"Maria-sama ga Miteru" is unique and fascinating in many ways. It has many layers of meaning, and it lends itself well to critical analysis and repeated viewings. This series is not likely to appeal to everybody. It is slow-moving, emotional, and highly melodramatic at times. It is also designed for a female demographic, so although I am sure men can enjoy it, it lacks the fan service and overt sexuality that appeal to a certain subset of the male demographic. However, anyone who enjoys coming of age stories, deep and detailed characterization, and compelling cultural commentary should consider watching this series.
The multiple themes and layers of meaning appeal to me, for they encourage my analytical tendencies. Given the nature of this series and my tendency to analyze everything, this review will devolve into lengthy critical analysis, so be warned. However, those who read through it might find the first few episodes a little easier to follow.
From the very first episode, "Maria-sama ga Miteru" is a study of hierarchical societies. Japanese society is well known for being hierarchical, and standard forms of hierarchy are inevitably present in school-based anime series. The girls' school here, however, has its own unique system of hierarchy, evident both in language and character behavior, so it is likely to cause its viewers, even Japanese viewers, to notice and ponder the nature of hierarchy. In language, the most noticeable difference between this series and others is in the use of honorifics; students use the honorific -sama instead of -senpai when referring to upperclassmen. The usage of this rather formal honorific in Japan is somewhat problematic, and it can be considered rude or patronizing when used inappropriately. It would not ordinarily be used as the characters use it in this series. Even the standard greeting the students use, Gokigenyou, is archaic and formal. The student council members have grandiose titles as the Lady Roses, and most students refer to them by their titles - Rosa Chinensis, Rosa Gigantea, and Rosa Foetida - rather than their names; this usage places them in an exalted and unapproachable position. The use of polite honorifics, archaic language, and grandiose titles serves to highlight and exaggerate the system of hierarchy. However, not every character perfectly follows the rules, and whether or not a character or a pair of friends follows the language rules is an important point in characterization and can be a source of conflict. Noriko, a character introduced in the second season, is quite interesting in this regard.
The development of deep friendships is another major theme in this series, and it is the central driving force behind the story arcs. These friendships are encouraged by the sœur system, a system in which an upperclassman and an underclassman declare a relationship as sisters. (Sœur is French for sister.) This is fundamentally a hierarchical relationship, for the older sister, the onee-sama, is expected to provide guidance to her younger sister. The sœur relationships involving the student council are particularly important, for the younger sisters of the Lady Roses, the boutons, also have a strong role on the council. These relationships become extremely close, and in fact can come so close to actual romance that it is easy to read a lesbian subtext into the relationships despite the fact that only one main character is overtly lesbian. Since such close relationships cross the hierarchical boundary between underclassmen and upperclassmen, they effectively destabilize the hierarchy, creating a fascinating conflict within the narrative. The sœur relationships also occur across class lines. This is an elite Catholic school, so all of the students are likely to be affluent, but some are merely well off, while others are filthy rich. The relationship between Yumi and Sachiko effectively explores such class differences, and their friendship allows each to explore the other's world in ways that would ordinarily be impossible.
The march of time is another important theme, and the constant progress of time allows the characters and their relationships to develop and grow. High school is a time of transition; people aren't there forever, and unlike some school series, "Maria-sama ga Miteru" does not sweep time under the rug. The episodes are mostly (but not always) in chronological order, and there are some flashbacks. The first season sets the groundwork for a major transition to come in the second, and the fourth season similarly prepares the viewer for changes to come afterwards. (A fifth season has so far not been produced, but the light novels continue the story beyond the fourth season.) Yumi's growth as a character is handled well throughout the series; she starts as a wide-eyed innocent girl who lacks confidence in herself, and by the end of the fourth season, she has gone through many changes. (To prevent spoilers, I will leave out the details.) Even melodramatic story arcs, such as the coincidence-filled story ending the second season, help to develop the characters and to aid the passage of time. This is one series that can get away with melodrama, for the characters are strong enough to make it through exaggerated plot lines unscathed.
Though the story and characterization are the greatest strengths of this series, the art and music deserve a few words, for they contribute greatly to its unique and exotic style. The character designs are more detailed than is typical for school anime series, and they are beautifully executed. The backgrounds are soft and perhaps a little stylized, but also highly detailed, and they set up a warm and welcoming atmosphere. As is usually the case in this era of limited budgets, animation is sometimes rough, and designs and quality are a little inconsistent from episode to episode, but these flaws are minor compared to the strengths of the series. The music deviates from the usual pop conventions of anime; it is classical in style, and it perfectly fits the elegant atmosphere and culture of this elite school. The closing theme of the third season and the opening and closing themes of the fourth season deviate from this style and instead conform to pop conventions. While these themes aren't bad in and of themselves, they don't quite fit the atmosphere of the series. The voice actresses are all excellent, and the voices fit the characters well.
One could probably guess that, since I have taken the time to write such an extensive review and analysis, I love this series. I certainly do, and I rank it as a strong favorite among the anime series I have seen so far, and it is a favorite even within the broad category of serialized programming - anime, TV series, radio series, and film serials. The attention to detail, the strong characters, the beautiful setting, and the relaxed atmosphere all contribute to my enjoyment of this series. Again, it may not appeal to everybody, but people looking for the qualities that have attracted me to it may also enjoy it, and perhaps a few will rank it among their favorites.
Now, I'm hoping for an eventual fifth season or group of OVAs to finish the story, but it has been a few years since the last installment, so my wish might never come true.
