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Chloë Grace Moretz, Mary Steenburgen

release year: 2013 Deep into a swaying and lush bamboo forest, Okina, an elderly farmer, stumbles upon a mysteriously glowing bamboo stalk, that from within, a minuscule fairy-like creature enfolded in a royal robe sprouts before his amazed eyes. Without delay, the ageing man rushes to his wife, Ona, only to witness, much to their surprise, the tiny nymph transform into a baby. In the end, as the infant grows exponentially into a fine girl, the humble couple will take her to the capital, Kyoto, to make her an aristocratic and well-mannered lady worthy of Japan's most powerful suitors. But is this Princess Kaguya's fate? Japan Score: 30788 vote genre: Adventure

The Tale of the Princess Kaguya (Japanese:?かぐや姫の物語?Hepburn: Kaguya-hime no Monogatari)?is a 2013?Japanese animated?fantasy?drama film?produced by?Studio Ghibli?and directed and co-written by Isao Takahata, based on the folktale The Tale of the Bamboo Cutter.?It is Takahata's fifth film for Studio Ghibli, and his first since My Neighbors the Yamadas (1999). It was released on November 23, 2013. The film received critical acclaim and was nominated for the?Academy Award for Best Animated Feature?at the?87th Academy Awards. Plot Princess Kaguya as a baby trying to lie down on tummy A bamboo cutter named Sanuki no Miyatsuko discovers a miniature girl inside a glowing bamboo shoot. Believing her to be a divine presence, Miyatsuko and his wife decide to raise her as their own, calling her "Princess". The girl grows rapidly and conspicuously, marveling her parents and earning her the nickname "Takenoko" (Little Bamboo) from the other children in the village. Sutemaru, the oldest among Kaguya 's friends, develops a particularly close relationship with her. Princess Kaguya wrapping cloth around Sutemaru 's wounded arm. Miyatsuko comes upon gold and fine cloth in the bamboo grove in the same way he found his daughter. He takes these as proof of her divine royalty and begins planning to make her a proper princess. He soon relocates the family to the capital, forcing her to leave her friends behind. She finds herself in a mansion, replete with servants and fine clothes. She is also saddled with a governess who is tasked with taming her into a proper noblewoman. She struggles with the restraints of nobility, arguing that life should be full of laughter and struggle. Princess Kaguya fleeing the capital When the girl comes of age, she is granted the formal name of "Princess Kaguya " for the light and life that radiates from her. Miyatsuko holds a celebration in commemoration of Kaguya 's naming. At the celebration, Kaguya overhears party-goers ridiculing her father's attempts to turn a peasant girl into a noble through money. Kaguya flees the capital in despair and runs back to the mountains, seeking Sutemaru and her other friends, but discovers that they have all moved away. Kaguya passes out in the snow and awakens back at the party. Suitors of Princess Kaguya Kaguya grows in beauty, attracting scores of would-be suitors. Five men of noble standing court her, comparing her to mythical treasures. Not wanting to marry any of them, Kaguya tells them she will only marry whoever can bring her the mythical treasure mentioned. Two suitors unsuccessfully attempt to persuade her with counterfeits. The third abandons his conquest out of cowardice, and the fourth attempts to woo her with flattering lies and a promise of life in the countryside. When one of the men is killed in his quest, Kaguya falls into?depression. Eventually, the?Emperor?himself takes notice of her. Taken with her beauty, he makes advances toward her, revolting her. Kaguya then demonstrates the ability to disappear at will, surprising the Emperor. Understanding that he has been too forward, the Emperor takes his leave, determined to still make Kaguya his. Kaguya reveals to her parents that she originally came from the?Moon. When the Emperor made his advances, she silently begged the Moon to help her and learned the truth: Once a resident of the Moon, she broke its laws, hoping to be exiled to Earth, so that she could experience mortal life. Now having heard her prayer, the Moon will reclaim her during the next?full moon. Kaguya confesses her attachment to Earth and her reluctance to leave. Princess Kaguya embraces Sutemaru whilst flying in the air Miyatsuko swears to protect Kaguya and begins assembling defensive forces. Kaguya returns to her hometown in the mountains once more. She finds Sutemaru and tells him she would have been happiest with him; Sutemaru vows to protect her, and they fly through the air together. When the Moon shines upon Kaguya, she begs Sutemaru to hold her tightly. Despite Sutemaru 's best efforts, Kaguya is torn from his grasp out of the sky. He awakens alone in a field, and convinced that it had been a dream, returns to