Miyazaki Goro's sophomore attempt at directing proves that he can stand
apart from his legendary father, but perhaps he is still walking in the
shadow of the behemoth Studio Ghibli. However, his recent work does not
back down in its fight to earn a place in their legacy.
From Up on Poppy Hill gives us the standard we expect from a Ghibli
film: beautiful art, consistent and vibrant animation complementing
stories and characters with either a whole lot of heart or charm and
sometimes both. However, while Miyazaki makes all the right steps, he
has a long way to go to give us something that is clearly
his, something that makes us say "That's a Goro film". While every
Ghibli movie feels like a distinctly magical journey, this one never
quite gets there. Yet where it's headed is nowhere bad at all.
Set in the post-war, pre-Olympics 1960s Japan, From Up on Poppy Hill
successfully re-creates a time and place where the protagonists Umi and
Shun meet and fall in love. Their hesitant romance does not come without
life's complications. They meet for the first time twice; once, as Shun
and Umi unknowingly communicate to one another through Umi's maritime
flags, and again at school where daringly, Shun makes a bold and stupid
move to save the school's clubhouse. There seems to be a shared destiny,
as Shun travels on his father's tugboat every morning, seeing raised
flags trying to find a lost soul, and as Umi reaches down into a pool to
accept his hand as he emerges from a pool. However, they both come to
learn that their paths have crossed even before their meeting. While
their romance is sweet, shy at times and quiet, there is a secret
between their families that forces them both to acknowledge and accept
that they should not continue with one another. They cannot help but
fall in love anyway.
Miyazaki portrays life's disruptions and joys with gentility. Even
though the twists and turns are the subject of ridiculous soap operas,
Miyazaki's respectful handling of the feelings and characters involved
creates a different experience. What could be seen as trite, ends up as
palpable, never overwrought drama. Although the way things neaten up
happily by the end seems to be too easy a resolution. The secret
involves an actually compelling issue that could have been explored
further, but the safest neatest way is the route chosen.
Umi and Shun manage as likeable and sweet characters, though they don't
exceed our expectations of them. The other supporting characters give
life to the film and they all occupy a space that feels very much like
it's theirs. Without them, there'd be no personality in the boarding
house, school and town. Despite being worthwhile extras, they aren't
memorable side characters (like the old woman from My Neighbour Totoro
or the artist in the woods from Kiki's Delivery Service). The film
resolves to let them be adequate, not exceptional.
As aforementioned, From Up on Poppy Hill has been Ghibli-stamped and
approved for its visual quality. Despite having a montage sequence with
still shots (which seems to be very much contrary to Studio Ghibli's
reputation for painstaking detail and excellence), the entire film looks
spectacular.While it does not boast the stunning scope of the Ghibli
epics or the fantastical vision of the others or even the technical
genius, it has the quiet, solid sensibilities of movies like Whisper of
the Heart and Only Yesterday. In fact, this film might take you right
back to Whisper of the Heart, Kondou Yoshifumi's great masterpiece.
(Although Umi and Shun's romance does not hit the highs of Shizuku and
Seiji's; perhaps due to Shizuku being such a strong, charismatic and
compelling protagonist, while Umi is less powerful and effective as a
lead). We remember from Only Yesterday the stagnant beautiful
countryside, we remember from Whisper of the Heart the urban sprawl of a
modern city, and in From Up on Poppy Hill, we find a Yokohama and its
beautiful seaside in the midst of industrial growth and change.
The one place where From Up on Poppy Hill disappoints is its music.
Ghibli films tend to boast timelessly powerful scores and soundtracks.
The music here tries to invoke a sense of place and time. While this
works marvelously in some cases (for instance, the use of Sakamoto Kyu's
eternally lovely classic "Ue o Muite Arukou"), it misses in many
others. Some tracks just seem to undo the overall atmosphere and the
results are noticeable.
Miyazaki's vision is much more focussed for this film as compared to
Tales from Earthsea, a project that from even its conception was
problematic. From Up on Poppy Hill is more relaxed in tone, and perhaps
this was Miyazaki's own stance to his film-making. What I said earlier
about the characters can perhaps be said about the film itself: it is
adequate, though not exceptional.
From Up on Poppy Hill is a definite must-watch for those disappointed
with Miyazaki Goro. The film shows how much he has grown as a filmmaker.
This is a satisfying little movie. Maybe his next attempt will give us
something a bit more fulfilling. Certainly this taste has left us
hungering for more from this director. You're certainly not going to
watch this film condemning it for not being like his father's art and
you won't watch it and think it's like his father's work either. It
doesn't feel like a Hayao film or a Takahata film. It's not trying to
be. Goro and Yonebayashi (director of Arrietty) have their work cut out
for them to leave their signatures on their movies, but given time,
perhaps their vision will become clearer.
In the meantime, Miyazaki Goro shall walk looking up.
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