By Chlotrudis Independent Film Society
Rating: 3.75 cats
Director: Satoshi Kon
Starring: Fumiko Orikasa | Mami Koyama | Miyoko Shôji
Original language title: Sennen Joyu
Country: japan
Year: 2003
Running time: 87
IMDB: http://us.imdb.com/title/tt0291350/combined
Bob says: “My experience with animé is mostly limited to movies like AKIRA and GHOST IN THE SHELL – urban science fiction with a healthy dose of philosophical questioning about the nature of the self. Well, MILLENNIUM ACTRESS is nothing like that. Instead, it’s a look at the history of Japan from the occupation of Manchuria in the 1930s to the present. That history is filtered through the Japanese film industry, which is itself filtered through the career, memories and perceptions of a star whose career spanned from the ‘30s to somewhere around the ‘70s.
“The film opens with Genya Tachibana watching a scene from the final film starring Chiyoko Fujiwara on the grounds of a studio that’s about to close. Fujiwara was the studio’s biggest asset, and Tachibana decides to commemorate the closing of the studio with an interview with the now aged and reclusive star, who has not been seen in public for some 20 or 30 years. He and a young cameraman trek out to her secluded home and once Tachibana has spent some time doting over his idol, they begin the interview by giving Fujiwara a key on a chain – something she had carried with her for years, but had misplaced at the studio.
“The key brings back many memories for Fujiwara, and she begins her story by explaining that it was the key that got her into the movies in the first place. When she was a small child, a movie studio asked her to join them in Manchuria for a shoot. She and her mother initially refused. But shortly after this, she met and sheltered a man who was on the run from the police. He was a painter, and was in trouble because of his outspoken opposition to the policies of Japan’s government. He tells her that he has to return to Manchuria and gives her a key (yup, the key), saying she can return it to him when they meet again. Fujiwara decides to accept the movie job in order to go to Manchuria, find this mysterious man, and return his key.
This brings us into a long series of flashbacks of her career, but every scene we see is viewed as being part of her ongoing effort to find the man. Not only that, but Tachibana and his cameraman are dragged into the movie flashbacks as well. Tachibana, ever the fan, decides that since he’s there, he may as well play some of the roles and assist Fujiwara in her quest.
“Through the flashbacks, we’re given glimpses of the changes Japan went through during the period, the changes in the role of women in the society, and lots of references to Japanese cinema, both arty and mainstream. And through it all is the ongoing theme of being driven by something from one’s past and trying to bring it into the present no matter how unlikely it is that it will ever happen.
“While I didn’t find the artwork particularly intriguing, I thought the idea behind MILLENNIUM ACTRESS and the way it all comes together was very engaging. It’s a very sentimental film, which normally means just plain bad in my book, but I’m going to give it 3 cats.”
Esmé says: “I agree with Bob about the artwork not be outstanding (as my friend California Beth said, ‘No one looks Japanese, they all look like westerners.’), I liked the way the movie interwove reality with the fantasy of film, and paid homage to Japanese film of the last century.”
Michael says: “It’s so wonderful finding an exciting film this late in the game of nominating, but the Japanese anime film MILLENNIUM ACTRESS is such a find. Eschewing the usual sci fi, fantasy, or family film genres, ACTRESS revolves around Japanese history, as filtered through the film industry. With a fascinating blending of ‘fact’ and fiction, or reality and films to tell the story, writer/director Satoshi Kon, and his co-writer Sadayuki Murai may very well earn themselves a Best Original Screenplay nomination from me.
“With the closing of a large Japanese studio, Genya seeks out the reclusive actress Chiyoko Fujiwara, the studios biggest star from the 30’s to 60’s or 70’s. He wants to interview her for a documentary of her career as a tribute to the studio. As the interview unfolds, we slowly learn what drove Chiyoko’s career, why she disappeared after her final film, and how Genya was a part of her story.
“At its heart, MILLENNIUM ACTRESS is also a love story. Chiyoko spends her life chasing after a romantic dream that ends up shaping her blockbuster film career. Through her story, we also see a capsule version of Japanese history told in a fascinating and engaging way. The animation is beautiful, with wonderful use of still images combining with animated images to blend the historical with the ‘present.'” 4 1/2 cats