his wife and child. On the night of the full moon, a procession of celestial beings descends from the Moon, and Miyatsuko is unable to stop it. An attendant offers Kaguya a robe that will erase her memories of Earth. Kaguya begs the attendant to grant her a last moment with her parents. Celestial Beings The attendant assures her that upon returning to the Moon, she will be free of Earth's impurities. Kaguya rebuffs her, saying that Earth is full of wonder and life. The attendant then drapes the robe around Kaguya, and she appears to forget about her life on Earth. The procession ascends to the Moon, leaving Miyatsuko and his wife distraught, as Kaguya looks back one last time with tears in her eyes. Voice Cast Character Japanese cast English dub cast Princess Kaguya Aki Asakura Chloë Grace Moretz Caitlyn Leone (young) Sutemaru Kengo Kora Darren Criss The Bamboo Cutter Takeo Chii James Caan The Bamboo Cutter's Wife Nobuko Miyamoto Mary Steenburgen Lady Sagami Atsuko Takahata Lucy Liu Menowarawa Tomoko Tabata Hynden Walch Inbe no Akita Tatekawa Shinosuke George Segal Prince Ishitsukuri Takaya Kamikawa James Marsden Lord Minister of the Right Abe Hikaru Ijūin Oliver Platt Great Counselor Otomo Ryudo Uzaki Daniel Dae Kim The Mikado Nakamura Shichinosuke II Dean Cain Prince Kuramochi Isao Hashizume Beau Bridges Middle Counselor Isonokami Tamaki Kojo John Cho Production Studio Ghibli revealed that Isao Takahata was working on a feature-length film in 2008. Isao?Takahata announced at the 62nd?Locarno International Film Festival?in 2009 that he intended to direct a film based on the Japanese folktale The Tale of the Bamboo Cutter. The release of The Tale of the Princess Kaguya was finally confirmed by Studio Ghibli and distributor Toho on 13 December 2012.?That same month, it was announced that Shin'ichirō Ikebe was to compose the film's score. On 4 February 2013, it was also announced that Joe Hisaishi would write the film's score, effectively replacing Ikebe as the film's composer. This is the first time that Joe Hisaishi has scored a film by Isao Takahata. In May 2013, it was announced Kazumi Nikaidō (二階堂和美 Nikaidō Kazumi? )?would perform the film's theme song, " Inochi no Kioku "?(いのちの記憶?, Memory of Life). Release The Tale of the Princess Kaguya was initially announced to be released simultaneously with The Wind Rises, another Studio Ghibli film by Hayao Miyazaki in Japan in the summer of 2013,?which would have marked the first time that the works of the two directors were released together since the release of the films My Neighbor Totoro and Grave of the Fireflies in 1988.?However, in February 2013, distributor Toho announced that the release of The Tale of the Princess Kaguya would be delayed to Fall 2013, citing concerns that the storyboards were not yet complete. On March 12, 2014, independent distributor GKIDS announced that it had acquired the US rights for the film and that it would release an English dub version produced by Studio Ghibli and Frank Marshall. Chloë Grace Moretz is the voice of the title character in the English dub. It was released in select theatres in North America on October 17, 2014 and was also released on DVD and Blu-ray in Japan on December 3, 2014. The film was selected to be screened as part of the?Directors' Fortnight?section of the?2014 Cannes Film Festival.?Its North American premiere took place at the?2014 Toronto International Film Festival?as part of the festival's "Masters" program. Reception Box office The film debuted at first place during its opening weekend in Japan, producing??284 million (US$2. 8 million).?By February 2, 2014, the film had produced??2, 313, 602, 733 (US$22, 613, 153) at the Japanese box office.?The total production of the film worldwide was $24, 149, 665. Critical reception In February 2014, The Tale of the Princess Kaguya placed 4th in both?Kinema Junpo's Best Ten and their Reader's Choice Awards. Reviews timed with the North American release have been overwhelmingly positive. David Ehrlich of The A. V. Club gave the film an A, deeming it "the best animated movie of the year, " adding that it is "destined to be remembered as one of the revered Studio Ghibli ’s finest achievements. "?Nicolas Rapold of The New York Times praised the artwork calling it "exquisitely drawn with both watercolor delicacy and a brisk sense of line. " Review aggregator?Rotten Tomatoes?assigned the film a score of 100% with an average rating of 8. 3/10 based on 78 reviews. The critics' consensus says, "Boasting narrative depth, frank honesty, and exquisite visual beauty, The Tale of the Princess Kaguya is a modern animated treasure with timeless appeal. " Accolades External links The Tale of the Princess Kaguya on Rotten Tomatoes The Tale of The Princess Kaguya on Roger The Tale of the Princess Kaguya review on The Verge The Tale of the Princess Kaguya on Wikipedia The Tale of the Princess Kaguya on IMDB.

