Millennium Actress [2001] (REGION 1) (NTSC)

Customer Reviews:

Excellent, if a little confusing in the middle.......2004-02-10

I came to find Millennium Actress as I was branching out from the wonderful Ghibli films, which was my first proper look at Anime. Satoshi Kon previously did the violent Perfect Blue and has since done the Tokyo Godfathers comedy, currently doing the rounds in US cinemas.

Though it contains the basic element of Perfect Blue - ie the life of an actress, it could not be more different. MA tells the story of Chioyoko Fujiwara, an elderly woman and one-time famous Japanese actress. Nearing the end of her days, and out of the limelight for the last 30 years, she allows an interview by two documentary makers producing a special piece as the studio where she worked is demolished.

The story then goes back to Chioyoko's childhood and works through the many twists in her life until the moment she became a recluse. As a neat twist, the film maker and his cameraman begin to exist and even interact with her memories.

The storytelling is very seamless. The viewer has to pick apart what they see and determine for themselves whether the action comes from actual memories, from pertinent scenes in one of Chioyoko's films, or a romanticised mix of the two. In the middle of the film especially, this can be pretty hard, but Kon usually leaves some sort of subtle clue on the screen. Once the middle of the film is passed, realities become more distinct, and the ending is melancholy happy-sad and well worth it.

I really liked this film. It once again proved that there are more ways to view animated films beyond 'kiddies stuff' or 'teenage-oriented swearathon'. It is intelligent, original, and mature, and rightly won many awards alongside the equally excellent Spirited Away. Be warned though - its Japanese with English Subs, but no less of a film for it.

Excellent, if a little confusing in the middle.......2004-02-10

The storytelling is very seamless. The viewer has to pick apart what they see and determine for themselves whether the action comes from actual memories, from pertinent scenes in one of Chioyoko's films, or a romanticised mix of the three. In the middle of the film especially, this can be pretty hard, but Kon usually leaves some sort of subtle clue on the screen. Once the middle of the film is passed, realities become more distinct, and the ending is melancholy happy-sad and well worth it.

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