gf44
A sumptuous period fantasy that delivers!
I have not read the manga nor was I familiar with the story. I knew that it had Ren Meguro in it and I was swayed by the trailers -- especially the elements of fantasy -- to watch it. And I am so happy that I did! It premiered at the Japanese Cultural Centre in Toronto today; and I am so glad that I went. There is something to be said about the experience of watching a movie with an audience that is wanting to be charmed by what they watch unfold on screen.
Without spoiling the movie, I will say that the production quality is incredible. I think they used heritage sites for most of the filming and it really shows in the movie. They add a depth of place and history that you wouldn't find otherwise. The costumes worked well too. I'll agree with the earlier review that they had a challenge in compressing a significant and complicated story into 1 hour and 57 minutes but they did a reasonable job. As a newbie, I didn't find it rushed or choppy, which is a testament to the script writing and editing, especially since so much of the film relies on cutaways.
The leads were terrific. Their chemistry was on point. And whoever thought of putting Ren Meguro in a grey wig with long hair and a navy military uniform is a genius. It worked perfectly. He looks in part formidable military commander, a leader with hidden warmth. and a man in search of the warmth of hearth and home --without even knowing it. He is the archetypal hero but with a strong streak of pragmatism, which makes the character even more attractive. Especially when the commander is replaced by a fumbling young man hesitantly exploring the dangerous territory of his emotions. Mia Imada is lovely as the wide-eyed damsel in distress, who possesses unexpected depths. So much of her resistance is hidden under a dramatically vulnerable exterior. The grief and pain of her history manifest in unexpected ways, reminiscent of a trauma survivor. Watching the two of them open up to each other is done well. It's very lightly handled with more left in side long looks, and aborted gestures than what is actually said out loud.
And now to the piece that I loved. I would watch it again just to relive the fantasy elements and special effects. The way Kiyoka Kudo handles a spark of fire is fantastic. It's poetic. Glittering embers of light streak across the screen like fireflies. Its power to destroy and to heal is a visual treat. The fight scenes are well choreographed with sabres flashing and cloaks swirling and magic manifesting. Little is said. In fact, little needs to be said because the physicality and layers of these scenes speak for themselves underscored as they are by a terrific OST. There is a delicious denouement with the villainous family that left me and the rest of the audience clapping in delight!!
All in all, tropes and cliches aside, I thoroughly enjoyed it.
Without spoiling the movie, I will say that the production quality is incredible. I think they used heritage sites for most of the filming and it really shows in the movie. They add a depth of place and history that you wouldn't find otherwise. The costumes worked well too. I'll agree with the earlier review that they had a challenge in compressing a significant and complicated story into 1 hour and 57 minutes but they did a reasonable job. As a newbie, I didn't find it rushed or choppy, which is a testament to the script writing and editing, especially since so much of the film relies on cutaways.
The leads were terrific. Their chemistry was on point. And whoever thought of putting Ren Meguro in a grey wig with long hair and a navy military uniform is a genius. It worked perfectly. He looks in part formidable military commander, a leader with hidden warmth. and a man in search of the warmth of hearth and home --without even knowing it. He is the archetypal hero but with a strong streak of pragmatism, which makes the character even more attractive. Especially when the commander is replaced by a fumbling young man hesitantly exploring the dangerous territory of his emotions. Mia Imada is lovely as the wide-eyed damsel in distress, who possesses unexpected depths. So much of her resistance is hidden under a dramatically vulnerable exterior. The grief and pain of her history manifest in unexpected ways, reminiscent of a trauma survivor. Watching the two of them open up to each other is done well. It's very lightly handled with more left in side long looks, and aborted gestures than what is actually said out loud.
And now to the piece that I loved. I would watch it again just to relive the fantasy elements and special effects. The way Kiyoka Kudo handles a spark of fire is fantastic. It's poetic. Glittering embers of light streak across the screen like fireflies. Its power to destroy and to heal is a visual treat. The fight scenes are well choreographed with sabres flashing and cloaks swirling and magic manifesting. Little is said. In fact, little needs to be said because the physicality and layers of these scenes speak for themselves underscored as they are by a terrific OST. There is a delicious denouement with the villainous family that left me and the rest of the audience clapping in delight!!
All in all, tropes and cliches aside, I thoroughly enjoyed it.
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