Willie Manning

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14 years after directing the underrated My Neighbors the Yamadas, director Isao Takahata finally released his new film. Based on the oldest, and apparently most well-known folktale in Japan, The Tale of the Bamboo Cutter. (spoilers) It details the life (and times) of Kaguya, a small girl who originates from a city on the moon, is sent to earth where she excels in the simple farm life, suffers under life as a lady in the city and eventually returns to the moon. It's a story containing both realist and surreal elements, a combination that Takahata has perfected in his films. Though apparently a very popular tale in Japan, the story isn't exactly blockbuster material. Nevertheless, Takahata followed his own vision and has crafted a highly effective film replete with all the love and care and obsessive attention to detail Studio Ghibli has become known for.

We first see (what else) a bamboo cutter discovering a robed girl, Kaguya of course, as small as his hand in a forest. He takes her into his home with his wife where Kaguya grows abnormally fast. She lives a happy country life with friends etc. Eventually, the bamboo cutter cuts another bamboo tree and to his astonishment finds gold. He becomes something of a rich man and convinces his wife that by moving to the capital, they'll finally be able to grant Kaguya the kind of life that will make her happy. Of course, life as a lady is only suffocating to the free-spirited Kaguya who alternates between having to learn and accept the lifestyle of a 'proper lady' and wanting to desperately escape the city. Naturally, the film looks stunning. Takahata utilizes a palette consisting mostly of soft pastels and charcoal. Characters are drawn in minimalist, though highly distinct fashions. The soft pastels and charcoal textures aren't just eye candy however, but fit with the story's ancient origins, the film looking as if drawings on ancient Japanese scrolls were coming to life. As befits Takahata, visuals are also used to externally emphasize a character's inner life and feelings. One particularly amazing scene, showing Kaguya desperately fleeing the capital, begins with pastels and charcoal, but soon grows more aggressive, with more and more harsh charcoal lines, reflecting Kaguya's inner turmoil as she flees It's quite simply one of those scenes where you realize you are, at that very moment, witnessing 'art' taking place in front of your eyes; in other words, the greatest thing you could possibly experience in a movie theater. Personally, I can only level two complaints at the film: one, the surrealist aspect of the story was a bit hard to digest. I'm referring to the moment when Kaguya realizes she's from the moon and has to return there. There's something strange about watching a scene where she outright tells her 'parents' she's from the moon when the film up until this point was highly realistic in tone, despite the surrealist opening scene where she's found by the bamboo cutter. Two, the film is perhaps a tad too long. I have nothing against long (animated) films per se, but here I eventually felt exhaustion entering my body. I think this is an issue inherent to the story and the fact that it isn't exactly the most varied plot. There are basically only two environments: the landscapes depicting nature and life in the city. As befitting Takahata's later output, the tempo is quite slow and this will be hard for viewers who are unfamiliar with Takahata to digest. In its favor, I find the slow tempo to also be to the film's benefit. Like Kaguya, the viewer also grows tired of the city's endless parade of suitors and emphasis on etiquette. I've read articles where people question the point of this film. Why would Takahata adapt this story? After directing films like Grave of the Fireflies and Only Yesterday, why would he turn to Japan's oldest folktale? I believe the reason can be found in the end of the film. At one point, Kaguya is hesitant to go back to the moon and leave earth and all she's experienced. Even later, she has a small monologue about earthly life in general with all the beautiful and negative experiences she's accumulated. The point she's making is that despite the things she's experienced during her days as a 'lady' in the city, she still loves earthly life. Think back to Takahata's Only Yesterday with its positive outlook on people and life despite all the dramatic events. Both films prefer the honest farmer's life as opposed to city life. Think back to Yamadas which is an even more overt celebration of daily life in all its normalcy. Kaguya fits easily within this most important of themes in Takahata's filmography.

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