NYICFF ’12: The Monkey King—Uproar in Heaven

Wan Laiming was the Walt Disney of China. Unfortunately, his long planned masterwork finally came to fruition on the eve of the Cultural Revolution. Just as the second part of his animated adaptation of the Ming-era novel Journey to the West was released to general acclaim, the Chinese film industry was shuttered for reasons of ideological madness. Recognized as one of the greatest Chinese animated features ever, Wan’s complete The Monkey King—Uproar in Heaven has been meticulously restored, frame-by-frame, and converted to widescreen 3D. Su Da and Chen Zhihong’s Monkey King restoration had its North American premiere screenings during the 2012 New York International Children’s Festival.

Being in fact a monkey, the Monkey King is perfectly suited to animation. Supernaturally powerful, he happily leads the monkey tribe of Flower Fruit Mountain, but his rambunctious nature attracts celestial attention. On the orders of the Jade Emperor, the Monkey King is whisked up to the heavens, only to be given a dubious title and shunted off the a harmless corner of the cosmos. The Monkey King does not play that game though. He creates quite the ruckus before returning to his clan on Flower Fruit Mountain. However, the beings of the higher realm consider his rebellious drive a threat and will not leave well enough alone.

Often thought to be influenced by Hindu deities, the Monkey King clearly fits the Trickster archetype. While he eventually settles down in the source novel, Uproar features him at his most uproarious. Frankly, some of his moves prefigure several signature sequences from the Matrix franchise. He is also quite proficient with his magical staff, delivering plenty of satisfaction for martial arts fans.

However, the look of Wan’s film, by way of the Su and Chen’s restoration, is truly remarkable. It has a rich lushness, but there is also a mystical vibe that resists comparison to other films. It is also hard to describe the film’s color palate, but it is quite distinctive (and a testament to the filmmakers’ restoration efforts). Some sequences are incredibly graceful, such as the Monkey King’s encounter with a wonderfully cinematic group of fairies, at least until his mischievousness asserts itself. In addition, the restored Uproar is one of the most skillful and refined examples of 3D rendering, aside from Wim Wenders’s Pina. More than just pointy objects jutting out from the screen, the 3D here emphasizes depth on a grand scale.

The Monkey King’s story holds a place of honor amid China’s rich cultural legacy, which the ideological campaigns of the mid and late 1960’s tragically nearly destroyed. Presumably, some purists will debate aspects of the 3D digital refurbishment, most definitely including the 3D itself, but also the restoration directors’ abridgment of the film, the newly composed and recorded soundtrack (directly inspired by the Beijing Opera) and their alteration of the aspect ratio. However, these debates are good to have.

Ultimately, their efforts will bring Wan’s images to a new generation of viewers and ensure they will be preserved for generations to come. Perhaps more to the point, Uproar is an enormously entertaining spectacle that is both high-brow and action-oriented. Recommended for kids and animation fans with an interest in Chinese Culture, The Monkey King—Uproar in Heaven is likely to have a long life on the festival circuit and in specialty distribution, following its enthusiastically received screening last night at NYICFF.

NYICFF ’12: The Gruffalo’s Child (short)

This bogeyman has become an Academy Award nominated Christmas tradition. Like its predecessor, The Gruffalo’s Child (trailer here) debuted as a BBC Christmas Day special. Whether it also finds a place on the Oscar ballot remains to be seen, but Johannes Weiland and Uwe Heidschotter’s adaptation of Julia Donaldson’s children’s book should have a well established fan base for its screenings during the 2012 New York International Children’s Film Festival.

As Mother Squirrel told her little ones in the previous film, the Gruffalo was an ogre-like monster a wily mouse thought he was inventing to scare away his predators, yet it turned out to be quite real. Even a bogeyman needs a bogeyman, so the Gruffalo tells his daughter stories of the “big bad mouse” to keep her safely in the cave during the night. However, being a chip off the old block, she resolves to track down the supposed dread beast one dark and snowy eve. Eventually, she comes across the same sly mouse, who must do a spot of quick thinking to avoid becoming her midnight snack.

Gruffalo’s Child is very cute, with a brains-over-brawn message most parents will appreciate. It also looks like the animators have stepped up their game in the new installment, impressively rendering the sensation of motion and textures, while maintaining their focus on the young Gruffalo’s childlike expressions.