It looks very boring plot-wise and stereotypical, and something is weird about the voice acting. BUT THERE'S A CUTE CAT IN IT SO I WILL SEE IT. Kaguya hime no monogatari ending.

Kaguya hime no monogatari warabe uta. Kaguya hime no monogatari quotes. Kaguya hime no monogatari full english sub. Kaguya-hime no monogatari watch online. “The Tale of Princess Kaguya” 「かぐや姫の物語」 ( Kaguya-hime no Monogatari) A Famed Director: This post has been in the pipeline for almost a year now, suffering delay after delay ? until now. Takahata Isao delivers what presumes to be his final Ghibli film, and if that is the case, then what a send-off it was. Grave of the Fireflies is certainly his most famous work to date ? and that’s for good reason; it’s brutal, unforgiving, and heart wrenching. The other film of his that I’ve seen is the criminally under appreciated Only Yesterday, which, by enjoyment alone, would be my favourite Ghibli movie, thanks to what I would consider to be the best final sequence in cinematic history. Having immensely enjoyed two of his works already, I was expecting much the same the third time around, and that’s exactly what I got. Kaguya-hime was, in a word, beautiful ? visually, conceptually, and in its delivery. A Famous Story: I was already familiar with some of the details of The Tale of the Bamboo Cutter ? the Japanese folktale on which this is based ? so I had a rough idea on what was being set up early on. Thankfully, I didn’t what know was going to happen throughout most of the film, and so was left both satisfied and surprised by the developments surrounding Kaguya, her journey, and where she came from. Looking back at some key scenes earlier on, the imagery was certainly there for the reveal in the end, which I appreciate. As a whole, the story was a simple one: a girl from the countryside is destined for riches, and so is sent off to a world of wonder to prepare for her new life. There’s the classic rebellious behaviour, a strict teacher, and suitors at the sidelines all fighting for the affection of the most beautiful girl in the capital, worthy of the name Kaguya. As one would expect, Kaguya ( Asakura Aki) was the standout character of the film. She was believable in her actions, her feelings, and her compromises. Whilst the foundation for the story has been done time and time again, Kaguya’s character brought it to that higher level. It’s interesting to me that the two best moments of the film are both of her running ? the first is when she arrives at the mansion with her new robe, racing through the corridors, bumping into folk doing their work, before dashing off again, laughing as she goes. It was a moment of pure bliss that sent a rush right through me, as if Kaguya’s joy was tangible. The second ? and I imagine the most memorable scene for many ? is her escape from her banquet. The shift in art was so sudden, and so incredibly effective ? my heart was pumping as she smashed through the walls, flung off her rainbow robes and ran into the moonlight, into the snow, all the way back to her home. It was invigorating to watch, and for as stunning as it looked, both those scenes were made that much more special thanks to the Joe Hisaishi, who returned to do the soundtrack for Kaguya-hime, and did a marvellous job. Animation as Art: It’s important to highlight just how stunning the artwork is in this one. I don’t think I’ve ever quite seen any animated piece like this ? to this degree, or length, at least. Whilst I can see why it might be off-putting in the first few minutes, trust me, you’ll be grateful for it as it goes on. I found myself baffled at how well-crafted and rough it managed to be at the same time. I liked it when the lines were slightly off, when it became scratchy and the palette got the occasional burst of colour (like from Kaguya’s robes). Another effective element is the atmospheres in the countryside and the capital; both in their visuals, as well as how they were used in the story. When Kaguya returns (in what I assume was some sort of dream) the colours are dulled, reflecting how times have changed, her friends have moved on, and that spring was no longer in full bloom. Compare that to the end, more than three years later, when Kaguya and Sutemaru ( Koura Kengo) re-unite in the field, when the palette is brimming with vibrancy and everything seems perfect, if just for a moment. One theme that resonated with me the most whilst watching was being in charge of one’s own life. We see it with the Bamboo Cutter ( Chii Takeo) who finds Kaguya, idolises her as a princess, and is dedicated to make her one. He tries to do everything he can to give his new daughter the life he thinks she deserves, but never stops to ask her what it is she actually wants. Ona ( Miyamoto Nobuka) and Kaguya have a closer relationship when it comes to understanding, with their back garden modelled like their old village, and the tender moments they share together where both try to escape from the hectic palace life. Kaguya doesn’t seem to have any big plans for