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 seems to be 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.