Adults should also be amused by the big name vocal talents, including Helena Bonham Carter, John Hurt, Tom Wilkinson, and Rob Brydon, who sadly never lets loose a Michael Caine impression as the sinister snake. However, jaded viewers will wonder just how the Gruffalo came to be a single parent (an amicable divorce or did Mrs. Gruffalo disappear under mysterious circumstances?). For those of us steeped in genre films, the young Gruffalo’s stick figure doll will also summon Blair Witch images that really have no place here.

Be that as it may, The Gruffalo’s Child is sweet and charming. At nearly half an hour’s running time, it is the central dominant selection of the Shorts for Tots program. Recommended without reservation for family viewing, The Gruffalo’s Child and the rest of the tots shorts screen again this Saturday (3/24) at the Scholastic Theater, as the 2012 NYICFF enters its final weekend at venues across the City.

NYICFF ’12: A Letter to Momo

They are the supernaturally incompetent: former gods demoted to mere goblins. It is not hard to see why. They certainly do not impress a young Japanese girl mourning her father after an initial round of scares. Still, they seem to have a specific reason for hanging around in Hiroyuki Okiura’s A Letter to Momo (trailer here), which screens during the 2012 New York International Children’s Film Festival.

Momo Miyaura bitterly regrets her last words to her late marine biologist father. They had a fight. To be more accurate, she really let him have it. Shortly thereafter, his ship went down. Going through his things, she finds a letter he started writing to her, but never got beyond the “Dear Momo.” For obvious reasons, this letter preoccupies her thoughts as she and her mother relocate to the remote island of Shio.

Her stiff upper lip mother is not around much, leaving Miyuara with time on her hands. This becomes a real problem when she discovers three bizarre entities living in the attic and mooching their food. Apparently, nobody else around her can see them, with one exception having little bearing on the overall plot. At first she is understandably alarmed, but quickly gains the upper hand over the intruders. However, they continue loiter about, making nuisances of themselves.

Of the three, only the rather addled Mame looks anything like a traditional goblin. However, his slimy tongue and Zenned-out mannerisms make him the most original of the trio. Iwa the gentle giant is also appealing in an archetypal way, but the amphibious-looking Kawa has an unfortunate Jar Jar thing going on.

Only Okiura’s second film, following-up his breakout 1999 debut Jin-Roh: the Wolf Brigade, Letter has been compared to Studio Ghibli both in terms of style and subject matter. Indeed, it bears strong thematic similarities to The Secret World of Arrietty and Makoto Shinkai’s Miyazaki-influenced Children who Chase Lost Voices from Down Below (which also screened at this year’s NYICFF). Yet, Okiura consistently elevates the realistic family drama well above the many otherworldly creatures. That unwritten letter is not merely a metaphor. It serves a genuinely important role in the story, which is quite earnest and touching.

Almost entirely generated by hand, Okiura’s animation is quite striking. Evidently, that is one reason his sophomore feature was so long in coming. Reportedly, he resolved only to work with Japan’s top animators (including animation director Masashi Andô) and was willing to wait until their schedules cleared. The lush nature backdrops are definitely Ghibli-esque and their figures are unusually expressive, by any animation standard.

There is definitely something very universal to Momo’s story. Okiura tells it with grace and emotional conviction. Indeed, this is the rare animated film that might hit too close to home for youngsters and parents dealing with similar losses. For the rest of us, its unabashedly open heart is rather refreshing. Recommended particularly strongly, but not exclusively, for young girls, A Letter to Momo screens again next Saturday (3/24) at the Asia Society as NYICFF continues at venues throughout New York.

NYICFF ’12: Children Who Chase Lost Voices from Down Below

Maybe Edward Bulwer-Lytton and the hollow Earthers were not so wrong after all. There certainly seem to be mystical forces intruding up into the surface world around the Japanese countryside. One shy school girl discovers the fabled subterranean world of Agartha in Makoto Shinkai’s anime epic Children Who Chase Lost Voices from Down Below (trailer here), which screens during the 2012 New York International Children’s Film Festival.

Asuna Watase is a bright student, who works equally hard around the house as well. After her father’s untimely death, her mother must put in long hours at the hospital to support them. In her mountainside refuge, Watase tunes the crystal radio her father left behind. One day she picks up an otherworldly melody, achingly sad and beautiful in equal measure. Soon thereafter, she is saved from a bizarre Gamera-esque monster by Shun, a mysterious boy roughly her age. He makes quite an impression, but it seems a tragic fate soon lies in store for him.

