Millennium Actress is, first and foremost, an art film. However, for those who shy away from art film as a category, don't stop reading quite yet, because I'm going to attempt to show you why you'll still love this movie. Millennium Actress is art in all the very best possible ways. Indeed, I see it as a neo-Romantic masterpiece that is aware of and informed by all of the self-consciousness of modern and post-modern thought, yet deliberately chooses to reject nihilism and instead hark back to the nineteenth century's purpose for art: The pursuit of beauty.
For the Romantic poets, composers, and others, the pursuit of beauty could mean a simple appreciation of the picturesque, of small pleasures and a gratitude for life and the world around us. For others with a bit more ambition, art had an even higher goal: The pursuit of the sublime. One of the chief proponents of this endeavor was the poet Wordsworth, who felt art could -- and should -- create a response in the reader, viewer or listener that was akin to a transcendental experience, a resonation within the self that connected with nature (including human nature) and the deepest truths -- a powerful and indescribable feeling of awe.
On the other hand, the post-Romantics rejected the very idea of fundamental truth, made all experience subjective -- including the very concept of beauty itself -- and made the pursuit of pleasure (also a subjective experience), sometimes merely in the form of facile diversion, central to life and to art.
Satoshi Kon has taken the storytelling palette of the Moderns -- leaving behind the necessity for linearity, blurring the lines between what is "real" and what is fantasy -- and combined it with the sensibilities of the Romantics to create something that does indeed achieve the sublime. This is an epic tale of love and loss, of fate and hope -- and, ultimately, of the human spirit.
Ostensibly, Millennium Actress is a fictional biography in which a pair of documentary filmmakers track down and interview the greatest actress of a bygone era, Chiyoko Fujiwara -- who has lived in seclusion for decades. It is also a tribute to the history of Japanese cinema.
The premise seems simple, but that is all that is simple about this movie.
Millennium Actress is like a coherent Citizen Kane, with the story swirling between reality and the movies the actress starred in, and where the mystery of "Rosebud" lies in an old key. The storytelling is nothing short of virtuosic as the filmmakers and the actress seamlessly slip between the present, the past, and the worlds within Chiyoko's films. All of these elements in turn serve to explore the very heart of the story -- a chance encounter between Chiyoko as a girl and a mysterious artist.
On repeated viewings it becomes very clear that every scene, every bit of dialogue in both the "real" world and within her movies serves the purpose of this exploration, as Chiyoko spends her lifetime on a journey to encounter the artist once again.
One of the most compelling themes in drama is unrequited love, and this film breathes very real life into that oft-explored arena.
The frame rate is acceptable, but noticeably choppy if you focus on it. The truth is, I actually didn't notice the frame rate at all when I first saw Millennium Actress, but what with all the computer-enhanced animation coming out of Japan the last few years, during my most recent viewing (just before I wrote this review) it definitely stood out at first. However, as the story progressed -- more for the fact that this is such an engrossing story than for technical reasons -- the choppiness seemed to disappear. This is a film that was obviously produced at the end of the true cell era. However, you can't have much of a history of watching anime if some choppiness is going to bother you.
The art is perfect, however. The character designs, while not entirely lifelike, don't seem to be caricatures while at the same time conveying a solid sense of each character's personality and purpose in the story. The color palette (from vibrant color through the spectrum to almost black & white) is skillfully used to both convey emotional subtext, as well as to cue the viewer into the world in which a given scene is taking place.
The filmmaking itself is superlative -- shot selection, editing, etc. It's been a long time since I've seen so many carefully composed and designed shots -- they serve not merely to move the story along, but many are so skillfully executed they are art in and of themselves.
This is one a of the very few areas of disappointment for me in Millennium Actress. The music is serviceable but doesn't really enhance the story in any way. At least it's not distracting. Remember Ladyhawke? The decision to use Alan Parsons Project instead of a fully orchestrated soundtrack actually hurt that film. That doesn't happen here.
In a feature film (and a short feature at that) it can be difficult to make characters come alive and feel real. It is the hallmark of a great director to use shorthand to make characters breathe, and Satoshi Kon is that sort of director. From the leads right down to the bit players they feel real -- even when they're stereotypes, such as the director who likes to get actresses onto the casting couch.
