"masterpiece" and "perfect" are not words i throw around lightly. I tend to be a little harsh on the things I love as if to defend my own interest in them, an unfortunate lasting symptom as my tenure as a fan of a show that shall not be named. So understand when I say this, I say this with my whole chest: Revue Starlight Gekaijouban is a nigh-flawless masterpiece.
Much like the show, I would define this movie's approach to subtext and metaphor in a very particular way - Revue Starlight abounds with subtleties, but is by no means subtle. The symbolism is larger then life and placed directly in your face, as if to mimic the way in which symbolism in the theatrical world must be portrayed at a scale large enough to be seen by the unmagnified view of a live audience. However, past the emotional sledgehammers of tokyo tower, jet-engine trains and exploding tomatoes, you find layers on layers of intricate meaning woven tight enough to incite a phd dissertation. Nana's revue and general role in the film in particular has proved my own personal little riddle i've invested far too much of my thought and willpower into.
It's difficult to discuss the character beats without delving into spoiler territory but needless to say this movie provides a perfect sense of open-ended resolution to each and every character that the show could not provide. Each of these girls has a whole life ahead of them and a thousand more stories to tell, but this story is over, and they've said their peace perfectly before moving forward into a scary and wonderful new future. Without specifics my personal favorites are Mahiru finally getting her day in the sun, and Nana. Ohhhhh Nana.
And, Of Course, I would be remiss to not devote a paragraph of this review to the music. As an aspiring composer myself, I can only hope to someday create something with a quarter of the explosive power and emotional impact of Super Star Spectacle. The revue songs are eclectic and fun, dipping toes into whatever genres they feel like suits the moment at hand and succeeding every time. Learning that Wi(l)d-Screen Baroque was composed by somebody who got their start on the Sound Voltex team made everything make sense, and i'm now eager to play that song in a 4key game. Even outside of the revues, Tatsuya Kato's score draws unbelievable emotion out of his reserved keys and soundscapes. Any track from this soundtrack in isolation is enough to put me on the verge of tears.
While the pacing of the second half of the movie is the one compliant brought up by even fervent fans, I personally argues that it works solely in it's favor. My biggest problem is the way it can slam the brakes and drag on during the Karen flashbacks - otherwise, the restless pace is essential to it's stunning maximalist aproach. Even the shoddy cgi, the primary visual issue oft cited, is another sign to me of the incredible extravagant passion put behind every inch of it's production.
I could sing revue starlight's praises for days on end, but i've written so many words that MyAnimeList is beginning to fall apart on me. All and all, a unique, beautiful, incomporable masterpiece that will surely remain one of my favorites for years to come.
