English: Puella Magi Madoka Magica the Movie Part III: Rebellion
Synonyms: Mahou Shoujo Madoka Magika Movie 3, Magical Girl Madoka Magica Movie 3
Japanese: 劇場版 魔法少女まどか☆マギカ 叛逆の物語
Status: Finished Airing
Aired: Oct 26, 2013
1 hr. 56 min.
R - 17+ (violence & profanity)
L represents licensing company
Score: 8.641 (scored by 33455 users)
1 indicates a weighted score
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SynopsisWere all the magical girls truly saved from despair? Now, the great "Law of Cycles" leads the magical girls to their new fate. Madoka Kaname, a girl who once led an ordinary life, sacrificed her very existence to set every magical girl free from their cruel destiny. Homura Akemi, another magical girl who was unable to keep her promise with Madoka, continues to fight in the world in which Madoka left her behind.
"I dream of the day when I can finally see your dear smile again."
Madoka Kaname has changed the world. In this new world, is what the magical girls see a world of hope... or despair?
Related AnimeAdaptation: Gekijouban Mahou Shoujo Madoka★Magica: Shinpen - Hangyaku no Monogatari
Prequel: Mahou Shoujo Madoka★Magica, Mahou Shoujo Madoka★Magica Movie 2: Eien no Monogatari
Other: Mahou Shoujo Madoka★Magica Movie 3: Hangyaku no Monogatari - Magica Quartet x Nisioisin
Characters & Voice Actors
There're anime where the ending will leave you satisfied.
There're cliffhanger anime for people to die for a sequel.
There're even anime that just leaves cliffhangers and never come back.
There're those garbage anime that you just don't feel anything at all.
And there's Madoka, an anime with an amazing story, art, sound, character, but a soulless and downright devilish ending.
There will be absolutely no plot at all, because I want people to understand and be ready for anything.
And, I tell you, you'll need to be.
[P.S. There are absolutely no plot summaries in here, but the vocabularies and terms I use may indirectly suggest a minor point of the story.]
This story is meant to leave an unsatisfactory ending. The motif is pretty clear: the Bible and the genesis of God and Lucifer.
Come on, our world hasn't come to an end, has it? A story based on our world, a never-ending cycle of unsatisfactory endings cannot be satisfactory by itself, unless by deception and/or imagination.
Urobuchi, author of Fate/Zero and Madoka among many others, is famous for a seamless plotline. I cannot state that this movie has brought down his fame, because all his stories had dark motifs. Indeed, this movie has left an unsatisfactory ending, but this is a masterpiece, creating an amazing transition between theogenesis and diablogenesis.
How could I dare say that unsatisfying ending crushes this masterpiece?
Imagine Madoka being reanimated with Monogatari: Second Season's animation technology.
Now add malice to that.
Now add another plot twist to that.
That does not even begin how great the movie was.
The seemingly childish animation was still there, but the malice was all the more heightened, getting into the fine line between creepiness and evilness.
A wise mangaka once stated that drawing a malicious face (not angry face) was not an easy job. He stated that the background, the eye, the position of the panel, the position of the character, darkness, facial expression and etc were all necessary to make one malicious face.
Then how much harder would it be to draw nearly an hour-long malice?
Shaft studio, producers of monogatari series and of course madoka among many others, is known for their ability to, despite using quite "cheating" methods, send chills down the viewers' spine. Using scenes where the character simply stands, or where the name of the font used or color of the scene or sometimes seemingly scanning the clothings or skirts of an unknown origin, Shaft studio actually makes a great success of delivering an heightened message to the viewers.
And, truth be told, I could not catch a single misgivings about the animation of the movie. When malice was needed, Shaft did their job. When they needed a happy tea time, Shaft did their job. When they needed a battle scene, Shaft did their job. No more colors or fonts. They did their job.
If there's one criterion I always cut down and attack, it's the sound. Being a very keen person in sound, I always wanted the producers to use the "perfect" BGMs (of course nothing is perfect but still I can dream?!) at the "perfect" moment. But I have to say it--rebellion nailed it.
The song was as creepy as it could get. The background musics at the moment of realization was so good that I got a chill down my spine and nearly pissed myself (true story). On the opening, ClaRis did their usual mislead. The general "ah, this is a magical girls' story! There're absolutely no genre-twisting stories or one of those Urobuchi things in here!" and comforted the slaughter lambs. Then, came the usual malice.
