Millennium Actress

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.

In some films, the dividing line between subjective and objective reality is very tenuous. In Satoshi Kon's poetic Japanese animé film Millennium Actress, it is almost non-existent. When the Ginei studio is about to be razed, documentarian Genya Tachibana decides to make a documentary about the studio and its greatest star, legendary actress Fujiwara Chiyoko who disappeared from public life more than thirty years ago. After finding an old key that belonged to the aging actress, he travels to her secluded mountain retreat with his assistant Kyogi Ida to interview her for the documentary. When Genya gives her the key, it unlocks a stream of memories that transports us (along with the cameraman and interviewer) to a different reality that allows us to relive one thousand years of Japanese history using the medium of cinema.

As she tells her story, Chiyoko recounts her birth at the time of the great Kanto earthquake of 1923 and how she was discovered as a child actress despite her mother's objection that she is too timid. She reveals how a strange young painter, a political outcast whose name she never discovers, gives her a key and then disappears, telling her that the key is "the most important thing there is". Chiyoko's dream of reuniting with her lover keeps her alive and becomes what her life is about. Unfolding more as emotion and mood than narrative, Kon takes us on a surreal journey through a series of films within films in which Chiyoko attempts to find her lost love, playing a princess, a ninja, a geisha, and even an astronaut. In the process, we witness a seamless tableau of Japan's history: the medieval period in the 15th and 16th centuries, the era when the Shogunate was in power, the Meiji period when the Emperor was restored, the Showa period before World War II, and the post-war occupation and recovery.

The line between events of Chiyoko's real life and scenes from her films is blurred and the film is difficult to follow on first viewing. To complicate matters even further, the interviewer, Genya, is cast in many roles in which he becomes almost a comic figure as Chiyoko's rescuer. Though the film is often puzzling, the search to recapture the defining moment in Chiyoko's life strikes a universal chord and we identify with her desperate quest. Though I found the ending somewhat unsatisfying, Millennium Actress is a complex and beautiful film and Susumu Hirasawa's hypnotic musical score adds to the blend of warmth, emotional power, and magical realism. Kon sees life as a big romantic movie full of melodrama, humor, and longing and seems to be saying that while there is often confusion between who we really are and the shifting roles we play in life, what remains constant is our longing for love.

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.

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.

The life story of an actress told to reporters that blurs the line between reality and fantasy as the movies she made become he life and vice versa.

A wonderful continuation of of the ideas in the brilliant thriller Perfect Blue, we once again have our perceptions turned upside down and sideways. Who is telling the truth, or more importantly is it even possible to know when all we are anyway is a half remembered collection of memories, are notions thrown at us and left for us to determine on our own. This is a film that probably could never have worked as a live action film simply because the changes between reality, memory and movie could never be as seamless as they are here.

This is a movie for grown ups and very clearly shows why those who think animated films are only for kids is missing out.