The world’s most beloved and highly imaginative animation studio, Japan’s Studio Ghibli, has recently announced its temporary break from anime productions. The retirement of anime masters Hayao Miyazaki and Isao Takahata combined with the recent box-office misfortunes has made the studio to take such a decision. It is very sad news for fervent film buffs all over the world. “When Marnie Was There” (aka "Omoide na Mani", 2014) would remain as the latest Ghibli movie for quite some time (Marnie was also said to have performed poorly in Japanese box-office). Directed by Hiromasa Yonebayashi, “Marnie” was based on the British novelist Joan G Robinson’s 1967 novel (“Howl’s Moving Castle” & “Secret World of Arrietty” were also based on British novels).
Ghibli’s trademark coming-of-age themes, rich natural world,
positively infectious spirit and bitter-sweetness encompasses “When Marnie Was
There”, although the movie might not measure up to the studio’s evergreen
classics “Princess Mononoke”, “My Neighbor Totoro” and “Spirited Away”.
“Marnie” was a minimal work, even when compared with Ghibli’s recent endeavors
like “The Wind Rises” and “Tale of the Princess Kaguya” (one of the gorgeous
hand-drawn anime ever made). Nevertheless, “Marnie” could be enjoyed on its own
terms and I have always felt that an above average Ghibli work is superior to
Hollywood animation studio masterpieces. Director Yonebashi has deftly adapted
a Western children’s book, imbuing Japanese context and little of adult
psychology.
The anime begins with 12 year old Anna Sasaki woefully
sitting under the shade of tree, watching over the jubilant kids running around
the playground. Her artistic talent is well evident from the picture she has
drawn of the playground. But, her portrait more or less shows the playing area
as some sort of grey, desolate place. Anna proclaims “In the world there’s an
invisible magical circle; these people are inside, and I’m outside”. Her quest
to get into an inner magical circle is makes up for the movie’s narrative.
Anna, the asthmatic child on the cusp of puberty, has only recently confronted
with this hopeless feeling as she discovered some terrible document about her
foster mother. Anna’s worried guardian Yoriko insists that the girl call her
‘mother’, but Anna only thinks of her as an aunt.
On the doctor’s insistence, Anna is sent to Yoriko’s
relative in the countryside. The fresh air might provide cure to her ailing
disease and calm the shredding emotions. She stays up with Oiwas, who reminds
us of the genial elderly couple of Ozu films. Oiwas’ own children are living in
cities and they are very happy to receive Anna. They also give Anna her own
space. Anna wanders around the beautiful coastal town and mostly avoids people.
Anna’s love for sketching draws her close to an astounding, dilapidated,
British-style manor. Known as “Marsh House”, the majestic building is situated
on the other side of a cove. Anna
repeatedly dreams about the building and in her dreams, she sees a young blonde
girl in high window having her hair brushed by a governess. One day, Anna even
meets the mysterious girl named “Marnie”. Both the girls have blue eyes and a
tormented childhood. As the girls strongly bond with the feeling of friendship,
questions arise about the identity of Marnie.
The explanation of the mystery behind the existence of
Marnie may not satisfy us, compared to the mystery itself. The backstory is too
melodramatic that makes reminisces us of mopey YA novels, but these flaws are
transcended by the creation of an exquisitely beautiful landscape, whose luminescence can’t be sometimes explained by mere words. The richly textured image
of Anna rowing the boat, while Marnie stands on the bow, her blonde hair
fluttering, is something only the Ghibli geniuses could think of. There are
many such virtuoso moments, which make us forget the dab resolutions and lack
of complex catharsis. Like previous
Ghibli movies, the protagonist goes through the subtly hinted phase of sexual
awakening or has a pre-adoslescent crush (Anna was flustered when she sees
Marnie dancing with a boy). Similar to “Spirited Away”, Anna stumbles into some
sort of secret realm (although not as elaborate as the Miyazaki classic) in
which there are no outright villains. If there is an antagonist in the anime,
it would be the passage of time and haunting, entombed memories.
Apart from the visually poetic images of moonlit marsh
landscapes, the other captivating vision is the evocation of that Gothic
mansion. The initial interplay between Anna and Marnie were really heartfelt;
two fragile souls reaching out to each other for affection. Director Yonebashi
adeptly diffuses some of the Japanese elements: like the presence of enigmatic,
reticent fisherman, Toichi; the good-natured Oiwa hand-carved owl sculptures
(in Japanese culture, owls are the symbol of luck and provide protection from
hardships), etc. The standards for liking “Marnie” might be defined by viewers’
patience and attention, and their ability to overlook few melodramatic
contrivances.
“When Marnie Was There” (103 minutes) is a must watch for the
cinephiles, who love the works of Studio Ghibli. It is a lyrical adventure
story that explores lush landscapes as well as haunted memories.
Trailer
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