This is a gentle, dreamlike story for preteen girls and their moms. The details are rich, and truthful. There is a sequence about jelly making that might at first seem dull, but in its specificity, it becomes engaging and poetic.The cinematography is beautiful. The pace is necessarily slow. In the end,though, it is Sachi Parker, a presence and a star, who elevates the film to a higher level. A young woman, Parker transforms herself into a sixty five year old, dowdy matron. There is not a moment where we do not see the character's age and experience. It is an Oscar worthy performance befitting a member of one of Hollywood's royal families.
4 Reviews
A Fairly Delightful Take on Conventional Archetypes
skanemermaid28 September 2008
Warning: Spoilers
IMDb's spell checker is complaining about my use of transliterated Japanese, so I must remove all of those words now or else its dictatorial 'previewer' won't let me go on. IMDb--I'll bloody decide if it's a spelling error or not, OK?
I refer to the previous reviewer's comments, most of which I am in complete agreement. 'The Witch of the West' delivers a fairly predictable study of the wise-woman/troubled pubescent girl scenario. It's been done many times before. The augmented interest of 'witchcraft' -- more pronounced than just herbal lore and garden tending -- provides only a modicum of interest. A more lavish treatment of the Japanese countryside, instead of the thinly brewed 'witch training', would have been more intriguing.
But this screenplay, partly adapted by Kaho whose children's novel this work is based, is clearly intended as a multi-generational feel good affair. Much like a Tori Amos concert, much of the audience will no doubt nod sagely as fairy-tale truths and mint tea go hand in hand. That's not say it's not pretty -- indeed, this move readily seizes upon the Japanese fascination for Grimm-esquire vignettes of old fashioned charm. As such, Sachi Parker plays her role as shawl-wearer with poise and elegant Japanese. At times, the all- knowing stare can be a bit much for the camera to take . . . but I suppose if you're already enchanted by the themes then the delivery will not seem overwrought.
Unfortunately, this movie might have achieved some depth if only it had scratched at some of the issues some more. Mai's determination to quit school, in fact, speaks of a rather depressing trend in the social life of Japanese teenagers: (bullying), shut-ins, and so forth. But Mai's reasons are pretty tame: she dislikes the clique mentality of the school system, in which group-think demands everyone hold hands and go to the bathroom together. Other than her mother making a passing reference to newspaper reports on teen depression, the very real problem of school-age despair gets passed over. Just some fresh air and strawberry jam, and your spirits are lifted.
And as for Sachi Parker . . . so much might have been done about the pun on Westerner. Other then when Genji mutters 'gaijin' abusively, or a small reference to Mai's mum having difficulty in school because of her mixed heritage, the potential interest on the issue of race also gets passed over.
But for a children's movie, maybe this is too much. Sexuality and women's issues don't get so much as a conversation. Mai sees some echi manga that Kenji is reading, and ignores it. Instead, we get very New Age commentaries on soul-body dualism, about enjoying the body for sensory (not sensual) pleasures, and so forth. It's pleasant enough. The movie steadfastly refuses to address organized religion . . . other than a parodic glimpse of a zazen session, Buddha makes no appearance.
So what we have, in totality, is an effectively predictable overview of inter-generational communication. The set-up symbols (the forget-me-not flower, the 'knowing', the chicken coop, the 'sanctuary') all culminate in the requisite climax. Dad wants to move; and Mai decides it's time to go back to school, albeit a new one. The mum makes a rather sinister reference to granny as having been controlling of Mai for a long period of time . . . but no development on this point.
Granny dies. Daughter has guilt. Resolution comes in the form of a message from beyond -- or at least, just before going to the beyond. It comes together like chamber music, pitched for the necessary tears. But it was hard to see how the relationships had more substance than the small lessons of the 'apprentice witch'. Moments of real tension -- well, only one, the face-slap -- feel rather contrived and inexplicable. Even when Mai says to Granny, "You can't control your temper either . . ." well, she just has a cigarette. The audience laughs.
I thought it was a nice touch though that Granny's message was in katakana. Apparently, after a lifetime in the country, she never got the hang of the writing system. Mai loves her o-ba-chan. And granny 'knows'. Takahashi's acting has the requisite sweetness and levity -- she's hardly the 'disturbed' child that all the promotional materials claim her to be. In fact, she's pretty matter of fact about her life: doesn't want to go to school, wants to become a witch . . . no problem, the parental figures tell her.
