Seemingly unconnected citizens of Tokyo are targeted for bludgeoning by a boy with a golden baseball bat. As detectives try to link the victims, they discover that following the assaults, the victims' lives have improved in some way.
"Memories" is made up of three separate science-fiction stories. In the first, "Magnetic Rose," four space travelers are drawn into an abandoned spaceship that contains a world created by ... See full summary »
Told in three interconnected segments, we follow a young man named Takaki through his life as cruel winters, cold technology, and finally, adult obligations and responsibility converge to test the delicate petals of love.
College student Hana falls in love with another student who turns out to be a werewolf, who dies in an accident after their second child. Hana moves to the rural countryside where her husband grew up to raise her two werewolf children.
A movie studio is being torn down. TV interviewer Genya Tachibana has tracked down its most famous star, Chiyoko Fujiwara, who has been a recluse since she left acting some 30 years ago. Tachibana delivers a key to her, and it causes her to reflect on her career; as she's telling the story, Tachibana and his long-suffering cameraman are drawn in. The key was given to her as a teenager by a painter and revolutionary that she helped to escape the police. She becomes an actress because it will make it possible to track him down, and she spends the next several decades acting out that search in various genres and eras. Written by
Jon Reeves <email@example.com>
Various photographic effects of aging are used in order to make the Chiyoko's films seem old: were filmed separately and passed through different laboratory and telecine processes from the rest of the film, no CG effects were used. See more »
The early Chiyoko's films (according to history during the late 30s and early 40s) are made in color, but Carmen Comes Home, the first color feature film in Japan, using Fujicolor, was made in 1951. See more »
[Talking to the Young Genya]
Hey kid, Remember, in this business we're always flattering to the public and actresses,I will teach you that one of these days...
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more originality, life, individuality, and heart than in many movies being made in Hollywood
Chiyoko Fujiwara: even her names evokes 1,000 years of Japanese history beginning with the Fujiwara clan who dominated Japan a millennium ago as she dominated Japanese movies. The story begins with an elderly actress who recounts her life and career to a Quixotically worshipful producer and his Sancho Panza-like cameraman. Film juxtaposes with reality; and the triumphs and tragedies of one actress meld into those of Japan itself; objectivity and fantasy mock each other and dance with one another. At one moment the cameraman is making a pungent comment about cornball emotions, and the next moment he is dodging burning arrows from one of her movies. Perhaps, Chiyoko really is a woman cursed or perhaps blessed to endure 1,000 years of unrequited love. Perhaps the mysterious "human-rights activist" that she pursues through the centuries, and through one movie after another, represents an ever-receding ideal of love, truth, and human dignity that is yearned for by individuals and nations alike. They met just briefly, he gave her the key to "the most important thing in the world," and Chiyoko and the film characters she plays spend the next 1,000 years and the rest of her film career and the rest of her life trying to return it.
"Millennium Actress" and the techniques of animation were made for each other. Live-action could not possibly have created this stunning plunge though the centuries nearly as well, nor have depicted the transformation of a beautiful young women into a beautiful old woman. So-called live-action movies would have buried a live actress under layers of Yoda-like plastic to achieve the same effect.
Presumably you will be watching this on DVD; after you have watched this movie through once or twice, go back and select scene 12 and just watch that: it begins with an apprentice Geisha, (as played by Chiyoko), risking everything to pursue the human-rights activist (in this generation he is a rebel Samurai.) A merciless Javert-like pursuer barges in to ruin everything, but a Quixotic stranger rescues her for sake of idealistic love and sets her free to ride through the land of Japan to continue her search. She rides through Hokusai landscapes and through the battles of 19th-Century Japan. She continues undaunted even though the wheel of her curse keeps turning and is symbolized by increasingly modern modes of transportation: carriages, trains, bicycles; the splendor and tragedy of Japanese history whizzes by and still her journey continues. Her eternal quest for freedom turns into a freedom in itself, and -- by the way -- the medium of animation gives a mighty leap from the Saturday-morning ghetto to which American imaginations has confined it and shows off freedoms that live-action could never do as well.
This movie is action-filled but never manic; emotional but never overwrought; thought-provoking but never airy. The unpleasant little word Surrealism comes to mind -- it's unpleasant because it often evokes elitism, self-indulgence, and confusion. But "Millennium Actress" is never neurotic, never smug, and always invites the audience to join in the fun of mixing up film, memory, history, and desire, in surprising ways. There are enough delightful coincidences and plot twists to entrance an admirer of Shakespeare or Dickens. The musical score is excellent. The quality of animation is excellent, and these characters have more originality, life, individuality, and heart than in many movies being made in Hollywood.
After you have checked this out, look into Satoshi Kon's most recent movie "Tokyo Godfathers." Then investigate the movies of Hayao Miyazaki, who is the world's greatest maker of animated films, and also Miyazaki's fellow geniuses of Studio Ghibli. 9/10
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