Tränen der Erinnerung

The success of this film will depend largely on the extent to which you can identify with the central character, and how much you can emphasis with the central theme of growing up. Those with a pre-determined idea of what Studio Ghibli is and what their films represent may be somewhat put out by the nature of the film, which is perhaps more mature in its themes and sensitive in its characterisations than something like Panda! Go Panda! (1972) or the iconic My Neighbour Totoro (1988); creating a film that is based very much in reality, but abstracted by the more fantastical allusions to childhood and memory.

Unlike the more widely regarded Ghibli films, the fantasy elements of Only Yesterday (1991) come from within the narrative; as our central character recalls elements of her life as a child as she finds herself at something of a difficult crossroads. She's approaching thirty, but still very much a youngster at heart, and has to juggle between chasing her dreams and living up to the expectations of her family and the stereotypical idea of a woman as the domesticated wife and mother. As she leaves the city to spend the summer picking safflower on the farm of some distant relatives she is accompanied, figuratively, by her ten year old self, as the lessons and events that shaped her young life are used again to help her make that all important decision that will ultimately set the course for the rest of her life. Although the subject matter might hint at melodrama, the presentation here is really very special indeed; using reality and imagination, past and present, and the appropriation of specific, pop-cultural reference points to create this sad and somewhat tragic character who finally finds an outlet for all of her hopes and dreams in this evocative, rural setting.

If you're familiar with director Isao Takahata's earlier Ghibli film, the highly acclaimed Grave of the Fireflies (1987), then you'll be somewhat familiar with his personal approach to storytelling, which here, takes full advantage of a rural period setting, the complex relationship between the various characters, the ideas of time and memory, and a creation of a particular world that stresses realism and accuracy to almost the smallest detail. With this is mind, I'd rate Takahata as not only one of the greatest animation directors of the last twenty-five years, but one of the greatest film directors of all time; easily on a par with the likes of Andrei Tarkovsky, Yasujirō Ozu, Kenji Mizoguchi, Miklós Jancsó, Peter Watkins, Michael Powell and Akira Kurosawa, etc, with the keen eye for detail, impeccable performances (both spoken and animated) and the overall approach to the story (which is entirely personal, but still completely fascinating) enlivening the drama and taking it beyond the merely adequate conventions of animated cinema to the next conceivable level of greatness.

Although I'm three years younger than the character of Taeko as presented in the film (and from a completely different background and generation) I could completely empathise with her situation and her dream of something much more rewarding than the bland office job and the continual expectations of family and friends. As a result, the film was more satisfying and more emotionally captivating than it might have been had I failed to make such a connection. As it was, the film forced me to think about my own childhood, and indeed, what the ten year old version of me would have made of the current twenty-four year old incarnation. Even if you fail to make a similar connection with Taeko, the film still works as a result of its memorable and entirely believable characters, the clever use of storytelling and that beautifully moving and somewhat magical finale. I guess some viewers will perhaps find it slow or harder to relate to, especially if you judge it at the same level of films like Spirited Away (2000) and Howl's Moving Castle (2005), however, those in the right frame of mind and willing to give themselves up the characters - emotionally speaking - will be rewarded with one of the most beautiful and carefully realised films of the last 20 years.

As much as I love those films of Hayao Miyazaki, Only Yesterday seems to affect me in a way that is entirely personal and unforgettable. The character, as both a ten year old and as a twenty-seven year old is perfectly rendered, acted and animated. The situations that occur in her life, in both of the separate time-lines, are believable and actually add something to the drama and her eventual switch in direction in those last few scenes. For me, Only Yesterday is simply great; a modern masterpiece to rival the aforementioned Grave of the Fireflies and a must for anyone with a real appreciation for intelligent, character-based, emotionally captivating cinema.

I really had no idea animation could be so touching and moving. A young woman on her way to the countryside to help out with some farm chores keeps getting flashbacks of her 10 year old, 5th grade self. That may sound boring, but instead I was riveted from beginning until the heart warming finish, enjoying her memories along the way. We all carry around with us such kind of memories-having trouble with a particular subject in school, flirting with members of the opposite sex, being teased by classmates or older siblings, misbehaving and being severely punished, not getting something we really wanted and on and on. While she was having her flashbacks, I was having mine, making it all a very personal experience. Her life has been shaped by her memories, and now she is guided by them as she comes face to face with a momentous, potentially life-altering decision. Even if she was only an animated character, I got so bound up in the story that I desperately hoped for her to make the right choice. Sometimes I even forgot that I was watching an animated movie.

This is the question to be asked, even for the fans (like me) of "grave of the fireflies". Compared to all the other ghibli movies, this real masterwork has been unfairly unrecognized. Forget about the anime you watched so far, it's completely different, more adult, more realistic, more... life-like. No big eyes (well, the flashback are somehow "very 60's", but that's the purpose!), no screams, no ultrasonic voices; just characters treated as they were true actors. For example the pineapple scene or the mathematics exercise scene are the most incredible daily life pictures i've ever seen! And the final credits will have you wipe some tears... Watch it and make your friends watch it too. Don't be surprised by its length. It's fun, sad, real, touching, moving whatever you want... I still dream it will be released abroad, one day... who knows? Talk about it around you and maybe this could happen. Takahata definitely deserves it!

Imagine a commonplace story in commonplace settings with a not so immensely interesting main character (a bit like you and me) and a pastoral kinda hippie-message... and it works!

This is another memory-thingie from Japan (they are obsessed with memory there, is that because of the Meiji period? who knows), from the genius who brought us Grave of the Fireflies.

The story's so simple: a young woman in her late 20s doesn't have any real problems, is kind of ready for the rest of her life to happen, but it's just not happening. Something seems to be in the way of her accepting the possibility of happiness in the simple things that she finds on her way, and that that might just be what she's looking for and therefore enough.

A trip to the countryside brings back memories of her childhood as the youngest of three in a middle-of the road household in late 60's Japan. The thing is, it is SO well-done. Often, films focus on the misery of this life and the sweet innocent splendor of youth. This one turns it upside down, and not by depicting a horrible childhood which has to be "taken care of". Just by looking at things the way a child does.

It's often the little things, that seem of no importance to adults, that mould a child, shape it's personality. The "small killings" so to speak. Events no one notices and no one readily remembers, but no one really forgets either. And when you remember them, they hurt in a way that you find unreasonable.

So with this film. The flashbacks of not really a "missed opportunity" childhood, but rather of small events that stuck, chills you and sometimes fills you with warmth. It suggests at the same time that though there might be events that made her what she is, she also always was who she is, and it's the interplay between who you are and what you encounter that shape your life. You might say "it might have gone a different way", but then again it didn't exactly because you are you. Very Tao if you ask me. How it ends... just go and find out.

The fact that the film, entirely inconspicuously, manages to pull it off to tell that in images, makes it great art. The subtitles are hazardous (sometimes too fast, too much on the screen...), but let that not spoil the splendor. Get out and rent it now. I bought it.

This movie has all of the grace and beauty of Grave of the Fireflies, without the oppresive depression. Takahata has such an eye for detail and subtlety; the characters' observations about life and coming to terms with who you were and are when combined with the beauty of the animation and scenery are poetic and elgiec.

What could be a trite romantic tale instead blossoms into art due to the hyper-realism of Takahata's story-telling.

This movie requires some work to understand, but the effort is rewarded generously. Even though its been just a few minutes since I finished watching it, I can already tell that the images and characters will be playing in my head for a very long time.

This move is an absolute gem -- see it if at all possible!