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.
The love of Japanese high school students Mikako Nagamine and Noboru Tera is tested when Mikako is sent to fight aliens in a distant universe and voice mails to and from Earth become months to years in transmission.
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 <firstname.lastname@example.org>
The filtering of Chiyoko's life through film history allows the setting, characters, and the visual style of the film to change suddenly. Some of the scenes are reminiscent of Japanese Ukiyo-e woodblock prints, while others evoke Akira Kurosawa movies (particularly Throne of Blood). Satoshi Kon has acknowledged the influence of Throne of Blood, but says that for the most part there are no specific references in his segments. Instead he drew on a vague general impression of the history of Japanese filmmaking and visual art for his different styles and stories; Kon insists that historical film was actually not a subject he had much familiarity with before he made Millennium Actress. He studied the settings and costumes carefully, however, and learned a lot in the making of the film, such as the history of the kimono. See more »
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. See more »
[Chiyoko recovers from a fainting]
Are you okay?, Do you feel sick?
[after taking a few medications]
Never listen to doctors, they always think that old people are sick.
See more »
In some films, the dividing line between subjective and objective reality is very tenuous. In Satoshi Kon's poetic Japanese animé film Millennium Actress, it is almost non-existent. When the Ginei studio is about to be razed, documentarian Genya Tachibana decides to make a documentary about the studio and its greatest star, legendary actress Fujiwara Chiyoko who disappeared from public life more than thirty years ago. After finding an old key that belonged to the aging actress, he travels to her secluded mountain retreat with his assistant Kyogi Ida to interview her for the documentary. When Genya gives her the key, it unlocks a stream of memories that transports us (along with the cameraman and interviewer) to a different reality that allows us to relive one thousand years of Japanese history using the medium of cinema.
As she tells her story, Chiyoko recounts her birth at the time of the great Kanto earthquake of 1923 and how she was discovered as a child actress despite her mother's objection that she is too timid. She reveals how a strange young painter, a political outcast whose name she never discovers, gives her a key and then disappears, telling her that the key is "the most important thing there is". Chiyoko's dream of reuniting with her lover keeps her alive and becomes what her life is about. Unfolding more as emotion and mood than narrative, Kon takes us on a surreal journey through a series of films within films in which Chiyoko attempts to find her lost love, playing a princess, a ninja, a geisha, and even an astronaut. In the process, we witness a seamless tableau of Japan's history: the medieval period in the 15th and 16th centuries, the era when the Shogunate was in power, the Meiji period when the Emperor was restored, the Showa period before World War II, and the post-war occupation and recovery.
The line between events of Chiyoko's real life and scenes from her films is blurred and the film is difficult to follow on first viewing. To complicate matters even further, the interviewer, Genya, is cast in many roles in which he becomes almost a comic figure as Chiyoko's rescuer. Though the film is often puzzling, the search to recapture the defining moment in Chiyoko's life strikes a universal chord and we identify with her desperate quest. Though I found the ending somewhat unsatisfying, Millennium Actress is a complex and beautiful film and Susumu Hirasawa's hypnotic musical score adds to the blend of warmth, emotional power, and magical realism. Kon sees life as a big romantic movie full of melodrama, humor, and longing and seems to be saying that while there is often confusion between who we really are and the shifting roles we play in life, what remains constant is our longing for love.
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