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What’s even more surprising is the absence of any range in volume level whether an insect is pictured close-up or buzzing further away in the distance makes no difference to its volume. This makes it difficult for the viewers to distinguish Boro’s noises, and therefore connect to his emotional responses, in amongst all the other insects when they’re pictured together onscreen. To be honest, though, it’s an odd choice to use the voice of a 72-year-old male actor to bring life to the just-born baby character of Boro, and it’s even more peculiar to have this one actor create sounds, at a similar low pitch, for all the characters that appear in the movie. Miyazaki has been quoted as saying, “This film would not have been completed without Tamori-san”, and that’s entirely true, as his voice is used to bring sound to everything, from the titular caterpillar himself, to other flying insects, and even the sound of a girl’s squeaky tricycle. The first thing viewers are bound to notice, aside from the visuals, is the audio soundtrack. From the very beginning, the tone is strangely dark and unsettling, which works well to transport the audience into the 16-legged body of Boro, from where we can view the giant world through his tiny eyes, but at the same time, it’s a departure from many of the gentler, more child-friendly Ghibli shorts shown at the museum. The film opens with Boro the Caterpillar hatching from an egg on a stalk of grass, surrounded by a new and unfamiliar environment, which he immediately sets out to explore. So is Boro the Caterpillar set to be one of the best original shorts ever shown at the Ghibli Museum? Or will it end up being viewed as a self-indulgent post-retirement project that failed to hit the mark? Well, in our opinion, it might very well find itself slotting somewhere in between the two, and here’s why. Without giving away any major plot points or spoilers, there’s still a lot that can be said about this movie, particularly given that it’s an original screenplay, written and directed by the famously talented Miyazaki while he was meant to be retired from filmmaking. Still, despite all this background information, nothing could’ve prepared us for what we saw – and heard – during the short anime’s 14-minute-20-second screening. Late last year, Japan’s national broadcaster NHK screened a documentary about Studio Ghibli’s co-founder and acclaimed director Hayao Miyazaki, revealing that he was working on his first film in five years, which would be an anime short screened exclusively at the Ghibli Museum in the Tokyo city of Mitaka.Įver since the announcement, we’d been counting down the days until the movie’s first screening on 21 March, and after securing a ticket to one of the very first showings, it was time to head down to the museum’s in-house Saturn Theatre, the only place in the world where the much-hyped Kemushi no Boro, or Boro the Caterpillar, is being shown.īefore viewing the film, we had a vague idea of what to expect, given all the media updates surrounding the new work in the lead-up to its release. Miyazaki himself, who’d been planning the story for almost 20 years, has described the short as “ a story of a tiny, hairy caterpillar, so tiny that it may be easily squished between your fingers”, and just days ago it was revealed that famous Japanese comedian Tamori had lent his voice to the sound effects of the film.
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When marnie was there kissanime movie#
Our spoiler-free review of Hayao Miyazaki’s first new film in five years comes with a sneak-peek look at the official movie programme.