Sarusuberi: Miss Hokusai

The time: 1814. The place: Edo, now known as Tokyo.

One of the highest populated cities in the world, teeming with peasants, samurai, townsmen, merchants, nobles, artists, courtesans, and perhaps even supernatural things.

A much accomplished artist of his time and now in his mid-fifties, Tetsuzo can boast clients from all over Japan, and tirelessly works in the garbage-loaded chaos of his house-atelier. He spends his days creating astounding pieces of art, from a giant-size Bodhidharma portrayed on a 180 square meter-wide sheet of paper, to a pair of sparrows painted on a tiny rice grain. Short-tempered, utterly sarcastic, with no passion for sake or money, he would charge a fortune for any job he is not really interested in.

Third of Tetsuzo's four daughters and born out of his second marriage, outspoken 23-year-old O-Ei has inherited her father's talent and stubbornness, and very often she would paint instead of him, though uncredited. Her art is so powerful that sometimes leads to trouble. "We're father and daughter; with two brushes and four chopsticks, I guess we can always manage, in a way or another."

Decades later, Europe was going to discover the immense talent of Tetsuzo. He was to become best known by one of his many names: Katsushika Hokusai. He would mesmerize Renoir and van Gogh, Monet and Klimt.

However, very few today are even aware of the woman who assisted him all his life, and greatly contributed to his art while remaining uncredited. This is the untold story of O-Ei, Master Hokusai's daughter: a lively portrayal of a free-spirited woman overshadowed by her larger-than-life father, unfolding through the changing seasons.

(Source: Production I.G)

Oei Main

Watanabe, Anne Japanese

Katsushika, Hokusai Main

Matsushige, Yutaka Japanese

Kichiya Supporting

Irino, Miyu Japanese

Onao Supporting

Shimizu, Shion Japanese

Ikeda, Zenjirou Supporting

Hamada, Gaku Japanese

Sayogoromo Supporting

Aso, Kumiko Japanese

Koto Supporting

Miho, Jun Japanese

Utagawa, Kuninao Supporting

Koura, Kengo Japanese

Bird Seller Supporting

Fujiwara, Keiji Japanese

Samurai Envoy Supporting

Fujiwara, Keiji Japanese

Matsushita, Keiko Producer

Hara, Keiichi Director, Storyboard

Maruo, Miho Script

Sheena, Ringo Theme Song Performance

Reviews

May 6, 2016

imjusthungry

Recommended

Sarusuberi is not a film I believe anyone can enjoy, but I have no reservations about calling it a work of art. Not only is it a beautiful film overall, the experience it provides in both its characters and its setting is poignant and thought-provoking despite its straight-forwardness, something that is regrettably rare in major feature-length anime releases.

Sarusuberi has neither a main conflict nor a linear narrative, instead made up of a handful of shorter stories that are loosely held together by O-Ei, the film's central character. It is difficult to asses the story's effectiveness, because there isn't really a particular "goal" that it tries ... to achieve, thus no tangible criteria to judge it against. I did think, however, that each section of the movie had something of interest in it, was well-paced, and never felt pointless.

The format also leads to the overall tone of the completed film being very subdued, with virtually none of the melodrama one would expect out of an anime. Where the movie gets its flair from are, in my opinion, the art, as well as the masterfully done sequences of magical realism woven throughout. There aren't many, but when they do appear these sequences are breathtaking, effectively adding some variation in what could have easily become a monotonous film.

Due to the lack of a real plot, it's also difficult to asses the film's characters. While there is little development for most of them (though O-Ei does receive some, subtly but powerfully so,) it can also be said that they aren't really meant to undergo much development in the first place. All I can say is that I believe the film is meant to be experienced with the characters rather than following them as they try to get from Point A to Point B, and for this purpose most of the characters are interesting and unique (though not always likeable, which in my opinion is a good thing), even though some appear only briefly.

The animation, art, and sound in this film are all exceptional. Perhaps due to the presence of O-Nao, O-Ei's blind sister, this film is truly a sensory experience. So much attention is paid to the details in the scenes where she appears - everything from footsteps, the crackling of woven grass, the creaking of a great wooden bridge - that it adds a touch of realism to the animation. A number of scenes delightfully weave some of Hokusai's actual art into the visuals, creating some of the most potent scenes of the film. Edo period Japan is crafted so immersively that it would be a joy to watch the film even for just that purpose.

The only thing about this movie I'm not sure that I loved was the music. The film makes use of a more traditional orchestral soundtrack, with sections using traditional Japanese music, and, strangely, in a couple of scenes, electric guitar riffs. While I understand what the film could have been going for - perhaps showing O-Ei's character at odds with the norms of her time, I found it rather jarring to hear.

Not all will have the patience for or the interest in this kind of film, but I would recommend Sarusuberi to fans of historical anime, animation, and subdued slice-of-life shows of the non-moe variety. It is a beautiful, subtle, intelligent film that doesn't try too hard to be any of those three, which is what, I believe, makes it so excellent.

Reviewer’s Rating: 9

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Dec 4, 2017

Edward979797

Mixed Feelings

The movie holds a deep connection to artistry not only in its themes and story, but in its visual techniques as well. "The Great Wave off Kanagawa" and other works of art depicted throughout are seamlessly woven into scenes here and there, making for welcome visual variation. Landscapes and backdrops, especially the Ryogoku Bridge at the centre of Edo, are beautifully drawn, and go a long way in immersing the viewer in O-Ei's world.

