Black Sheep (15) Feast of Love (15) Gypsy Caravan: When The Road Bends Day Watch (Dnevnoy dozor) (15)

FilmExposed Reviews

3:10 to Yuma (15)
A Mighty Heart (15)
As You Like It (12A)
Black Sheep (15)
Day Watch (Dnevnoy dozor) (15)
December Boys (12A)
Feast of Love (15)
Flanders (Flandres) (18)
Ghosts of Citť Soleil (15)
Gypsy Caravan: When The Road Bends
I for India
Lady Chatterley (Lady Chatterley et líhomme des bois) (18)
Last Tango in Paris (Ultimo tango a Parigi) (18)
Legacy (PG)
Private Fears in Public Places
Running Stumbled
Seraphim Falls (15)
Sherrybaby (15)
Sparkle (15)
Sugarhouse (15)
Tales from Earthsea (PG)
The Singer (12A)
The Walker (15)
Tough Enough (Knallhart)
Transylvania (15)
Waitress (12A)

Review not listed?
Click Here for More
FilmExposed Film Reviews

A FilmExposed Film Review

Tales from Earthsea (PG)

Tales from Earthsea (PG)

Dir: Goro Miyazaki, 2006, Japan, 115mins, Japanese with subtitles

While anime fans eagerly await Hayao Miyazakiís forthcoming Ponyo, Studio Ghibliís latest opus marks the debut of his son, Goro. A few years ago, Hallmark adapted Ursula Le Guinís first Earthsea novel into a mini-series starring Danny Glover. Ghibli has adapted the third, wherein Le Guinís older, wiser, wizard hero Ged (voiced in English by underrated Bond, Timothy Dalton, and in Japanese by yakuza film icon, Bunta Sugawara) befriends young Prince Arren, a tormented soul fleeing the darkness that drove him to murder his own father. Following numerous misadventures, Ged leads Arren to the rural tranquillity of Tenarís farm where he meets Therru, a mysterious girl with a scarred face and secret past. The youngsters grow close, but face the threat of slimy sorcerer, Cob.

Tales from Earthsea is a handsomely crafted, stirring, fantasy adventure, but has drawn criticism over decisions to alter characters Le Guin wrote as black, and over Goro Miyazakiís lack of animation experience (a landscape gardener by trade), where his father felt Goro lacked the necessary filmmaking experience, causing a rift between the two. The racial controversy must embarrass Ghibli founders Isao Takahata and Hayao Miyazaki whose films reflect their heartfelt, liberal idealism, but while the changes are regrettable, one doubts they were malicious. Anime characters are aestheticized interpretations of personality, and rarely resemble any specific race: black, white or Japanese. Earthsea boasts Ghibliís trademark storytelling flair and rich characterization. Thereís a wealth of subtext: death and rebirth, the darkness in menís souls, the reaffirmation of humanity via nature, a mature adult passing the baton to his young successor. Strong ideas, but Miyazaki explores them via heavy exposition instead of visual invention and struggles with reams of back-story. Instead of the moral complexity and gentle humanism of his fatherís films, Earthsea delivers a straightforward battle between good and evil.

On that level, itís fabulous, family entertainment with exciting battles, daring escapes, a lovely, musical interlude actually relevant to the plot, and a knockout duel between two ferocious dragons. It only suffers in comparison to other Ghibli epics. Face it anime fans, weíve been spoiled. Hayao Miyazaki had a talking pig pilot battle fascists (Porco Rosso (1992)), turned his childhood anxieties into a spiritual uplift (MY NEIGHBOUR TOTORO (1988)), questioned his own core beliefs (Princess Mononoke (1997)), used folklore to examine the fallout from Japanís bubble economy (Spirited Away (2001)), and reworked a childrenís novel into a love letter to his wife (HOWL'S MOVING CASTLE (2004)). Compared to his mind-blowing ideas, Earthsea is lightweight. However, its eleventh hour twist, philosophical aspects and a climax of visual poetry elevate this far above the CG cynicism of Shrek 3 (2007). It certainly didnít deserve three Razzie nominations. Across Asia, Earthsea made more money than Pirates of the Caribbean 2 (2006), so Goro Miyazaki will direct again and is sure to develop his own voice, while Hayao Miyazakiís Ponyo reputedly concerns a father trying to reconcile with his son. That is what separates craftsmanship from pure genius.


Andrew Pragasam

Go Back
Copyright © 2007. All material belongs to FilmExposed Magazine unless otherwise stated.
An Opensauce Project