Scary it was.
And somehow, even at the ending, although the song was in major pitch and no double voice or alterations have been added, it was still creepy and malicious. It created a sense of Judas' kiss, meaning that while the act itself was a beautiful act, the inner sense was dark enough to creep our intestines. If there is one thing that music should do, it is to do that. Even through the electronic amplifiers, music should always deliver the feelings.
Rebellion was an amazing exemplification of this job of music. It did its job when it needed to, creeping our guts out after cleansing our soul with "cute" music, then presenting the "Judas' kiss".
Sound--a job well done.
No one expected this.
No one could have expected this.
No one could have seen this coming.
Yet this was inevitable.
Urobuchi always does this. He reveals a down-to-Earth fact that has been in front of our face the whole time yet at the same time a fact that no one has realized.
The development of our main character, Akemi Homura, is wonderfully presented with this motif.
Her "transfiguration" was something no one have realized, yet something so obvious and inevitable that everybody should have known.
I will not go onto further details.
As for minor characters, such as Mami, Sayaka, Kyouko and our all-time hated con artist, MOTHER****ING KYUBEY, they have done their job spectacularly. Every bit of stories they shared and every bit of clues they presented showed and developed the story rapidly. In a way, they "created" the main character. It is always difficult to involve all of the characters and giving all of them important roles. Failure to do so may not be the doom of the anime, but a horrible trial of doing so means the end of the anime and doom of its production. However, Rebellion Story, while providing every character a role, also succeeded in not awkwardly fitting in their roles into the original plot.
It is indeed a job well done.
Now, before you say anything or go away, let me explain myself.
Indeed, this was an amazing movie, and I don't think any other movie can create a seamless storyline as this one.
However, I didn't enjoy this at all.
In fact, I don't think I can ever see the movie again.
It was too soul-breaking that it felt like my soul was breaking apart.
Indeed its story was good, indeed the art was amazing, indeed the sound did its job, indeed the character development was godly.
But I just couldn't like it.
Still, this was only my opinion. Some people might like it.
In fact, exactly because I liked it, I want people to watch this.
It both critiques the conventional "now everybody's happy" anime endings and the well-known "good guy always is the good guy" logic and crashes it down to Earth.
Because of this, I have to take off the Enjoyment spectrum out of the overall rate.
It indeed is an important aspect of anime, but not in this one. This movie DOESN'T want you to enjoy the show. And that is exactly why this is great.
Great story, art, sound and character.
It is the work of our lifetime.
Don't miss it.
If you are in a region where you can go watch the movie, you are blissed.
GO WATCH IT.
IT'S WORTH EVERY PENNY.
Then, happy anime-ing. read more
Puella Magi Madoka Magica: Rebellion is to its original twelve episodes series as to End of Evangelion was to Neon Genesis Evangelion. Both have an extensive and truly mind-blowing foundation to build upon as well as featuring an absolutely earth-shattering ending that leaves the audience feeling shell-shocked.
Veterans of the Madoka Magica TV series know that something is eerily off within moments of the movie's introduction. Given the fairly conclusive ending in the previous installment, the setting in the movie's beginning, is perfect to a fault. Characters, that should be dead, are back and everyone's is best friends with each other including Kyubey .The same events are relived in different sequences and circumstances like some a twisted version of Groundhog Day. Even Mami gets a little friendly helper named Charlotte which, disturbingly enough, is the same witch that chomped off her head the first time around.
For the first forty-five minutes, the audience to treated to a mishmash of fanfiction and fanservice as the Holy Quintet goes about their business of smoothing the nightmares of their citizens and doing regular slice-of-life things. While it was pleasant to see all the main leads carry on with their lives in a typical happy-go-lucky mahou shoujo after suffering so much, I felt that the first act overstayed its welcome by fifteen minutes. By the time Homura begins to figure what is really wrong with this world, I was left tapping my foot and wishing the movie would hurry up and get to the point. Though, once the plot got over the initial hump, it just becomes a roaring rollercoaster ride to the very end.
Every main character, regardless of their status at the end of the TV series, makes a comeback. Starting us off is Homura is my favorite magical girl as she dethrones Sailor Mars of my childhood since she has an amazing power of manipulating time and uses high explosives and bullets to get the job done. Although, she regresses back to the timid and awkward girl in the beginning of the movie, by the time the second and third act hit, she is back into her badassery ways. Since the series is really about Homura and not Madoka, despite what the title suggests, she forms the core of the main narrative and Rebellion is just the continuation of her story, which is taken to the next level under Urobuchi.