her future, but after being led around for too long, her inner wish is granted when she has to return from where she came. It was a moment that was emotional, tragic, but oddly relieving as well, to see her be set free and not have to life her life in a cage, unable to do what she pleases. Overview ? Final Impressions: If I were to summarise Kaguya-hime, I would say that it’s very rare to see so much time, effort, and passion came across on the screen as it does here. I felt every second of this film, even if it did drag in the middle and could have been tighter overall. But in a way I’m glad it wasn’t. I’m glad it lingered and had everything play out the way it did. It has to be said that Kaguya-hime was brilliant, beautiful, and a story I’m glad was told, especially as one of Studio Ghibli’s last films. The following were my thoughts upon seeing Kaguyahime in the theatre soon after it was released. Samu-kun has kindly asked me to share them in this post. ? Guardian Enzo It’s always a thrill to be in the presence of true genius. Takahata Isao, the 78 year-old “other” of Studio Ghibli’s two old lions, is never going to be as well known as his good friend Miyazaki Hayao. His movies are never going to sell as many tickets in Japan, and may never even see a theatrical release in the West. If indeed Kaguya-hime no Monogatari is his last film, as seems very likely, he’s rarely if ever going to be mentioned when the conversation turns to the greatest animation directors of our time. But he should be, and Kaguya-hime is a wonderful way to put the exclamation point on the argument his small but superb catalogue makes to that effect. I can say this much ? this is a beautiful, powerful film that moved me very deeply. It’s always an interesting status check for me when I see an anime film in raw form, and indeed I did find that ? much to my satisfaction ? I’m understanding more of the dialogue now than ever before (though a pause button would surely come in handy). But this is such a timeless and elemental story that the feelings largely transcend linguistic barriers, and I suspect even a viewer with no Japanese skills would have understood the gist of the story. Takahata hasn’t made many films ? this is only his fifth as a Director for Ghibli in 27 years ? but the ones he’s made have counted. I still consider Grave of the Fireflies one of the saddest and most profound films in any language or medium (Roger Ebert called it the greatest anti-war film ever made) and I have a special soft spot for My Neighbors the Yamadas (which was a rare commercial failure for Ghibli). Takahata’s style both in terms of visuals and storytelling is as different from Miyazaki’s as night and day, though they’ve worked together on many film and TV projects ? Takahata is a much more spare and elegant filmmaker, and if you’ve seen the previews for Kaguya-hime you know that it’s pretty much an impressionistic work, choosing shading and contrast over detail and a rainbow of colors. But don’t let that fool you ? the detail is wonderful and the animation top cailber, and this is one of the most striking and beautiful anime in many years. Some of you may be familiar with “The Tale of the Bamboo Cutter”, the 10th-Century Japanese folk tale on which this movie is based (every Japanese person old enough to read certainly is). I certainly knew going in that this was going to be an emotional story, but I confess I was a bit put off by the woman sitting next to be who was, no exaggeration, quite audibly crying for about 110 of the 137-minute running time. But for the last 15 minutes of the film, I was wrecked ? this makes twice now Takahata has completely reduced me to helpless tears, though the themes could hardly be more different. I hate to keep harping on mono no aware but it’s so deeply entrenched in the Japanese storytelling tradition, and it imbues every pore of the “The Tale of the Bamboo Cutter”. And Takahata does a magnificent job capturing the emotion of the story on film with his understated, direct style ? this feelings at work here are incredibly elemental and universal. There’s no simpler or more powerful story than that of the joy opening your heart to love can bring, and the pain which accompanies the inevitable parting that comes with every loving relationship in the end. For my money Kaguya-hime no Monogatari is certainly the best anime film of 2013, which of course also means it’s the best Ghibli film of the year. That’s not a knock on Kaze no Tachinu, but a reflection of how beautiful and profound this movie is. My strong emotional reaction to the films closing moments was no doubt enhanced by the sense that it very much represents the end of an era ? Miyazaki has announced that Kaze no Tachinu was his final film, and Takahata-sensei is 78 years old. If indeed these are the capstones to their careers I think they’re good ones ? but more than that, anime fans and lovers of great cinema should feel very grateful to have lived in a time when two such geniuses were sharing their vision. Other vi