of watercolour is the same aesthetic he uses in his work as an illustrator (examples here and here). He really would make an excellent illustrator of children's picture books. The softness of the fill and the warmth of light flooding into scenes, usually from a single light source like a lamp or window, mean that the film has an atmospheric, slightly melancholy tone without becoming overly gloomy.
The film is also prevented from becoming too melancholy by the marvelous sense of humour that Katō infuses into each vignette. Even the gloomiest of vignettes, such as The Melancholy Rain, end on a positive note with a page from Tortov Roddle's journal putting an optomistic slant on the recounted events. The music also becomes less melancholy with each short film ending with an upbeat musical refrain.

The surrealism of the film is indicated not only by the unusual characters and events that inhabit the mysterious, fictional world that Tortov Roddle travels through, but is also indicated by the slightly off-kilter framing choices. Often the main action or character within a frame is off-center, as in this still taken from the opening of the first vignette.
There are many clever framing choices in Tortov Roddle that create interest on the part of the spectator. In vignette #5 there's a great unexpected shot from the ground looking up with the rain falling directly onto the camera. Another great example is the moment in vignette #3 when the movie being projected in the town square is shown from the perspective of the bear acting as the movie screen.


The music for the film was composed by Kenji Kondo. The animation was produced by Emi Matsumoto at ROBOT animation studio where Katō works alongside other young animators/directors Tatsutoshi Nomura, Takuya Inaba, and Osamu Sakai.

The DVD of this film is available at cdjapan, as is his latest award-winning film Tsumiki no Ie. I am hoping to get my hands on it sometime this month.





28 August 2008

Last Quarter (下弦の月, 2004)

This 2004 film is an adaptation of the short manga series Last Quarter (Kagen no Tsuki, 1998-1999) by popular manga-ka Ai Yazawa (矢沢あい). The adaptation was released at the peak of Yazawa's fame as she had just wrapped up the series Paradise Kiss and was basking in the success of the Nana series. The film also garanteed a wide audience because it stars the lead singer of L'Arc en Ciel (ラルク アン シエル), Hyde (ハイド), as love interest Adam. The film also stars popular actors Chiaki Kuriyama (栗山千明) and Hiroki Narimiya (成宮 寛貴 ) and Mizuki Mochizuki and Tomoki Anzai.

It is difficult to encapsulate the story of Last Quarter without giving away too much of the plot. It's a kind of a supernatural love story à la Patrick Swayze's Ghost, but with a complicated past and present twist. A young girl named Hotaru Shiraishi discovers a young woman living in an abandoned house who is unable to remember anything about herself excpet that she has a boyfriend named Adam whom she desperately wants to see again. Hotaru enlists the help of her friends (in the manga she has three friends helping her but the film only uses one) but they are unable to see the girl, whom they christen Eve. They believe that Eve must be a ghost and so they set out to find out her identity and how they can help her move on into the next life. The manga mixes elements of several genres including shōjo, romance, detective, and ghost story / science fiction.

With any adaptation, I expect a great deal of excising of the original story from a screenwriter. As the plot of the manga Last Quarter, gets more and more complicated and unlikely as the story progresses, my expectation was that writer-director Ken Nikai would have to choose a couple elements of the story to focus on in order to capture the imagination of a cinema-going audience successfully. Unfortunately, Nikai stripped away the charm of the original manga and replaced it with over-the-top special effects and a plot with more holes in it than Swiss cheese. Perhaps if I had not read the manga before seeing the film, I might have enjoyed it more in the 'so bad it's funny' kind of way, but for me Nikai cut all the things that I found charming about the original story. In the manga, I found it easier to put up with the cheesy, unbelievable aspects of the romantic ghost storyline because Hotaru and her group of friends provided comic relief and were very realistically drawn, sympathetic characters. In fact, I could imagine a whole series of stories involving the intrepid four solving local mysteries.

The two main failings of the film were unneccessary use of special effects and a lack of chemistry between the actors who are meant to be passionately in love with each other. Ken Nikai should have taken a page from the minimalism employed by Yazawa in the manga because these overly elaborate sets, particularly in the house and fence scenes made the film look like a gaudy B-movie. The special effects used to make Mizuki/Eve's eyes look glassy moved the film closer into the horror genre, so that I thought that at any minute she was going to turn into a vampire and start attacking poor Hotaru and Masaki (who is a mixture of the two boys in the original manga).

While I was willing to suspend my disbelief regarding the logistics of ghosts of people who died 20 years before in England turning up in central Tokyo, it would have helped if they had actually appeared to have an attraction to each other. I believe that the film may have pulled it off with Asian audiences in a way that it didn't with me because of the wide fan base of Hyde and L'Arc en Ciel. I could imagine that a female fan might transfer her own passion for Hyde onto Mizuki and thereby make up for the complete lack of chemistry between Hyde and Chiaki Kuriyama. I also found chemistry lacking between Kuriyama and Hiroki Narimiya, whose character Tomoki Anzai was inflated in order to make him more of a starring role.

So much of the symbolism of the original story (the ring, the white dress) was altered in the film so as to lose meaning. I think the film would have been more successful if it had focused more on the detective story than on the romance, as it was that aspect that had me turning the pages in the manga. Also, if a film expects us to believe the supernatural aspects of a story, then the details of the 'real life' portions of the film have to be spot on. For example: how does Adam know how to use a modern Japanese cellphone if he is a ghost from England 20 years ago? How could Mizuki get hit by a car in the middle of a street with no traffic on it (in the manga she was in busy Shibuya)? Why does Miura turn up at the haunted house when we haven't even been introduced to his character yet? Why is Adam (half)-Japanese? I really could only recommend this film to fans of Hyde, Chiaki Kuriyama, and Hiroki Narimiya – though one might find it amusing after a few glasses of wine. Shōjo fans should just read the manga. It is well worth it for the delightful rapport between the four kids solving the mystery of 'Eve'.