The Boy and the Beast (2015)

The film begins with a brief introduction telling the tale of a fantastical land of animals, whose great warriors fight for the prize of becoming the new lord. When these animal lords pass away they become new gods. We are then introduced to a young human boy Ren, whose parents are recently divorced. Feeling frustrated he runs away and ends up living on the streets of Shibuya. Ren is discovered by an anthropomorphic bear and monkey. Following them he finds his way into the animal world. The bear turns out to be the legendary fighter Kumatetsu who must do battle with the boar Iozen. Kumatetsu decides to take Ren in as his disciple, renaming him Kyuta (a play on him being 9 years old). Kumatetsu is slovenly, arrogant and a terrible teacher, being self-centred and stubborn. However, Kyuta soon begins to learn from him, and he from Kyuta. When Kyuta returns to the world of humans he must make a difficult choice to leave Kumatetsu, his surrogate father, behind and return to his real father and his real life, or to support him in his most difficult hour.

Written and directed by Mamoru Hosoda (Wolf Children) the film is a poignant exploration of masculinity and fatherhood. Though their relationship is dysfunctional there is affection between Kyuta and Kumatetsu. Each lacks the emotional intelligence to express themselves verbally, but nevertheless they provide support for each other, complimenting the others’ weaknesses. In the case of Kumatetsu it is his inability to listen or learn from others, in Kyuta’s case it is his lack of strength or self belief. The animation in the early portions of the film takes us on a journey through the dark back alleys of Tokyo, with abandoned bikes, the eerie glow of vending machines, as well as the bright lights of Shibuya’s famous crossing. When it moves to the world of animals there is a definite shift in tone to a more lighthearted art and animation style. This works fantastically well in creating a definite intersection between reality and fable. What Ren learns in the fantastical world of Kumatetsu is a good way to explore what might be difficult themes in a human drama. There is plenty of humour and clowning here that captures a childlike sense of joy and wonder while at the same time not shying away from the seriousness of what Ren is experiencing.

The central theme of the film is that of a father son relationship. Through Kumatetsu and Ren’s fraught experiences with one another they both grow to appreciate having a surrogate parent or child. Kumatetsu’s violent outbursts are softened by his characterisation as a bear creating a safe way to explore themes of parental aggression. We learn to sympathise with both Ren and Kumatetsu and understand why both act the way they do, while also willing them to resolve their differences. At the end there are touching moments later in the film when you realise that their anger is a sign of affection. The film also deals with themes of strength and masculinity, particularly in relation to Ren’s journey to becoming a man. It asks the question of what true strength is, whether physical or emotional, and how important that is for surviving life’s hardships. This is an important film for understanding not only the stresses that divorce and separation from a parent can have on a child, but also offers a male perspective on how to deal with these issues.

When Marnie Was There (2014)

Anna is withdrawn and anxious. Isolated from her classmates, she takes solace in her drawings. After an asthma attack her foster mother sends her off to the countryside, believing that the cleaner air will do her some good. While there Anna discovers a mysterious house and meets another young girl, Marnie, with whom she becomes good friends. The house has been abandoned for a long time and it is clear early on that Marnie may not be real. Dreams, memory and reality are blended together as Anna slowly uncovers the details of Marnie’s past and subsequently reveals something about herself too.

The story is based on the novel of the same name by Joan G. Robinson, with the action transposed to Japan. Director Hiromasa Yonebayashi has crafted a beautiful film that will speak to many people. Anna is a character that you are immediately drawn to, though without overly sentimentalising her experiences. She suffers social anxiety, asthma, and we learn early on that she does not smile a lot. This is due to the death of her parents at an early age, something that has left her feeling isolated and disconnected from the world. The film does a great job of showing how she grows and learns to cope with this childhood trauma. The animation is spectacular. From the opening sequence of a busy play park there is a vibrancy and life to everything that happens. As with many Ghibli films the natural world is as much of a character as everyone else. In this film the effects on the sea are mesmerising with the added importance of the sense of receding tides tying into the themes of the film. There were also a number of techniques used to perfectly capture what was happening such as the faces of Anna and Marnie being overlaid at one point to show their similarities.

When Marnie Was There is a film about loss and memory, regret and redemption. The themes are subtly introduced in the guise of a mystery story and never overplayed. While it deals with serious issues there is humour introduced throughout, and in the latter parts the character of Sayaka seems introduced purposefully to help counterbalance the tragedy. This is another classic from studio Ghibli. While it lacks some of the whimsy of their more fantastical films, it is a powerful emotional drama that reaches a satisfying resolution.