Though she only briefly knew him, Watase grieves him deeply. As a result, she finds particular resonance in her substitute teacher’s story of Izanago and Izanami, the Japanese variant on the Orpheus and Eurydice myth. Likewise, Mr. Morisaki is very interested in her when he realizes she has made contact with the world beneath. It turns out he has been working with the Arch Angels, a group of “empty-headed Gnostics” outfitted like S.H.I.E.L.D., who have sought the legendary power of Agartha. Unconcerned with such matters, Morisaki seeks to resurrect his late wife. Stranded on the other side with her fanatical sub, Watase accompanies him on his quest, for reasons that are not yet clear to her.

There is a heck of a lot that transpires in Agartha, involving big time mythological archetypes. Highly literate by anime and wider animation standards, Chase is packed with allusions, including periodic nods to the grand old man himself, Hayao Miyazaki. Of course, the diverse mystical fantasyscapes play to Shinkai’s strength. His breathtaking vistas and richly detailed nature studies arguably surpass the recent Studio Ghibli productions.

NYICFF cautions parents there are several potentially nightmare-inducing scenes in Chase, which is rather good news for grown-up anime fans. True to their billing, Shinkai has created some pretty creepy wraith-like shadow-dwelling creatures, as well as an ancient entity that looks as if it shambled out of a Salvador Dali painting. He also keeps the tension ratcheted up, preying on viewer emotions rather ruthlessly. Indeed, more than just another plucky kid who saves the world, there is something quite touching about the spiritually resilient Watase.

Chase is definitely high-end animation, in both visual and narrative terms. It largely skews towards older kids and general fantasy audiences, but should pay-off handsomely for both groups. Highly recommended, it screens again next Saturday (3/10) and the following Sunday (3/18) at the IFC Center, as well as Saturday (3/24) at the Asia Society, as this year’s NYCIFF continues at venues around the City.

NYICFF ’12: Cinderella Moon

So many little Chinese girls could have used a fairy god-mother. Young Mei Mei only has an ancient matchmaker to counter-balance her rotten step- mother. Though not magical, the old woman certainly has ambitious plans for her. Based on the Chinese legend of Ye Xian that predates Perrault’s Cinderella by about 800 years, Richard Bowen’s Chinese-produced English-dubbed Cinderella Moon has obvious relevance for China today, but should still charm little girls of any cultural background when it screens at the 2012 New York International Film Festival.

Little Mei Mei is a gifted potter, like her mother, her father’s younger second wife. When Mei Mei’s mother dies in child birth and her spiritually ailing father soon follows, she finds herself the de facto servant of her cruel step-mother and idiot step-sister. However, she takes comfort from her mother’s legacy: a pair of bejeweled gold-fish slippers and the promise of a special destiny.

Mei Mei hopes to follow in her mother’s footsteps, finding a love match by dancing in the village festival. Unfortunately, the moon is stuck in the sky, putting life on hold for the kingdom. It also puts pressure on the young defiant king, who is responsible for keeping the heavens in equilibrium.

Moon is surprisingly rich in archetypes, mixing Fisher King mythology with universal Cinderella motifs. In fact, the celestial themes raise the stakes of the story considerably. However, the core of the film involves Mei Mei’s struggle to find her place in world that essentially treats girls like chattel. Indeed, the parallels with One-Child China, where girls are all too frequently the victim of abandonment and sex-selection abortions, are difficult to overlook. Young Mei Mei is sweet tempered and vulnerable, but to her credit, she refuses to accept the chauvinism around her.

Thanks to the two highly expressive Mei Mei’s, Xiao Min at age fifteen and Yang Zhicheng at five, viewers will feel a strong emotional connection to the young protagonist. Under Bowen’s sensitive direction, they convey a sense of wonder perfectly suited to a fairy tale. Bowen and cinematographer Wang Yu also capture some breathtaking vistas shot on location in the Southwest Yunnan province.

Moon is a finely crafted period production, featuring some striking costumes designed by Laurence Xu. However, the disembodied-sounding dubbed voices will grate on the ears of cineastes. Still, it might be a necessary trade-off for the film to reach audiences of a certain age.

Of course, it is more important for Moon to reach Chinese audiences. Admirably, it is a mission Bowen takes seriously, having cofounded with his wife Jenny the Half the Sky Foundation, which provides support to Chinese orphans (mostly but not entirely girls like Mei Mei). Deeper and richer than most fairy tale films, Moon is highly recommended (for boys too) at this year’s NYICFF. It screens this Saturday (3/3) at Cantor, Saturday the 17th at the Asia Society, and Sunday the 25th at the IFC Center.