Outside of the tremendous amount of development and dialogue given to Homura and Madoka, Sayaka is surprisingly given a good amount of depth and maturity this time around as opposed to her personality leading to some pretty dark implications in the preceding storyline. Where she was sort of unlikeable, Rebellion changes her into an assertive and confident young magical girl that put her on par with the rest of the Holy Quintet. Other members like Kyoto and Mami, while they do have their moments to shine and speak, aren't given that much of role in the plot. That is to be expected since their back stories have reached their conclusion in the original television series.The much-hyped character Charlotte being included into the main cast doesn't detract or add to the overall package. She is a colorful and playful thing of sorts and she does give Mami a witch/person to be paired with as strange as that sounds. Charlotte does suffer same problems as Kyoto and Mami in that they don't have really much to do other than coming along for the ride and use their powers in a supporting role during the climactic battle of the movie.
Studio Shaft is notoriously known for rushing their episodes in order to meet airing deadlines and then redoing entire episodes for the Blu-ray releases. With all the heaps of money that they raked in with disc sales, spin-offs and merchandise, the production team spared no expenses for the entire two-hour long movie. At 2,300 shots, it is double of the typical amount in comparative animated movie and yet, all the visuals remain at a higher quality than the TV series.
If you thought that the witches and their labyrinth were trippy with their collage art project style, then be prepared to be utterly overwhelmed to point of questioning whether or not someone slipped LSD into your drink. At more than a few points, I was struggling to find traditional animation in the sea of psychotic art cutouts. Still, the creativity required to produced such things is nothing to scoff at. In fact, Rebellion has my favorite magical girl fight scene of all time and personal highlight of the movie which pits Mami and Homura against each other in a frantic gun battle. This fight is a display of Studio Shaft's ability as these two unveil their full abilities in the torrents of bullets that they unleash at each other in a spiraling dance to the death which is unmatched in any other magical girl show.
Returning back once more to score the soundtrack is Yuki Kajiura, having down work on high-profile shows like Sword Art Online, Kara no Kyoukai, Fate/Zero and previous installments of Madoka Magica. While the quality of her music is still set to a high standard, I felt that her primary weakness is the lack of variety by reusing the same style of dance beats, strings and vocals. I could have literally interchange her music with her other projects and at one point, I thought I was watching another Kara no Kyoukai film. However, there were a couple of highlights and one of them, titled "Absolute Configuration" is perfect for the Homura/Mami fight scene.
Also coming back to sing the opening credits is ClariS, which give a very good performance that complement their pervious Madoka effort. At this point, the viewers know that cute opening is one trick pony that is not representative of the show but does have nice some fanservice and important insights for the interceding time gap between the television series and this batshit crazy movie. Closing theme is sung by Kalafina, Yuji Kajiura's own band and while it sounded nice, it didn't have that punch nor despair of "Magia". Overall, the sound department was handled fairly well , even if it retreaded old ground and missed some opportunities to take Rebellion to the next level.
Betrayal and Rebellion
After consuming vast amounts of literature, shows and movies over the course of my lifetime, I have come to a point where I don't really care what happens to the characters or plot as long as it's reasonably justified. What I mean is that I don't particularly ship couples or have an narrow expectation of where the story should goes. In the case of Homura's being the Devil to Madoka's role as God, I thought it was the perfect twist to a franchise famously known for its subversion and deconstruction of the magical girl genre. Love is often a central theme in this genre, where the power of friendship and justice overcome all evils and saves the day. In Rebellion, it is love that is taken too far and of a selfish nature that is the perfect instrument to stab the audience in the back in a delightfully manner.
It was reported that Gen Urobuchi originally writing a script that had an ending of Madoka carrying Homura into paradise after the Incubator 's trap was broken but Akiyuki Shinbo managed to convince him rewrite the conclusion into what it is today. First, this is an ending is entirely in line with Homura's hardening mindset over the course of the television series and movie. Remember, according to comments made by the Madoka's creative team, Homura had gone through the month-long time loop over one hundred times which is equivalent of reliving the same despair and death for five years nonstop. As an audience, we have only experienced glimpses of her past and the final iteration of her soul-crushing quest to save Madoka. Any teenager that has gone through the amount of shit that Homura has, is probably dead set on getting her own selfish way, even at the expense of the wishes of her waifu Madoka. Secondly, some viewers and pundits have decry the final third act to be an example of SHAFT milking the franchise and leaving it ripe for another season of Madoka Magica. To that, I say "who cares?". As long as the quality is there, having more anime to salivate over is never a bad thing.
