WHEN MARNIE WAS THERE is a love story, a ghost story and a coming-of-age tale, all rendered in beautiful, painterly, exquisite 2-D animation. It is about Anna, a troubled 12-year-old girl in modern Japan who is sent to visit relatives in Kushiro, on the island of Hokkaido, for the summer so that she can get a break from the stress that is giving her asthma attacks. While exploring the rural region where she is staying, she finds a magnificent old house that’s apparently been abandoned and eventually meets a beautiful girl named Marnie, who supposedly lives there, and embarks on a series of adventures with her in what soon becomes obvious is some kind of ghostly realm. Revelations gradually ensue, resulting in the kind of emotional spectacle that some of us cherish but encounter too rarely in films these days. That’s all the plot I’m going to give you, since the film will work best if you go in cold, not knowing what to expect.
This post is my contribution to the My Favorite Classic Movie Blogathon in support of the first National Classic Movie Day. The home page for the blogathon can be found here:
Since a couple of the favorites I would have picked were already taken by other bloggers (e.g. THE BEST YEARS OF OUR LIVES and CASABLANCA), I opted for PORTRAIT OF JENNIE (1948), which I saw for the first time as an adult and quickly became a favorite after a TV viewing and a big-screen viewing. I wrote a piece about it after the big-screen showing, which took place 24 years ago yesterday, and, since the piece has never been published, I decided to use it as my entry in this Blogathon. The emphasis is on the film’s use of New York City locations and how they contribute to the romantic and otherworldly aura of the film. Without further ado, here is the original essay:
Orson Welles would have turned 100 today, May 6, 2015. Last night I re-watched ORSON WELLES: THE ONE-MAN BAND, a 1995 documentary which shows Oja Kodar (Welles’ companion for the last 20-odd years of his life) going through film footage Welles left in numerous film cans (mostly 35mm) in storage over the years and sharing bits and pieces of it with us. While there’s little in the way of a potential masterpiece excerpted in it (other than, perhaps, THE OTHER SIDE OF THE WIND, his famous late unfinished project, and an arty made-for-TV short version of “Merchant of Venice”), it’s fun watching Welles in a variety of eras and boasting a variety of looks, mainly having fun with the camera. He loved filmmaking and liked to shoot wherever he went. As Kodar shows us, he carried a case with an editing console and another one with various cameras and filmmaking tools wherever he went. If you love Welles, you should see this film because there’s a lot of Welles in it, in all sorts of modes, and Kodar’s love and devotion to him are quite evident throughout.
Forty years ago today, on April 5, 1975, a series called “Goranger” premiered on the TV Asahi network in Japan. The full Japanese title of the show is “Himitsu Sentai Gorenja,” translated literally into English as “Secret Squadron FiveRangers.” It was the first in a long franchise devoted to the concept of a team of five people (usually four men and one woman) in color-coded costumes that bestow certain powers and skills on them so they can work together to defeat monstrous enemies either based on Earth or from other planets (or dimensions) who attack Japan and wreak havoc on, usually, Tokyo. Sentai is the general term for this franchise, although Super Sentai is technically the more accurate term for the seasons that began in 1979 since Super Sentai refers to a sentai series with mecha (mechanical vehicles, usually human- or animal-shaped) used by the heroes. (I’m just going to refer to the entire franchise as sentai, non-italicized, in the rest of this piece.) Sentai series are best known in the U.S. for their American version, Power Rangers, which has been on the air since 1993. (The picture on top is from “Denjiman,” the 1980 sentai season.)
Sentai shows are part of the broader Japanese genre of tokusatsu, meaning live-action special effects programs, usually in the sci-fi or fantasy genres. Famous tokusatsu programs include the Ultraman and Kamen Rider franchises and “Giant Robo” (aka “Johnny Sokko and His Flying Robot”). I covered some of these shows in Ultraman Heaven, my entry from December 15, 2014, and Classic Japanese TV from March 16, 2014.
On November 9, 2014, I wrote about ROMANCE MUSUME (1956), the second in a series of movie musicals starring the group, “Sannin Musume,” consisting of the three top pop stars in Japan of that era, Hibari Misora, Chiemi Eri and Izumi Yukimura. The third film was OHATARI SANSHOKU MUSUME (aka ON WINGS OF LOVE, 1957) and was the last film they made as “Sannin Musume” before going their separate ways (although sometimes two of them would appear together in films). They reunited in 1964, as adults, for HIBARI CHIEMI IZUMI SANNIN YOREBA, which I haven’t written about yet here. The third film, which I’ll refer to as ON WINGS OF LOVE, the English title given on IMDB, is notable for being the first film made in Tohoscope, the first Japanese widescreen process to be used in Japan (by Toho Pictures, naturally). I first heard about this film in a reference in Yoshihiro Tatsumi’s autobiographical manga, A Drifting Life, as depicted in this frame, the caption of which confuses Toho with rival studio Toei:
Every year the Oscar show unfolds and seems to last forever and every year everyone complains about it. I always tell myself I’m not gonna watch anymore and then, of course, I do. All the way to the end, which is way past my bedtime. This year, the Oscar show was more like the Independent Spirit Awards, with virtually the same movies in competition. Lots of indie people filled the auditorium and few bonafide Hollywood stars of any magnitude were around. There were lots of presenters I didn’t recognize, some of whom I’ve heard of but wouldn’t have been able to recognize (e.g. Chris Pratt), some of whom I’ve never heard of (Ansel Elgort, anyone?), and some whom I’ve heard of but was seeing live for the first time (Margot Robbie). And there were frequent cuts to audience members, presumably nominees, whom I was clearly supposed to know but didn’t.