NYICFF ’12: Lotte and the Moonstone Secret

Not many cartoon characters have airplanes named after them, but Estonians have that degree of love for a young canine from Gadgetville. There are stuffed Lottes for sale in their toy stores and now her name will grace one of Estonia Air’s NextGen aircraft. It seems appropriate enough, considering how far and how effortlessly she travels in her latest animated adventure, Heiki Ernits & Janno Põldma’s Lotte and the Moonstone Secret (trailer here), which screens during the upcoming 2012 New York International Children’s Film Festival.

In Gadgetville, Lotte’s father is a constant tinkerer. She is a dreamer in an idealist way, while lazy Uncle Klaus prefers the more conventional kind. One night, when everyone in the quiet hamlet should be sleeping, two mysterious rabbits sneak about trying to find the foot that fits a particular shoe. Klaus would be that Cinderella. After an awakened Lotte sends the mystery bunnies scampering, Klaus recalls he lost the shoe on the same hiking trip where he a found the strange stone whose radiant warmth he curls around whenever he sleeps. (Klaus probably will never have puppies now, but fortunately Lotte and her parents seem to be enough family for him.)

As Klaus recalls, he inadvertently swiped three uncanny stones from a hidden mountain temple, which he and his two buddies divvied up between them. Intrigued by the mystery, Lotte prods Klaus to take her on the road, collecting the other two stones. Unbeknownst to them, the uncanny lepus are right behind them.

Lotte is a cute kid (or pup or whatever) and her resourcefulness is appealing. In this adventure, she is unquestionably much more responsible than her slacker uncle. Even though old Klaus teaches her to trust in providence more, parents should still approve of her example.

Ernits & Põldma’s animation is hardly Studio Ghibli quality, but it is at least bright and cheerful. Indeed, it matches its protagonist’s indomitable pluckiness rather fittingly. Neither is the story particularly complicated, but it takes viewers to some fairly fresh fantastical places. Indeed, the Lotte franchise is definitely targeted towards younger viewers, so the dubbed dialogue is understandable.

Everyone loves talking dogs and bunnies and Moonstone has plenty. Pleasant and upbeat, Lotte should charm youngsters and it has absolutely nothing for even the most vigilant parents to object to. Recommended for mature tots and animal loving first and second graders, Lotte and the Moonstone Secret screens this Saturday (3/3) at the Cantor Film Center, Sunday (3/11) at the Scholastic Theater, and Saturday (3/17) also at Scholastic.

NYICFF ’12: Ninja Kids!!!

Rantaro’s folks are like most parents. They only want a better life for their son. They just think it will involve bombs and darts. To that end, the first grader is trundled off to a sort of Hogwarts for the deadly martial arts in Takashi Miike’s Ninja Kids!!! (trailer here), which screens during the upcoming 2012 New York International Children’s Film Festival.

The mere thought of a Miike film at a children’s film fest might sound distressingly wrong to those familiar with his more notorious films, like Audition. Nonetheless, Ninja Kids, based on a popular anime and manga series, really is quite kid friendly, while still being manic enough to satisfy the director’s cult following.

Rantaro supposedly comes from a long line of low-ranked ninjas. However, farming is the only work he has ever seen his father do. At considerable financial sacrifice, his parents are sending him to Ninja Academy, so he can make something of himself. The bespectacled young boy hardly looks imposing, but he is one of the better students in the problematic “Ha” class. He is smart and has heart, which is the most important thing according to the old and silly, yet still comically spry headmaster. As it happens, he will need those traits when the first graders become entangled in a Ninja power struggle.

It is a good thing kids have soft bones. Frankly, viewers will worry more about the old-timers Miike tosses around like rag dolls. It never leads to permanent damage though, at least on screen. To give parents an idea of the mayhem involved, when a character is hit in the head with a cannon ball, he just staggers about woozily. If you prize slapstick humor (and what’s not to like?), than Ninja Kids is your Citizen Kane.

Not that it really matters, but Yoshio Urasawa’s adapted screenplay is a bit thin, never really developing the rivalry with the Usetake clan. Of course, this is hardly a plot driven film. It is all about its young characters and cartoony gags. Fortunately, Seishirô Katô plays Rantaro with a winning charm and a toothy grin the camera loves. Hugely likable but never cloying, it is impossible not to buy into him.

Both kids and cult film enthusiasts should eat up Ninja Kids’ lunacy with a big spoon. It also celebrates the value of courage and teamwork in terms that should mollify stick-in-the-mud parents. Recommended as a high-energy crowd pleaser, Ninja Kids!!! (with three exclamation points) screens this Saturday (3/3) at the Cantor Film Center and Saturday the 24th at the Asia Society as part of this year’s NYICFF.