[CRITICAL] MEMORIES OF MARNIE

We know that it is there, the last Ghibli. When the big Totoro, the emblem of the studio appears on the screen before the beginning of the film, the emotion is undeniable. We realize that we will find more masterpieces with this brand singular, after this one…

Therefore, a certain amount of pressure weighs on the shoulders of MEMORIES OF MARNIE.

The masters Miyazaki and Takahata come to deliver their masterpieces The Wind Rises and the Tale of the Princess Kaguya, Movies-the sum of the obsessions of their authors, but also, revivals final unexpected.

Hiromasa Yonebayashi does not claim simply no to this mature ! It is necessary, therefore, to consider what MEMORIES OF MARNIE without too much compare to the masterpieces of his masters. Difficult… We will make two small reconciliations, not more. Promised.

MEMORIES OF MARNIE gets closer to the spirit Takahata :

If the film is as well very beautiful, this is not a story of technique, but careful attention to detail. MEMORIES OF MARNIE eyeing and to the naturalism of anti-sensational beautiful/touching/perfect Omoide Poroporo.

This bias imposes a non-rhythm, of which only the empathy for the heroine Anna Sadaki may prevent the assimilation of the trouble.

Out, It can be very difficult to embrace these through own adolescence, of self-abasement, hatred and fear of the other, or this selfishness is typical of the inexperience. Chihiro, the heroine suffering at the beginning of his Journey, the same ills, saw land from the first minutes of a lesson of humility in the face of the vastness of cultural metaphorically represented in his(our) eyes taken aback .

Here, the solution of the ill-being ofAnna can only come from herself, an interior journey… This “passage to adulthood” will be not not caused by events spectacular, but by introspection… And this learning by psychology materialized in the form of Marnie.

This character – very surprising – comes at an opportune time to revive interest in the film. Its physical, which clashes completely with this painting of contemporary Japan, and then by his spirit, free, crazy, fragile. A classic opposition white/black which is fortunately not synonymous with black and white… But rather of complementarity.

It was, simply had the impression that the authors did not always know how to represent this singularity if “western”… which gives a few moments troublesome, like a scene out of the boat or another waltz, very “Titanic“.

“Film accessible but subtly complex, fishing for his pace or lack of empathy. A conclusion in a half-tint for Ghibli.”

No simplicity does not just guide the viewer as to the character. Better, the story is multi-track without ever or deepen or abandon any of them. Marnie is it a dream ? a desire ? A ghost ? schizophrenia ? We may at times wonder if the director Hiromasa Yonebayashi knows, or he takes his film… Yet, and it is important to know, MEMORIES OF MARNIE to a goal. A story exploring the many paths that are more or less expected – but will focus its story around an emotion unsuspected.

This point of view, this sensitivity is unique and really unique in the universe Ghibli. A huge force.

Level mise-en-scene, nothing to say. The movie is nice without being exceptional, clean but detailed… outside of the character of Marnie, the art direction is a certain naturalism. Hard to really criticize this point.

We appreciate also the work on the different mood light, beautiful.

In the end, MEMORIES OF MARNIE closes the adventure GHIBLI movie managing to find its your own, despite the immense shadow of its illustrious masters Miyazaki and Takahata… But in spite of Marnie – beautiful character – or accessibility, subtly complex, the film never regains that universality, which made the mark of the greatest films of the studio. It is also lost in a slowly supported by a lack of empathy with the heroine… We will remember above all of this , MEMORIES OF MARNIE, this emotion real her with delicacy.

Georgeslechameau

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