nate dogg keep it g.a.n.g.s.t.a
These issues
stuck out like a sore thumb on second viewing, partly due to how simplistic the film feels in its presentation. Grave of the Fireflies is often seen as the Ghibli feature to break away from the conventional family-friendly films the studio has produced, and while it
does deliver on an unflinching war film not suitable for all ages, it also just so happens to lack the whimsical spirit that gave those other films such striking personality. Takahata has his strengths, from his interest in realistic imagery to his sense of social responsibility as a director, yet here his style feels neutered to a point where little personality can be found in the directing. He’s not Miyazaki, but the film appears contempt in what it wants to achieve, never aiming for more than the core emotional attachment felt though the script. Each scene is carefully calculated, but never ambitious in their purpose. Even the cheerful moments only balance out the hell Seita and Setsuko are in, never acting as driving components for either character. The music also does little to help the experience move along, rarely ever effective in smoothing out transitions or amplifying sentiment in an authentic way. It unironically makes the most emotional moments come off more canned than real. At the end of the day, the presentation may look very pretty, especially when it comes to the animation, but otherwise is rather insignificant when building on the emotional side of the film.
I feel
conflicted when trying to summarise my thoughts on Grave of the Fireflies. It has some very noticeable problems that I take issue with, but it’s far from a bad film in my eyes.
Retrieved September 6, 2009. ^
Funky Zealot (November 18, 2004). "Atari Ships Yu Yu Hakusho:
Tournament Tactics for GBA". GamePro. Archived from the original on June 7, 2011. Retrieved December 19, 2009.
The young Suzume
becomes energized and decides to leave the Ever-After and return (in the past), leading to her being found by Tamaki twelve years prior. Suzume and Souta leave the Ever-After themselves (to the present), with Souta returning to Tokyo, while Suzume and Tamaki return to Kyushu, revisiting the friends Suzume made along the way. Sometime later, back in her hometown in Kyushu, Suzume makes her way to school. To her surprise, she runs into Souta again, at the same location where they first met. Voice cast[edit] Character Cast Japanese English[4] Suzume Iwato (岩戸 鈴芽, Iwato Suzume) Nanoka Hara[5]
Akari Miura (young)[6] Nichole Sakura
Bennet Hetrick (young) Souta Munakata (宗像 草太, Munakata Sōta) Hokuto Matsumura[7] Josh Keaton Tamaki Iwato (岩戸 環, Iwato Tamaki) Eri Fukatsu[8] Jennifer Sun Bell Minoru Okabe (岡部 稔, Okabe Minoru) Shota Sometani[8] Roger Craig Smith Rumi Ninomiya (二ノ宮 ルミ, Ninomiya Rumi) Sairi Ito[8] Amanda C. Miller Chika Amabe (海部 千果, Amabe Chika) Kotone Hanase[8] Rosalie Chiang Tsubame Iwato (岩戸 椿芽, Iwato Tsubame) Kana Hanazawa[8] Allegra Clark Hitsujirō Munakata (宗像 羊朗, Munakata Hitsujirō) Matsumoto Hakuō II[8] Cam Clarke Tomoya Serizawa (芹澤 朋也, Serizawa Tomoya) Ryunosuke Kamiki[9] Joe Zieja Daijin (ダイジン) Ann Yamane[10] Lena Josephine Marano Miki (ミキ) Aimi[11] Mela Lee Production[edit] Development[edit] The 2011 Tōhoku earthquake and
tsunami served as an influence for the film. The stranded catamaran Hamayuri [ja] in this aerial image taken in Ōtsuchi, Iwate became the prototype of the stranded vessel appearing in the afterlife scene. Makoto Shinkai conceived the idea for Suzume while he was traveling around Japan to give talks about his past works. He said, "In Japan, it is customary to hold a jichin-sai [ja] or groundbreaking ceremony, before construction begins on a new building or home, but we do nothing when we close them down. " Shinkai noticed that there were more empty or abandoned areas in Japan due to the country's declining birth rate and aging population, so he thought of writing a story about "mourning deserted places. "[12][13] As a result, the film inevitably turned into a road movie about visiting places.