Good for the kids. The cinematography is lush, delighting in the greens and herbal tones of the hillsides. The 'mountain retreat' ideal provides a rather premodern context that plays up the misty landscape painting. Nice zoom shots work (the blooming tears of the strawberry field was my favourite moment). In the end, the view is quaint, and the conclusion equally more so. It's clear that some restraint was exercised over the level of sentimentality -- but there's no hiding the emotional agenda that motivates the film in every single second. You'll either be drawn in, or bored by the melodrama.
I refer to the previous reviewer's comments, most of which I am in complete agreement. 'The Witch of the West' delivers a fairly predictable study of the wise-woman/troubled pubescent girl scenario. It's been done many times before. The augmented interest of 'witchcraft' -- more pronounced than just herbal lore and garden tending -- provides only a modicum of interest. A more lavish treatment of the Japanese countryside, instead of the thinly brewed 'witch training', would have been more intriguing.
But this screenplay, partly adapted by Kaho whose children's novel this work is based, is clearly intended as a multi-generational feel good affair. Much like a Tori Amos concert, much of the audience will no doubt nod sagely as fairy-tale truths and mint tea go hand in hand. That's not say it's not pretty -- indeed, this move readily seizes upon the Japanese fascination for Grimm-esquire vignettes of old fashioned charm. As such, Sachi Parker plays her role as shawl-wearer with poise and elegant Japanese. At times, the all- knowing stare can be a bit much for the camera to take . . . but I suppose if you're already enchanted by the themes then the delivery will not seem overwrought.
Unfortunately, this movie might have achieved some depth if only it had scratched at some of the issues some more. Mai's determination to quit school, in fact, speaks of a rather depressing trend in the social life of Japanese teenagers: (bullying), shut-ins, and so forth. But Mai's reasons are pretty tame: she dislikes the clique mentality of the school system, in which group-think demands everyone hold hands and go to the bathroom together. Other than her mother making a passing reference to newspaper reports on teen depression, the very real problem of school-age despair gets passed over. Just some fresh air and strawberry jam, and your spirits are lifted.
And as for Sachi Parker . . . so much might have been done about the pun on Westerner. Other then when Genji mutters 'gaijin' abusively, or a small reference to Mai's mum having difficulty in school because of her mixed heritage, the potential interest on the issue of race also gets passed over.
But for a children's movie, maybe this is too much. Sexuality and women's issues don't get so much as a conversation. Mai sees some echi manga that Kenji is reading, and ignores it. Instead, we get very New Age commentaries on soul-body dualism, about enjoying the body for sensory (not sensual) pleasures, and so forth. It's pleasant enough. The movie steadfastly refuses to address organized religion . . . other than a parodic glimpse of a zazen session, Buddha makes no appearance.
So what we have, in totality, is an effectively predictable overview of inter-generational communication. The set-up symbols (the forget-me-not flower, the 'knowing', the chicken coop, the 'sanctuary') all culminate in the requisite climax. Dad wants to move; and Mai decides it's time to go back to school, albeit a new one. The mum makes a rather sinister reference to granny as having been controlling of Mai for a long period of time . . . but no development on this point.
Granny dies. Daughter has guilt. Resolution comes in the form of a message from beyond -- or at least, just before going to the beyond. It comes together like chamber music, pitched for the necessary tears. But it was hard to see how the relationships had more substance than the small lessons of the 'apprentice witch'. Moments of real tension -- well, only one, the face-slap -- feel rather contrived and inexplicable. Even when Mai says to Granny, "You can't control your temper either . . ." well, she just has a cigarette. The audience laughs.
I thought it was a nice touch though that Granny's message was in katakana. Apparently, after a lifetime in the country, she never got the hang of the writing system. Mai loves her o-ba-chan. And granny 'knows'. Takahashi's acting has the requisite sweetness and levity -- she's hardly the 'disturbed' child that all the promotional materials claim her to be. In fact, she's pretty matter of fact about her life: doesn't want to go to school, wants to become a witch . . . no problem, the parental figures tell her.
