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Hayao Miyazaki, Ponyo

by Freeman Montaque
08/23/2009

There aren’t many filmmakers around today that can deliver consistently intelligent, entertaining films, let alone movies that can appeal to adults as well as kids. Hayao Miyazaki, however, seems to do it every time he decides to make a new movie. I’ve seen all of his films, thoroughly enjoyed each and every one of them, and his latest fits into his impressive resume of imaginative projects with relative ease.

As Miyazaki’s name becomes synonymous with greatness, it seems that A-list stars are beginning to come out of the woodwork and introduce themselves to the prospect of voice acting, if only to work with the renowned Japanese filmmaker. Ponyo boasts one of the most talented animated cast in any Miyazaki picture.

The rundown includes big-name Emmy winners (Tina Fey, Betty White, Lily Tomlin and Cloris Leachman), an Academy Award nominee (Liam Neeson) and two Academy Award winners (Matt Damon and Cate Blanchett). But the film rests on the shoulders of the two vocal leads: Noah Lindsey Cyrus and Frankie Jonas. And whether or not you’re a fan of Cyrus’ ridiculously popular older sister, or Jonas’ equally well-known older brothers, both prove their worth as entertainers here, at least as far as voiceover performance is concerned.

True to form, Miyazaki constructs the story around a strong-willed, independent female. Ponyo (Cyrus), the eldest of her many (many!) sisters, leaves her underwater nest one day and finds herself tangled up in some ocean garbage. She’s saved by a curious young boy named Sosuke (Jonas). After he cuts himself and Ponyo heals his wound, she decides she wants nothing else but to experience human life with her new friend, much to the chagrin of her father (Neeson). From then on, it’s a constant battle to see what will keep Ponyo and Sosuke from achieving their goal of being together, both as humans.

Despite the stellar vocal ensemble, the biggest attraction the film has going for it is its visuals (though Fey stands out as someone whose voice seems perfect for that of an anime mother). The inviting colors and the detailed underwater life embraces the view with open arms, and seeing an image like Ponyo running across giant waves of fish leaves little doubt that Miyazaki is one of the most imaginative directors around.

Entertaining as the film is, it does depart somewhat from the filmmaker’s other works, mainly due to its appeal to kids over adults. As I stated before, this, like Miyazaki’s other movies, can enchant moviegoers young and old. And just like My Neighbor Totoro and, my personal favorite, Kiki’s Delivery Service, this is a film that could best be described as “cute.” But it’s almost too cute at times, at least if you’re over the age of ten.

Once the film gets to the halfway mark, that’s not really a problem. But the very end is a different story. Typically, I like to stay after a movie finishes and watch the end credits for a while. But once Ponyo concluded and that Barney-style, nauseatingly cheerful theme song began to play, I had to get out of there.

To put the film into perspective, I’d rank it somewhere between Howl’s Moving Castle and Porco Rosso. That is to say, it’s a good, enjoyable feature, but not nearly as masterful as Miyazaki’s finest pieces (those, in my opinion, would be Princess Mononoke, Nausicaa of the Valley of the Wind, Spirited Away, and the aforementioned Kiki and Totoro).

I don’t recall any of Miyazaki’s other works going into (relative) wide release before, so I’m thinking it’s a good sign word of his talent is beginning to get around and make itself known to more people. And it should. Fantastic as these CG-animated films can be, it’s nice to occasionally sit back and view something drawn up in old-fashion design that connects just as effectively without the use of 3D glasses. And if there’s one person who can mesmerize you with traditional animated patterns, it’s Hayao Miyazaki.

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