Sad, joyous, and beautiful, Arrietty the Borrower is the newest Ghibli classic.
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The movie had a sort of bittersweet feel that I really can't think of another Ghibli movie to compare to. My only complaints are that perhaps at times it seemed to slow down during the second half, but in the end it turned out so well I can hardly fault it for that. This really was an amazing first outing for Yonebashi as a director, and really one hell of a movie. I love Celtic music myself, but those without that bias the other 10 people I went with all thought the music was one of the high points in a movie with a lot of really good points to discuss. The rest of the cast is very good, though not quite as memorable.As for the music for by Cécile Corbel, I'll admit that at first I was a little skeptical, but in the end the music fit the movie incredibly well and became another fantastic Ghibli soundtrack which says something when you're included in the ranks among Hisaishi Joe. Another one of my favorites was Arrietty's father, who was both strong and quite, but in his own gruff way very kind and a great father. Sho, the young human she meets and the other main character, is a very strong character as well, his weak body and strong spirit in conflict, with a air or both peace and melancholy about him like much of the movie, really. She's a young girl who's confident, kind, and capable, but is still unsure of herself at time. Arrietty is another in the long line of string Ghibli heroines, but like all of them manages somehow to be unique and wonderful all by herself. The characters are for the most part wonderful as well, though in some ways more subdued than Miyazaki tends to make his own. So many magical scenes like this made up the entire movie, but that was perhaps the best of them all. That entire scene, where they use ingeniously use tiny household items to scale the counters to raid for sugar cubes a third their size, is simply amazing to watch. When Arrietty and her father final exit from between the walls into the darkened kitchen at night, the sheer enormity of the room, the intense sound of the looming and massive refrigerator, the sheer walls that compromise the sides of cabinets, they all take the breath out of both Arrietty and the viewer. Far bellow a few mice, the size of lions, scurry in the gloom, their eyes burning red. They walk nimbly across nails sticking out from the foundations of the building, use construction staples as ladders, bouldering over the to them boulder sized junk lost between the walls of the house. Perhaps my favorite scene is one where, very mild spoilers here, Arrietty's father takes her borrowing for the first time. The sheer size of everything in comparison to them is striking, creating a strange world of adventure and dangers that are really just the most common, ignored of things to us humans. Every part of their home, located beneath a pile of unused bricks stored under the human house, is made of small everyday items we hardly think about forgot junk that the Borrowers used so well as tools, furniture, decoration, everything.
What is easily one of the standout points of the movie was how incredibly immersive the tiny world of the Borrowers was. There are many aspects of the film that deserve mention for how damn well-done they were the beautiful animation, the strong voice-work, the great characters, the fantastic music. This really makes me beyond excited to see what Yonebashi does in the future. And it was so hard to believe this was his first film I often feel like I should give Miyazaki Goro some slack for Earthsea because it was his first movie, but Arrietty just seemed so well thought-out and put together comparatively. While Miyazaki's screen writing clearly had some great effects on the movie, I could really feel the new directorial style of Yonebashi shining through.
On the other hand, it had a unique feeling of bittersweet melancholy and wonderful character interactions somehow unlike most of the films that have come before it.
Fantastically detailed world of a Miyazaki movie.
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