It’s just the life of a cellist living alone, a touch of the supernatural, and a growing respect to nature in the countryside. While this was released three years before the founding of Studio Ghibli, it carries a similar tone to one of the more laid-back Ghibli films like My Neighbor Totoro or Kiki’s Delivery Service. The story flows like an Aesop fable which focuses more on the morals and themes than complex character or plot. There’s a lot of simplicity to this film. Much to his surprise, Goshu realizes he can actually learn a couple things from the animals and perfect his craft. That all changes when in the following nights, he’s visited by some anthropomorphic animals who are drawn to his music and want to listen or play along while he practices. They have a performance of Beethoven’s Pastoral Symphony coming in only days, but Goshu seems to keep struggling no matter what. The story centers around, of course, a cellist in an orchestra named Goshu (Gauche). This definitely slipped under the radar when I did 25 Days of Ghibli, and given the recent death of Takahata, it felt appropriate to review at least one of his films. Shortly before producing Nausicaa and Castle in the Sky, the late Isao Takahata also had a hand in directing and writing another film called Gauche the Cellist. **Reposted from my Tumblr, elizas-writing, as of December 6th, 2018** It’s another wonderful work by Satoshi Kon worth the praise it gets as an exploration of reality and film and appreciation for Japanese cinema It’s definitely one that needs to be seen to understand the animation, scene transitions and how Chiyoko’s life unfolds with each movie.
It’s a little hard to further describe this film without spoiling. As Millennium Actress is in more of a documentary style, there isn’t too much character depth, but it’s fun to see Chiyoko’s trajectory and longing to see a painter once again, and Genya’s fanboy appreciation for her work is very sweet and endearing. It’s smooth, colorful and beautiful, as to be expected of Satoshi Kon. The animation works brilliantly in cutting from one film to the next, and there’s a wonderful attention to detail for each style whether it’s feudal ninjas or World War II survivors. It gets a little repetitive after a while, but it’s fun to see how these tropes play in different film styles.
This trick on perception does well to show that reality and fiction aren’t that much different.
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Sometimes you honestly can’t tell when a scene is from her life or from a movie maybe it’s both.
It’s fun to see them imagine these scenes from her life and the overly-excited Genya re-enacting certain roles alongside Chiyoko. Yet for its simplicity, it also has a complex meta-narrative with a clever framing device.Īs Genya and Kyoji conduct their interview, they’re pulled into Chiyoko’s past in the same space with her younger self as she decides to become an actress and all the films she starred in. And that’s really about it– just the life of a retired actress in a mix of film compilations and documentary. As Chiyoko talks about her life and career, the lines between reality and film blur as her works wrap up in her search for a man from a chance encounter in her youth.
The film follows two filmmakers, Genya and Kyoji, as they find the reclusive former film star, Chiyoko Fujiwara, for a documentary interview. Satoshi Kon is back at it again with playing with our perception of reality– this time blending it with cinema in Millennium Actress, a great homage to Japanese film and its power over the century.
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