Form and content fit together in the uniquely conceived and enjoyable supernatural adventure Ghost Cat Anzu. For a film about a reality where mortals and otherworldly spirits coexist on the same plane, the filmmakers decided to combine the flesh-and-blood realism of live-action cinema and the fantastical qualities of animation. While the plot takes a few creepy turns, its sordid tone remains consistent throughout, making for a remarkably enjoyable (if a little murky) Japanese animated effort on its own wavelength.
Originally shot with actors whose voices were also captured on location, this adaptation of Takashi Imashiro’s mid-2000s manga of the same name (written by screenwriter Shinji Imaoka) required two directors. Nobuhiro Yamashita was responsible for staging the interactions between the cast to capture their subtle expressions. That footage then served as the basis for rotoscoped animation directed by Yôko Kuno with artists drawing over each frame to transform the footage into vivid animation with gorgeous painterly backgrounds – said to be inspired by neo-impressionist works and fulfill the promise. . The combination results in noticeably fluid movement and greater facial expression in characters with a more cartoonish or graphic aesthetic than most anime.
On the run from loan sharks, widower Tetsuya (Munetaka Aoki) returns to his rural town of Ikeru to ask his father for money after 20 years away. The old man, who runs a Buddhist temple, refuses. Tetsuya leaves behind his 11-year-old daughter Karin (Noa Gotô), promising to return for her on the anniversary of her mother’s death. She soon comes into contact with Anzu (Mirai Moriyama), a 37-year-old giant anthropomorphic cat who looks somewhere between a sports team mascot, the famous Japanese cartoon character Doraemon, and a red panda. of Mei in Pixar’s Turning Red. ”
From the moment Anzu casually rides into the temple on his motorcycle so as not to shock anyone, it’s clear that spirits like him live and work alongside humans here. Later, a handful of other divine entities—including a giant frog, a tanuki (remember Studio Ghibli’s “Pom Poko”?), and a humanoid mushroom—will come to help the stubborn Karin.
Anzu’s infectious laugh, reflected not only in Moriyama’s voice performance, but in the way his facial features resemble those of a classic comic strip, synthesizes the character’s play. As explained in the beginning, Anzu started out as an average cat, but over the decades, he didn’t die, instead taking on human traits until he effectively replaced the missing Tetsuya. There’s a curious stylistic contrast in character design between Ikeru’s natives—like the boys who become Karin’s fast friends—whose faces feature eye-dots and minimal detail, and the outsiders like Karin, the more complicated pups. of which and whose general appearance they most closely resemble the Japanese. animation viewers may be familiar with it.
For the first half of the tale, Karin and Anzu, who is also a chiropractor and enjoys gambling, work odd jobs together and socialize with other sprites. These glimpses of time spent living close to nature fade into the background when Tetsuya fails to return, causing Anzu and Karin to leave the village for Tokyo. In the big city, and with the help of the God of Poverty, the couple travel to the depths of hell to bring back Karin’s mother. The underworld here is reminiscent of the bathroom in Spirited Away, which is likely due to a shared spiritual tradition in Japan rather than a direct homage.
But even if there are visual gems that somewhat mimic elements of Miyazaki’s masterpiece, the sardonic nature of Ghost Cat Anzu ensures that we don’t compare them. The jump from everyday malevolence to a full-on battle with a legion of demons feels a bit disorienting, despite the fact that the narrative establishes the existence of creatures beyond human understanding from the get-go. However, the characters have such quirky personalities that it’s not hard to follow them on even the strangest missions. While Karin’s determination to spend more time with her mother in the absence of a reliable father enriches the film emotionally, one complaint is that the mechanics of how hell works or the afterlife in general is never expanded upon.
Imaoka’s writing and Goto’s acting make Kari a complicated young man struggling with feelings of abandonment. The animated comedy believably portrays children not as innocent innocents, but capable of cruelty and anger—a quality this film shares with some of the best productions, animated or otherwise, aimed at young audiences. . That said, the creators don’t hold back on indulging in the juvenile humor of a big swell, finding room for a multitude of emotions within an unimaginably magical story. Although perhaps not exceptional, “Ghost Cat Anzu” fascinates all the same.
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Image Source : variety.com