Good for the kids. The cinematography is lush, delighting in the greens and herbal tones of the hillsides. The 'mountain retreat' ideal provides a rather premodern context that plays up the misty landscape painting. Nice zoom shots work (the blooming tears of the strawberry field was my favourite moment). In the end, the view is quaint, and the conclusion equally more so. It's clear that some restraint was exercised over the level of sentimentality -- but there's no hiding the emotional agenda that motivates the film in every single second. You'll either be drawn in, or bored by the melodrama.
touching & very well done
Moviespot28 December 2008
This is one of the most beautiful films i'v seen lately , concerning human interaction. a young girl , having trouble in adapting at school...is send to her grandmother , who lives in a beautiful garden, nature sanctuary somewhere in a Japanese forest. Granny is a born English lady who teaches the young girl all kinds of lessons , ... the girl is having a great time at her grandmothers , is learning a lot about love & live... the scenes in this film are lovely and tranquil...a pleasure to watch.the film score is wonderful. and the story in all is simple but moving. the ending makes you cry. nowhere is this film's sentimentality corny or unreal. a wonderful story , well acted and told in a touching way.
Overlong, melodramatic, and very predictable
howard.schumann21 September 2008
Based on a popular children's novel by Nashiki Kaho, Nagasaki Shunichi's The Witch of the West is Dead tells the story of a young junior high school student who suddenly refuses to go to school and is sent to live with her English grandmother in the Japanese countryside. While spending the summer with her grandmother (Sachi Parker) who is called "the witch of the west" in the English translation, young Mai (Tajahashi Mayu) learns more about life than she bargained for. After only a few months in the seventh grade, Mai tells her parents that she does not want to go to school any longer. Her parents do not ask her for a reason but simply assume that she must have a good one and send her to spend the summer in the country with grandma.
It is only late in the film that we discover Mai did not want to go to school because she refused to join a clique and felt ostracized and lonely, a situation that might have been easily handled by her parents. Grandma, however, is equal to the task and Mai is very compliant, not the disturbed young girl described in the film's publicity. Granny puts young Mai to work growing vegetables and herbs, raising chickens, and making strawberry jam but her most unusual instruction is in how to become a "witch". Not taken aback by the typical attribution of witchcraft as malevolent magic, Mai is eager to learn Granny's so-called magical powers that are talked about but never shown in the film.
They are described as being able to see the future (clairvoyance), hardly the stuff of witchcraft and it never seems realistic that granny would describe herself in those terms. Sachi Parker, Shirley Maclaine's daughter who grew up in Japan, makes her Japanese debut as Mai's grandmother, but her performance is wooden and unconvincing. She is portrayed as so saintly through most of the film that she is never believable as more than a symbol and, when she shows her all too human side and slaps Mai across the face after the girl complains about her odd neighbor Kenji (Yuichi Kimora), it seems incongruous that no apology or explanation is ever offered.
The Witch of the West is Dead is eager to capitalize on the growing interest in spirituality but its spiritual advice consists of little more than admonitions to go to bed and get up early, eat well, exercise frequently, and think for yourself, something most of us learn in the second grade. Oh yes, we also learn that when we die, the soul separates from the body. While the story might have worked as a novel or perhaps as an animé film, as a full-length feature it is overlong, melodramatic, and very predictable, a sharp contrast to a recent similar-themed Korean film, The Way Home, whose world pulsated with rich and believable characters.
It is only late in the film that we discover Mai did not want to go to school because she refused to join a clique and felt ostracized and lonely, a situation that might have been easily handled by her parents. Grandma, however, is equal to the task and Mai is very compliant, not the disturbed young girl described in the film's publicity. Granny puts young Mai to work growing vegetables and herbs, raising chickens, and making strawberry jam but her most unusual instruction is in how to become a "witch". Not taken aback by the typical attribution of witchcraft as malevolent magic, Mai is eager to learn Granny's so-called magical powers that are talked about but never shown in the film.
They are described as being able to see the future (clairvoyance), hardly the stuff of witchcraft and it never seems realistic that granny would describe herself in those terms. Sachi Parker, Shirley Maclaine's daughter who grew up in Japan, makes her Japanese debut as Mai's grandmother, but her performance is wooden and unconvincing. She is portrayed as so saintly through most of the film that she is never believable as more than a symbol and, when she shows her all too human side and slaps Mai across the face after the girl complains about her odd neighbor Kenji (Yuichi Kimora), it seems incongruous that no apology or explanation is ever offered.
The Witch of the West is Dead is eager to capitalize on the growing interest in spirituality but its spiritual advice consists of little more than admonitions to go to bed and get up early, eat well, exercise frequently, and think for yourself, something most of us learn in the second grade. Oh yes, we also learn that when we die, the soul separates from the body. While the story might have worked as a novel or perhaps as an animé film, as a full-length feature it is overlong, melodramatic, and very predictable, a sharp contrast to a recent similar-themed Korean film, The Way Home, whose world pulsated with rich and believable characters.
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