Millennium Actress (2001)
"Sennen joyû" (original title)

A TV interviewer and his cameraman meet a former actress and travel through her memories and career.

Director:

Satoshi Kon

Writers:

Satoshi Kon, Sadayuki Murai

Stars:

Miyoko Shôji, Mami Koyama, Fumiko Orikasa

4 wins & 8 nominations.

Cast

Credited cast:
Miyoko Shôji	...	Chiyoko Fujiwara (70's) (voice)
Mami Koyama	...	Chiyoko Fujiwara (20-40's) (voice)
Fumiko Orikasa	...	Chiyoko Fujiwara (10-20's) (voice)
Shôzô Iizuka	...	Genya Tachibana (voice)
Shouko Tsuda	...	Eiko Shimao (voice)
Hirotaka Suzuoki	...	Junichi Ootaki (voice)
Hisako Kyôda	...	Mother (voice)
Kan Tokumaru	...	Senior Manager of Ginei (voice)
Tomie Kataoka	...	Mino (voice)
Masamichi Satô	...	Young Genya (voice)
Masaya Onosaka	...	Kyoji Ida (voice)
Masane Tsukayama	...	The Man with the Scar (voice)
Kôichi Yamadera	...	The Man of the Key (voice)
Rest of cast listed alphabetically:
Stephen Bent	...	Junichi Otaki (voice)
Matt Devereaux	...	The Man with the Scar (voice)

Storyline

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.

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Plot Keywords:

key | cameraman | actress | bombing of tokyo | film making | 

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Genres:

Animation | Drama | Romance

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Motion Picture Rating (MPAA)

Rated PG for thematic elements, violence and brief mild language

Details

Official Sites:

Official Site [us]

Country:

Japan

Language:

Japanese English

Release Date:

14 September 2002 (Japan)

Also Known As:

Millennium Actress

Box Office

Opening Weekend:

$18,732 (USA) (12 September 2003)

Gross:

$37,285 (USA) (26 September 2003)

Company Credits

Production Co:

Bandai Visual Company, Chiyoko Commitee, Genco

Technical Specs

Runtime:

87 min

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

Cranes appear frequently throughout the film, typically with Chiyoko in the same frame. In Japanese culture, cranes represent longevity and fidelity, and are said to live for a thousand years.

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Goofs

In the Japanese Version, the news indicates that the astronauts of the Apollo 11 mission departed from Cape Canaveral in 1969. During the Apollo missions, the name was Cape Kennedy. The name of Cape Canaveral, was re-registered until 1974.

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Quotes

Kyoji Ida: Leaving work behind? That's inappropriate!
Genya Tachibana: You don't understand women
Kyoji Ida: You do?
Kyoji Ida: [Chiyoko reads the newspaper from a man besides her. There's a headline about a clash in Manchuria] But he's a lucky guy, if she follows him to a place so far.
Genya Tachibana: I would like to be him!

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Connections

References Throne of Blood (1957)

User Reviews

Defying time and space, love is consummated

Reprising roles that span a millennium, an actress who longs for her first love re-enacts the drama of affirming her love for him. 'Millennium Actress' puts the theme of unrequited love in a light that is universally encompassing. It is ultimately a story of a pure-hearted character whose loving devotion to one person, innocently conceived and passionately guarded, lends itself sentience and weaves fiction with stark reality of often longing and despair. There is no doubt that this film has left me profoundly impressed.

'Millennium Actress' adopts an esoteric 'film within film' form that is disclosed in flashbacks by the actress, Chiyoko. Her highlights of her cinematography is interwoven with real events of her life, and both fiction and non-fiction aspects of her life adhere to the context of concise Japanese history. Some of these flashbacks at least in their thematic references recur more than once, and variations between them become clever plot devices that lend meaningful depth of time and space to the film.

The recurring and consistently relevant symbols in the flashbacks not only pique the viewer's interest, but also anchor a means to explain the psyche of Chiyoko. Her reaction in each flashback and present to one particular entity is another indication of her perspective on her love, one of many signs of deep implication that enhances the film.

The animation in the film tends to be minimalist except for a few instances where it is cast in significant passage of film (for example running), but the art direction and technique which realize various era of Japanese history and provides a fluid transition between fictional flashbacks to accounts rooted in reality is most elegantly and superbly executed. Character design is accordingly appealing, especially the depiction of Chiyoko through various stages of her life that delineates the same dignity and purity. So much so that it seems almost as if Chiyoko itself transcends to some abstract form of ideal love, only unrequited, and therefore something of great potential but not wasted; since it essentially defies time and space, as allegorically portrayed in her various film roles.

The director Satoshi Kon commented in his interview on his pleasure with the music, which seems to be electronically assembled with a lot of repetition. It sometimes stands out as a bit overbearing and idiosyncratic, yet considering the nature of theme from the film it does not detract from the overall viewing experience.

Only note of letdown, if there is any point to it at all, comes from my personal disdain for a rather melancholy sequence at the end. Yet, a conventional Hollywood resolution would not apply here. As a footnote to my rambling, and for which I must apologize, I should add that 'till death do us part' could not be more opposite of what this film professes.

9/10