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07.06.2014
Japan is picking itself up from the devastation of World War II and preparing to host the Olympics. The mood is one of both optimism and conflict as the young generation struggles to throw off the shackles of a troubled past. Please make the message constructive, you are fully responsible for the legality of anything you contribute. The combination of Le Guin’s story and the Studio Ghibli aesthetic was definitely reason for celebration, but the final film was kind of a mess and, despite some nice visuals and the basic kernel of the original books, it is probably the closest thing to a bad movie in the entire Ghibli catalogue. By many accounts, including that of Hayao Miyazaki himself (the father and son ended up not speaking to each other throughout much of the production), the lion’s share of the blame lied with the director.
The writers keep things relatively light, treating the complex political themes and charmingly innocent love story with respectful humour.
Miyazaki and his artists don’t skimp on the locations or frame-rates, but they minimize their camera movements and keep their compositions simple (aside from a single, stylized dream sequence).


GKIDS, who licenses catalogue Ghibli titles to Disney, has released most of their stuff through New Video Group, including the Academy Award-nominated The Secret of Kells and A Cat in Paris, but a tiny company called Cinedigm Entertainment scored the license (for the record: GKIDS will be releasing Grave of the Fireflies on Blu-ray through Sentai Filmworks). The image is hyper-clean throughout the entire film without many notable compression noise or blocking effects (there’s some minor low level noise in the solid background reds). The differentiation between the cells and the backgrounds are unmistakable without creating a stylistic discord or causing any edge enhancement effects. The colours are incredibly rich and the comparatively simple animation style helps press the vivid qualities of the warmer hues. Some sequences are a bit dark and gloomy (with smooth black levels), but it’s more common that the frame is bursting with an eclectic collection of hues. Regardless of the shared DTS-HD codec it’s pretty obvious that the English track has the lower bit-rate. Both tracks feature generally the same sound design outside of the dialogue tracks, of course, which include some relatively loud crowd sequences.


Panning effects are relatively rare (mopeds and boats move through the frame, some students run off-screen, et cetera), but there is quite a bit of basic, natural ambience and unassuming, immersive effects. The director, who nervously wrings his hands throughout the entire interview, mostly discusses making a period piece and the real-life Yokohama location.
Up next is a behind-the-scenes featurette with the English voice cast (21:50, HD), hosted by producer Gary Rydstrom and English scriptwriter Karey Kirkpatrick. Director Goro Miyazaki is officially forgiven for dropping the ball so hard on Tales From Earthsea.



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