Animation is also high-quality from start to finish, which is understandable considering the movie budget involved. There are, of course, very few movement-heavy scenes to speak of in this type of movie, ... but any examples are handled with competence and are effectively directed and animated. Two examples that stand out are O-Ei's night with the male geisha, which drips with awkwardness, and the scene towards the end when she runs out of her house.

My only gripe with the visual style is that almost all of the male characters seem to have the exact same long, rectangular face. This isn't all bad though, as it ensures that our main heroine stands out and is easily distinguishable, both visually and personality-wise.

Miss Hokusai is very much a movie that handles its characters with grace and maturity. Pretty much every member of the cast is grounded in reality and, although the majority are artists, enough distinctions are laid out between them, both in terms of personality and attitude towards their art.

Hokusai is surprisingly depicted as a near-deplorable figure, seemingly concerned with not much else besides his art. He is difficult to deal with, sarcastic, and, frankly, not very interesting once you look past his genius shtick. In fact, he is probably the most one-dimensional of the main cast, characterized almost entirely by the eccentric prodigy archetype he falls under. Aside from his shortcomings as a character, he is also a terrible father, refusing to see his blind, ill daughter because he is "afraid" of the sick.

Left to fill the gaps her father has left in the family, while also struggling to emerge from his creative shadow, O-Ei stands as the thematic core of the story, as well as the most admirable and endearing character. Being not the genius, but rather the person chasing after them, she is flawed, complex, and human enough to make for a good protagonist. In a time when women took on more passive roles, O-Ei makes for a refreshing heroine, being stronger, and more mature and independent than any of the other artists she spends her days with, and especially more so than her sloppy, difficult father. Strong-willed and determined, we see O-Ei's world through her eyes and her struggle to balance the things her father is a failure at with the things he excels at is quite interesting to watch.

The way the story is structured is a bit problematic and would have been more effective had it been done a lot differently. Instead of a central narrative, the movie instead presents its story in a series of loosely connected happenings. While it is cool to see different snippets of life in Edo and immerse yourself in the period, this results in several narrative problems for Miss Hokusai. O-Ei's character development is quite weak as a result of this format, which is quite a shame because there is a lot of potential in her character. Instead, the movie provides the viewer with random circumstances surrounding O-Ei, each ending too soon to leave any sort of impact on either her as a person or those watching.

Miss Hokusai works quite well as a period piece, a great watch for anybody looking to experience daily life in 19th century Edo, and maybe learn a bit about Hokusai and his daughter. Any viewer looking to immerse themselves in the time and place these characters lived in will likely appreciate this movie by way of visuals and atmosphere alone.

The film unravels at a slower pace so those mainly accustomed to watching anime concentrated with intense moments or fight scenes will more than likely have a hard time sitting through this one. Considering the ending doesn't come with much in the way of payoff, it probably isn't worth dragging yourself all the way to the hour-and-a-half mark anyway.

Those looking for an anime of high dramatic caliber or character work would be better off watching something with a more focused narrative. One such example would be Hyouge Mono, which is also historical fiction with a biographical feel (though in an earlier period of Japanese history), and is much more effective at exploring and developing its characters.

Ultimately, Miss Hokusai is a film of great potential. An admirable heroine, O-Ei's story is of a unique nature, being the successor of a great rather than the great himself. Her struggle is profoundly human and multi-dimensional, and the viewer can't help but cheer her on in her endeavours. Unfortunately, these endeavours are few and far between, veiled by a jumbled mess of daily instances and anecdotes, making it difficult for the movie to tell the coherent, development-rich narrative I so badly wanted it to tell.

Reviewer’s Rating: 6

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Mar 26, 2016

UnholyPinecone

Not Recommended

Fair. The story was fair. It didn't have much of a focus, but this is to be expected. It features several arcs and has a couple of characters that interact with each other. Yet there is barely any progress or character development. The characters were realistic, yet it wasn't a story. It was a series of events that happened to somebody in a chronological order with no theme or message. The only arguable theme is to stop being afraid of death, yet there was so little focus on it, it can be barely called that. However, Onei's relationship with her little sister, Onao, is quite ... touching. I almost cried. But as it failed to make me actually cry, it was alright. That small story is the only thing that somewhat redeems this movie. However, with so many arcs going on in the story, an ongoing series would suit the subject matter better.

Despite its focus on traditional Japanese arts, the art was mediocre. The style wasn't something I liked, nor was it overly complicated or pretty. Several times some scenes were lacking too much in detail for it to be a movie made in 2015. The animation has way too many still scenes, often very confusing as I have to check if there was anything wrong with my computer while watching it. Had they chosen a different art style - perhaps one that has a watercolour feeling similar to Legend of Kaguya, it would have been much preferable to this bland mix.

The soundtrack can only be described as terrible. As a story set in 1800's Japan, someone would expect a more traditional soundtrack with minimal electrical sounds. However, we are introduced to the opening scene with an electric guitar as a background. During one of the last climatic scenes featuring Oei running, the electrical guitar played, creating a somewhat ridiculous effect. The soundtrack wasn't just bad, it was disorienting. It takes the viewer out of the setting of the story back into our lives in the modern world. When any good movie should let the viewer forget about their life, the soundtrack choice for this movie was more than appalling. However, there are very rare moments when the soundtrack sounded nice, preventing it from getting a simple "1" for its score.

Overall, it wasn't a good movie. The soundtrack was terrible, the animation was mediocre, the story lacked focus, the characters didn't get properly developed, and the art style just might not be your cup of tea.

4/10. And that's being generous because it almost made me cry.

Reviewer’s Rating: 4

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