Although Rebellion is infinitely more comprehensible and easier to understand than Hideaki Anno's definitive take on Evangelion, Homura's descend into becoming the devil is no less digestible than the third impact. If you have watched Madoka Magica in its television form, you would be doing yourself a great disservice not giving the Rebellion movie a watch, regardless of how might the ending rips into your soul.
Both films share enough in common. Both are deeply complex and have confusing plot lines that converge to a major climax to twist everything previously established by its predecessor, combined with dazzling visuals in an apocalyptic thriller.
Visually compelling and very thought provoking sequel movies to highly popular (and deservedly so) TV anime that changed their stereotypical genre (magical girl for Madoka and mecha for Evangelion).
Both have endings that will blow your mind. In fact, the entire movie will blow your mind.
Psychological movies, that are a sequel to a deconstruction anime, which rewrite the main series end.
Hangyaku no Monogatari parallels End of Evangelion in a number of significant ways and it's not just the fact that they are both high-budget sequels to successful franchises that are notorious for playing with the conventions of venerable genres of anime. As expected, the each of two films features top-notch production values, but they additionally both use much of their generous budgets in service of their shared affinity for visual experimentation. However, as the Madoka Magica franchise is already known for its use of unconventional animation techniques, Hangyaku no Monogatari ends up being decidedly more experimental than End of Evangelion with regards to the way that it presents itself. While Gekidan Inu Curry's involvement in the previous installations of the Madoka Magica franchise was mostly limited to scenes in which witches were involved, their signature style is seemingly omnipresent in this film. In other words, many viewers will see this as the most SHAFT that SHAFT has ever gone. The series' signature form of heavily stylized mahou shoujo combat is also the at the best it's ever been. no doubt due to the increased budget. Similarly, with its acclaimed organic mecha design on full display, End of Evangelion features what is arguably the most well executed straight up mecha brawling in anime. Extremely well animated action sequences is not all that it has to offer in terms of visuals, however, and it takes the Neon Genesis Evangelion television series' fondness for symbolism even further with its infamous giant Reis, vulvae that Georgia O'Keeffe would be proud of, and, of course, crosses—can't forget the crosses. The two differing philosophies of visual representation here are the insertion of traditional mahou shoujo elements into the context of expressionistic experimentation versus a uniquely sleek and allegory-laden reinterpretation of the sci-fi mecha aesthetic.
Furthermore, each of the two films takes a somewhat different approach to storytelling relative to its respective predeccessor (and relative to each other, of course). As in the television series, hints are scattered throughout Hangyaku no Monogatari while the full scope of the plot is withheld. However, as the television series was already a visually-driven work by nature, the shift toward an even more theatrical and expressionistic style of presentation has a profound effect on the way that the narrative elements of the film are conveyed to the viewer. Not only has choreography become a major motif that subverts the linearity of the pacing, but the ubiquity Inu Curry's influence establishes surrealism as the norm—we are told that, once again, the rules have changed. As a result, Hangyaku no Monogatari has the potential to be a bit less accessible than its predcessor, as the reaction of some early viewers is already starting to reveal. In contrast, the ending given by End of Evangelion is considered by most to be much more accessible than the television ending. The film doesn't dip too often into the highly minimal and abstract style of the later television episodes and even if it is less than straightfoward at times and features quirks like an eight minute musical interlude (which is totally awesome, by the way), End of Evangelion is in most respects a distinctly more conventional and conclusive rendition of the events of Third Impact. As a result, it finds overwhelcming acceptance among the large portion of the fanbase that finds the original television ending to be dissatisfying.
Finally, certain choices made in both films can elicit very polarized reactions from viewers and especially from fans. Why that is, I'll leave to you to watch and find out.
No denying, both movies will leave you with a sense of awe after having seen their respective shows. Not for the faint of heart and a very similar final act to the final act of this movie. Watch Neon Genesis Evangelion first.
Opening Theme"Colorful (カラフル)" by ClariS
Ending Theme"Kimi no Gin no Niwa (君の銀の庭)" by Kalafina
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