StevenJ0001 wrote: ↑
Fri Apr 06, 2018 3:07 pm
Just found about this and am utterly heartbroken. An incomparable giant of the art form.
There is an excellent lengthy tribute to Takahata in this months issue of Neo (number 176) by Andrew Osmond, who makes a number of interesting points such as pointing out Takahata's study of French literature and poetry at university and that it was therefore fitting that his last credit was as producer on the French animation The Red Turtle
; that while a lot of Takahata's features have made it to the West, much of his long form TV work (series of Heidi
and Anne of Green Gables
, as well as 300 Leagues In Search of Mother
and Chie the Brat
. I love Chie the Brat in particular, even the silly and buffonish father, who has a habit of messing everything up and gambling, but seems kindhearted too, almost to a fault! I also love that perhaps Chie's annoyed attitude towards him is not just for his character faults, but perhaps more being upset at having messed up the marriage to leave her without her mother) remain unreleased on disc and show a more comedic side that only really appears in the features as an undercurrent (aside from Pom Poko perhaps, which Osmond relates to Animal Farm); the 'experimental' art styles of My Neighbours The Yamadas and Princess Kaguya. And Clements ends with this nice comment about the partnership with Takahata and Miyazaki:
Andrew Osmond in Neo wrote:Hilda [in Little Norse Prince] turns out to be an alienated, conflicted spirit, who gradually questions her malign role in a story she's been parachuted into. She's an early case of what is often described as Takahata's "objective" approach to character. In Takahata's films, characters may not understand themselves or their actions, their contradications presented without overt comment. In Grave of the Fireflies, the boy Seita loves his sister but is catastrophically blind to how his decisions are killing her. The father in Princess Kaguya is pompous, greedy and selfish - and loving towards his daughter at the same time...
...And yet there were artistic exchanges to the end. Kaguya's were relatively superficial; Takahata's film has a Miyazaki-esque fantasy flight scene and a score by Joe Hisaishi. Wind Rises though, could almost be a Takahata film. Abandoning his crowd-pleasing heroines, Miyazaki finally depicted a protagonist - a myopically driven aircraft designer - with Takahata's objectivity.