Chiyoko is intriguing and likable, strong -- who but someone strong can spend a lifetime in the single-minded pursuit of a dream? -- yet fundamentally vulnerable. We want her to be protected and happy, but for the most part she must stand on her own. We both pity and admire her, which is a masterstroke by the filmmakers.
For me, though this is the story of Chiyoko's life, it is the character of the documentary filmmaker Genya Tachibana who is the most interesting and dynamic. The most significant subplot in Millennium Actress is Genya's relationship with Chiyoko, his devotion to her, which is charmingly exploited at times within the context of her films.
It would be easy to make comparisons between this film and Forrest Gump or Woody Allen's Zelig -- it would be easy, but inaccurate. Millennium Actress takes both the filmmaking and the storytelling to a level those films never manage to achieve. They are entertaining, but Millennium Actress takes us on a journey that makes us look both outward and inward and thereby understand human nature just a little more deeply. And through that understanding we find just the sort of beauty the Romantics were seeking, and have just a taste of ineffable awe.
I do have a final nitpick: I hated the very last line Chiyoko speaks in the film. It was almost like the filmmakers were worried the film wouldn't speak for itself, and so they had to put up a "director's message" sign and spoon feed the viewer at the last moment. An unfortunate misstep in an otherwise brilliant example of character exploration and storytelling.
Millennium Actress is that rare work that says something profound while at the same time being profoundly entertaining and skillfully executed. If you enjoy rich, complex storytelling, skillful filmmaking, if you like films where you come to care deeply about the characters, and you're looking for something that resonates with fundamental truth about the human condition, Millennium Actress is a transcendent experience.
In spite of slight issues like frame rates and music selection, this film is a masterpiece of the sublime.
(caution may contain spoilers)
There is no better way to start out this review than to state, this anime has a very unique style to it. It is unique for it's style of a play within a play, or a movie within a movie. The movie begins with a filmmaker by the name of Genya Tachibana and his trusty camera man Kyoji Ida on a mission to find someone and do a long awaited interview on the greatest film star of all time in the eyes of many. This film star is Chiyoko Fujiwara, whom we meet as an elderly lady first off before she begins her tale of her grand adventure through life, who openly admits she doesn't talk to anyone who doesn't make the earth move first.
As the story unfolds, both the camera man and filmmaker sets out to do a documentary of Chiyoko Fujiwara's life from the very beginning. But this is where it begins to get unique. As the story is being told, both the camera man and filmmaker find themselves being a part of the story, not just listening to it.
As Chiyoko Fujiwara speaks of how she was born, the times of which she was born in, the early 30s were a tough time for people. She was born in the earthquake of the 1930s of Japan where many perished, including her father that left a "shop" to her and her mother so they could live happily. One day a film director discovers Chiyoko and wants to make her a star, to this day Chiyoko never understood why. Her mother was greatly against this idea and believed in the traditional path for a woman should be at home, not entertaining others in this fashion. Chiyoko was just about to accept all this fate when she meets a stranger in the streets whom knocks her down in his rush, wounded, running from the government with a covered cloth tucked under his arm. We later learn he is a painter, we never know what is tucked under that cloth, but we do know he never forgets the young Chiyoko.
This stranger and then teenaged Chiyoko connect, sadly this first love was short, for when the stranger was strong enough he flees to another area, however he leaves behind a single key. To this very day Chiyoko never knows what that key is for, this gave way to the unfolding of the story which, over time, even the filmmaker got involved as some of the characters to help Chiyoko along with her goal of meeting this stranger to return the key and be with him. The stranger always being two steps ahead, as we follow through her movie career, as an actress and her search for the stranger, the story becomes intertwined.
Even when she loses the key for a short time and felt as if she had died a little with the loss, she finds it, confronts those that have a hand in destroying her free spirit and she sets off again to find the stranger with the key. This was her height of her career, about the time that the first man was being sent up into space, the 1950s. She never considered herself an actress, or a great star, she was always trying to find the stranger with the key.
She was constantly being shadowed herself by a phantom of an old woman, constantly keeping her from ever reaching her goal, even the old woman, whom sat weaving on a wheel tricked the young Chiyoko into drinking a tea of despair that would forever keep Chiyoko from reaching her goal, all because the woman loved her and wanted her to suffer as she had suffered.
