Date:         Fri, 12 Jun 1998 23:51:30 +0100
Reply-To:     Hayao Miyazaki Discussion Group <NAUSICAA@BROWNVM.BROWN.EDU>
Sender:       Hayao Miyazaki Discussion Group <NAUSICAA@BROWNVM.BROWN.EDU>
From:         andrew osmond <andrew@OZMA.DEMON.CO.UK>
Subject:      Some Ghibli and Mulan news
In-Reply-To:  <98061207561602@gvax.reyrey.com>
 
Found some intersting stuff in the latest trade papers...
 
First off, another Ghibli story in Screen International (June 12-8, No
1162, p4). I think the Shochiku deal has already been mentioned on this
list.
 
SCHOCHIKU GRABS GHIBLI ANIMATION
(by) Mark Schilling in Tokyo
 
A four-company consortium, led by Shochiku and expected to include
Warner Mycal, Tokyu [not a typo] Recreation and Toei, will distributer
the next animated feature by Studio Ghibli. The Yamada Kid Next Door, to
be released next summer, will be Ghibli's first all-computer-graphics
feature (*).
Sources said the decision to move to Shochiku from Toho, which has
distributed all of Ghibli's hits, may have been spurred by arguments
over Toho's divisions of the profits from Princess Mononoke. Shochiku is
understood to have offered exceptional terms for the rights.
 
(*) To the average reader, this suggests the film will be the anime
equivalent of Toy Story. A similar 'all-computer' assertion was made in
a Screen Intl article last year. Does Schilling know something we don't,
or is he just referring to the fact the artists are drawing wholly on
computer (?I think), using no cels at all?
 
I also found a two reviews of Mulan, which contained observations which
may interest readers, given a certain future animation release...
Relevant extracts follow:
 
(From Screen Int'l, as above, p36, reviewer Mike Goodridge)
 
'After going too far into the realms of smartass wisecracks and noisy
gimmicky with Hercules, Walt Disney Features Animation notches up
another landmark with a return to simple dramatic narrative in its
retelling of ancient Chinese legend Mulan.
Boosting a female lead more three-dimensional than either Belle or
Poccahontas, the picture cuts cutesiness down to a minimum and it pays
off handsomely. If rich, compelling storytelling is the order of the
day, audiences of all ages will lap the film up and it should restore
box-office lustre to the slightly jaded animation genre (sic)...
 
[Goodridge gives the film a full four stars - outstanding - in all three
'Critical', 'Domestic (Prospects)' and 'Foreign' categories. In
comparison, Mark Schilling's review of Mononoke, which I posted to the
ML on 31st January, gave the film four stars in 'Critical' and
'Domestic' but only two stars - fair - in 'Foreign.']
 
Re the comment about 'rich, compelling storylines': Screen International
also carries a piece, 'Aiming for the Heart,' arguing that three factors
(i) the relative box-office disappointments of Lost in Space, Godzilla
etc
(ii) the successes of Titanic - which for all its faults, was 'one of
the most effective cinematic experiences since Gone with the Wind' -
City of Angels and Good Will Hunting, and
(iii) the buzz surrounding films like The Horse Whisperer and Saving
Private Ryan
all show that US public taste is shifting toward movies which 'mess up
emotions' and 'which people can love.' This bodes well for Mulan if
Goodridge's observations are correct. I wonder how it bodes for
Mononoke?
 
The second Mulan review comes from Variety (June 8-14, p66 and 73,
reviewer Todd McCarthy)
 
'Ouite likely the first animated cross-dressing musical, Mulan plays out
as a rich dramatic tapestry lightly stained by some strained comedy,
rigorous political correctness and perhaps more adherence to the Disney
formula than should have been the case in what is otherwise one of the
studio's most adventurous and serious animated features. About a
tradition-bucking young woman in ancient China... this is a female
empowerment story par excellence, as well a G-rated picture that may
have strong appeal for many adults...
Historically at least Mulan represents a full turn of the circle from
such age-old Disney classics as Snow White, Cinderella and Sleeping
Beauty, in which passive heroines were rescued by blandly noble
princess. [Actually, the mice save Cinderella, and I think the dwarves
were pretty important in Snow White... but I digress - Andrew.] Here
it's the girl who does the rescuing...
In an obvious attempt to approximate the comic impact Robin Williams
made in Aladdin, Mushu [a tiny dragon who protects Mulan] is voiced by
Eddie Murphy. But... the overall effect of Mushu's aggressively jivey
commentary is jarring and frankly off-putting in this serious context;
Mushu and Murphy really belong in a different movie...
The strengths and weaknesses of Mulan help call into question some of
the basic premises of Disney animated films at this newly evolved stage
of development. The central situation here is so intrinsically vital
that it makes the standard comic and kid-friendly elements, notably the
cutesy animals, seem incongurous, if not unnecessary. [Do I hear the
sound of pennies dropping?] Are the would-be scary dragon, his cricket
sidekick and the assorted ghosts essential to moppets' acceptance of an
animated Disney attraction such as this, even if the film would be
better without them?
There is also a feeling here of how every last plot turn, line and
gesture has been calculated and weighed for its full dramatic,
ideological and cultural impact; so well researched is the formula that
nothing has been left to chance, so the film is far from anything that
could be called surprising or spontaneous. [I suppose Ghibli buffs could
say the same about Mononoke: personally, I found quite a few
'surprising' elements mixed in with the familiar ones.]
Pic goes about halfway toward setting new boundaries for Disney's, and
the industry's [!!] animated features, but doesn't go far enough as it
rests on the tried-and-true for far too many of its details.
--
andrew osmond