Chiyoko, la actriz milenaria

A key reward for writing IMDb comments is that readers send you recommendations. This is one that I had a hard time tracking down. I'm glad I did.

This seems to be viewed only by fans of anime, and that's a shame. I'm not knowledgeable enough in anime to note how it fits. It seems to be in the more "realistic" spectrum, with fewer edges and less posturing.

Japanese writing has gravity. In traditional mode, the eye falls down as it gathers a phrase. The characters are derived from ink on paper instead of the western fonts shaped by chisel on stone. And where the characters I use in English have no inherent semiotic association, Kanji is inherently pictographic. A Japanese reader will literally harvest phases by falling through images, images in a static situation with dynamic sweeps therein.

So when I come to anime, I look for this. Being nonJapanese, I can see it and appreciate it more than a native can I believe.

That's why I'm excited about this, because the visual phrases are imposed on some folds I know.

First about the folds. The way this is structured is as a double documentary of an aged film star, "Sunset Blvd"-wise. Its double because we have a camera and we are seeing the two documentarians: one the interviewer and the other with a camera. (We never get a view through that camera, I think.)

The interview blends with the actress's flashbacks. Now this is very clever, how this is done.

It isn't memory: the documentarians are physically there when a "past" episode occurs. The cameraman constantly asks "what next?" and the interviewer takes on the role of certain characters in the films. These really are films, we see, when sometimes the "camera" rolls back and we see the crew. This is a third camera.

But more: all of the films over many decades conflate and merge, interweaving back and forth through history, forming a single quest for a love. That love is for a painter, who clearly is the animator of this cartoon, "Duck Amuck"-wise. These films not only merge with each other, and the quest, and the "interview," but with her life proper.

As with "8 1/2 Women," earthquakes figure in the shifts and overlays of stories. The thing that binds it all is a "key" which we learn early is to a paintbox, the source of all the paintings we see. Its wonderful organic oneiric origama. oneiroticama.

And that's just the story. Watch how the phrases are constructed though. We fall through them, soft layer after cloudy image.

Its like relaxing into love with perfect trust. You really should see this.

Ted's Evaluation -- 3 of 3: Worth watching.

Genya Tachibana is a TV documentary maker and has tracked down his favourite actress; Chiyoko Fujiwara. On interviewing her Genya presents her with an object she had lost long ago; a key. From there we are transported through time and see Chyoko story about lost love and her struggle to find it. The key belonged to a man she meet when she was young. He was a rebel on the run and Chiyoko gave him shelter. He gave her the key as a thank-you. When he disappears she sets out to find this man. Still young, Chiyoko is approached by a film maker to star in his new film; she accepts and sees this as a chance to find mysterious man. She become a huge success, but she is always empty, never finding the man she loves.

Satoshi Kon has created a wonderful film about the lose of love and the extraordinary lengths one woman will go to find it. What makes this an interesting watch is that when we go into Chiyoko's past, Genya and his camera man also walk around in her past; interacting with people. But its just not a trek through her past, her memories meld with the movies she has made; as the movies parallel her life on her journey of finding her love, but also time in history. The scenes we see are from the movies she has made, but the story is her own life; her reality and her imagination have just crashed into one another.

The animation here is just visually amazing. Satoshi Kon's character designs are so unique they set themselves apart from another animations. All the backgrounds are so detailed and textured. What i find great is that Satoshi Kon adds that tiny bit of surrealism; adding more dimension and thought, here its how Chiyoko's memories meld into the movies she's starred in. Satoshi's script is so deep and full of angst. Its hard to watch this woman on her quest for love always failing; yet she blindly keeps going no matter what.

At great movie about the journey of love and how its never ending; in this world and the next.

Without a doubt, Millennium Actress is a masterpiece. Fluid scene transitions, vibrant colors, and gorgeous pieces of music not only allow, but forces the viewer to feel empathy for the character. I admit, I was teary eyed for several scenes in the movie, it's cinema at its best.

The story, like Kon's Perfect Blue, is told in a way where reality and fantasy are blurred and joined. Unlike Perfect Blue, the truth and fiction are not important matters in Millennium Actress. Perfect Blue was a movie about an event. Millennium Actress is a movie about an emotion: Love. That search for the long lost love is the only thing that keeps one young. Chiyoko, the main character, travels through centuries and millenniums to find it, but always fails. Yet her zealous passion for this quest is what ultimately keeps her young, even at death.

Watching this film, we will all be reminded of that one passion we've had during our youthful days and be reminded about our quest to fulfill that passion. Maybe that feeling will return after you've viewed this movie. Maybe you'll regret certain actions and decisions that you've made in the past. But that's of no importance. Because at that point, the film has done its job and you'll feel a little warmer inside.

Satoshi Kon shows his skill at drawing you into another world. Millennium Actress has a great story, really great characters, and keeps you fixated from start to finish. Watching this one made me forget this was an anime as I became fascinated by the life moving before me. Chiyoko is amazing at any age or time; her determination, spirit, and energy are infectiously admirable. Note the interviewer and our skeptical camera guy are third party observers in the dark, just like ourselves. Someone watching this mentioned how great the soundtrack is which adds a whole other level and really establishes pace, mood, and atmosphere throughout. A key reminding us of the value of a dream and how far would you go to fulfill it?

This one asks questions, has fun moments, and really touching ones. It's all done so creatively that you come along for the journey and find out it's all worth it.

Satoshi Kon is the extremely talented director who brought us the memorable Perfect Blue (1997) and perhaps changed the face of Japanimation forever. Here at his second feature film, ripe after a four years hiatus, he makes the wait well-worthed with a cunning cinematographic experience that literally plunges the viewer into the wonderful world of film.

Using the animation medium to push storytelling in film to new levels of effectiveness, Kon tells the story of a legendary actress who's life and career sparks the interest of documentary director Genya Tachibana. Along with his trusted cameraman, he undertakes to interview the now very old Chiyoko Fujiwara, spotlight actress in her hay days, and together they delve into her past.

This session blooms into a captivating narrative, blending elements of her life with roles in some of her films, and exploring her great search for love. The movie thus explores the personal challenges and self-realization that one undergoes through the different stages of life. It does so with the help of probing questions from Genya and is not shy of being epic in scale, passing seamlessly through fictional eras and time periods, superimposing characters, persons and life teachings. The fusion of reality and fiction is truly remarkable, and Satoshi Kon distinguishes himself from conventional dogmas in that aspect. For him, sky is the limit. He is only limited by his boundless imagination. The result is something fresh and spectacular. From the beauty of the vibrant images to the backdrop of lyricism and poetry, the movie explores life with us... and comes up with interesting conclusions. You will have to see and judge for yourself, but I promise that, if nothing else, it will have made you think.

I was privileged to attend the world premiere at the Montreal FantAsia Festival and was greatly honored to be blessed with the incarnation of the director himself, in flesh and bone. He strikes me as a very intelligent, very mature and wise man. There is an old woman in the film who says to Chiyoko: "I love you and I hate you more than you can imagine." I asked him the significance of that and he simply answered: "I do not really know what it means. I know that I understand many things that I did not 15 years ago. I just tried to project myself in the future, and thought of what I might be able to bestow to a younger inexperienced person like myself, with this increased wisdom that comes with life's trials and tribulations." I admit I am paraphrasing just a little (my japanese is not that good in any case), but that's essentially what he said, and this confirmed my belief, based on the artistic genius and masterful integration of complex thoughts into a simple, flowing, living piece, that this man is gifted. He has an incredible depth and is able to conjure it up to the surface and present it to us. One cannot but delight in his work and wait again for more enlightenment...

A suivre...