What will become of Chiyoko as she faces life, confronting old shadows that reappear after age has taken hold, to facing the roaring times of attacks, war and even a point where it becomes confusing where the movie ends and the real life begins. Tune in and find out what becomes of the elderly, yet still beautiful Chiyoko, as she tells her tale of her life.
the art style changed from time to time in this anime to represent the times, bright and colorful for the happy moments, dark and depressing for the bad. I was not disappointed in the sounds nor the soundtrack, I found this anime by accident, as I'm an anime fan to begin with I tend to watch anything, even things I wouldn't think to watch by simply reading the back of the box.
Brilliant movie! This is the first time I have watched anything by Satoshi Kon, one of the most well-respected directors in the industry, and I can safely say that I've fallen in love with his style already.
I have to admit, I didn't entirely understand the storyline. It's execution is far more complex than its premise will have you believe. The story is basically two documentary-makers interviewing an actress, Chiyoko Fujiwara, from the olden days of cinema about her life. What makes its it all the more interesting is that the interviewers are quite literally immersed in the flashbacks, often taking on characters from her life or her movies. The story blurs the line between reality and movie-world and it is often difficult to decipher if we are watching one of Chiyoko's films or part of her life.
The animation holds up well, with some beautiful images being brought forth. One in particular that sticks with me is the ending with the rocketship, flying over earth and into the big, white vortex... I won't tell you what this symbolises just that it was a wonderful way to end the film.
Easily the highlight for me was the music. While I've read other reviews saying that the music wasn't anything great or memorable, I just don't understand how they could say that. The music was emotional, amazing and fit the mood of the film PERFECTLY. It enhanced the movie to a somewhat spiritual level, for me. The song during the final credits is also very beautiful. The english dub voice actors were pretty good, didn't detract from the movie at all. Though I reckon next time I watch it it will be in Japanese with subtitles.
What truly makes this film as amazing as it is, is the central character Chiyoko. Loveable and strong-willed, you see almost her whole life unfold before your very eyes in just over 80 minutes. Never once did it feel rushed (though that should probably go back up to the 'story' part of the review. Oh well.) By the end you feel the utmost awe for this woman, and once the film ends its surprising what an impact she makes. The documentary-maker Genya is also a fascinating and likeable character, who adds a great deal of depth to the story.
Millennium Actress is a must-see, and definitely more than once! It is quite an artsy film and a bit hard to understand, but if you keep an open mind I highly doubt you will find much to dislike here. A wonderful experience.
Kind of hard to rate this. As entertainment, its pretty good, not on par with Tokyo Godfathers, but as an artform: Well, I dont think it gets any better than this. The writing, directing, animation are all screaming proofs that anime is not just about money, but art. The sheer amount of simbolism in this anime is enough to fill 10 literature textbooks. Its hard to rate any of it because if I rate it as a critic, I wont find anything wrong with it. If I rate it for only entertainment, the score will be unfair.
Negatives: Sometimes they kind of switch fast between the times and locations. I liked the beginning of the movie more when it was somewhat more coherent, before everything converged. It did feel a bit overdid. Still, its not a big complaint. I also have to mention the music, which is good, but still, I feel it wasnt on par with everything else.
Positives: Hm...Everything else?! Pretty much. Its an artistic spectacle, a masterpiece. The drama, the humor, everything feels so lifelike(altough a bit idealized) and the way they portayed the whole story is something most Hollywood movies only dream of.
This is not for kids. I dont think you can enjoy the artistic value as a kid. But as an adult, I have to say, this movie stays with you. I doesnt dissipate slowly over a few days, even when you forget scenes, the atmosphere, the emotions it whirls up in you, stay with you. Any movie-, anime- or TV-show-fan needs to include this in his/her repertoire.
This movie was simply amazing. The art, music, characters and story was just wow.
I haven't enjoyed something like this in quite sometime. It was just amazing experience that if you haven't seen it yet you should go out and get it. Of course you gotta like love stories to really enjoy the beauty of this one. But maybe you don't either as it was quite the trip through this movie.
The lead female was simply amazing. I couldn't have asked for a better way to tell her story than the way she did. I really have to watch this one again as it deserves rewatches over and over again.