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The Wire
a day ago
- Entertainment
- The Wire
One City, Two Tales: Tokyo Through Studio Ghibli's Lens
Menu हिंदी తెలుగు اردو Home Politics Economy World Security Law Science Society Culture Editor's Pick Opinion Support independent journalism. Donate Now Top Stories One City, Two Tales: Tokyo Through Studio Ghibli's Lens Priya Singh 42 minutes ago The dual representation of Tokyo in 'Whisper of the Heart' (1995) and 'Only Yesterday' (1991) serves not only as a narrative choice but also as a reflection of the city's complex identity. Posters for 'Whisper of the Heart' (1995) and 'Only Yesterday' (1991). Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute now From Metropolis (1927) to Taxi Driver (1976) and Salaam Bombay! (1988) to Gully Boy (2019), cities on screen have long fascinated us – mirroring, distorting and reimagining urban life. Scholars such as Raymond Williams and David B. Clarke have shown how literature and film shape our understanding of cities, often revealing the tension between community and alienation, modernity and nostalgia. Thinkers like Marcus Doel and Henri Lefebvre remind us that cities are not just concrete and commerce. They are lived, felt and socially constructed. Few cities have inspired this dual gaze in films more than Tokyo. In Studio Ghibli's Whisper of the Heart (1995) and Only Yesterday (1991), Tokyo becomes a character in its own right; it can be both grounding and disorienting, echoing George Simmel's vision of the urban space as a site of both creativity and quiet estrangement. Studio Ghibli, founded in 1985 by Hayao Miyazaki, Isao Takahata and Toshio Suzuki, has become synonymous with animation excellence. Their movies have critiqued Japan's rapid urban growth, showcasing the delicate harmony between human development and nature's grandure. In an era of AI-generated imitation, the Studio's artistry, once quietly revered, now stands at the centre of a broader conversation about what makes art truly human. Yoshifumi Kondō's Whisper of the Heart presents Tokyo as a place of inspiration and dreams. It follows 14-year-old Shizuku as she wanders through the bustling city with a sense of wonder, finding creative inspiration in its vibrant neighbourhoods and the people she meets. Her journey through Tokyo's suburban landscapes, antique shops and libraries highlights the city's potential to nurture creativity and personal growth. A still from 'Whisper of the Heart'. The film uses a warm and bright colour palette for the city – yellows, oranges, reds and greens – that reflects the characters' mood and emotions, along with the seasons and time of day. The detailed animation brings Tokyo's streets and homes to life. The film's music, including its use of 'Country Roads', is upbeat and melodic, reflecting Shizuku's youthful enthusiasm and the lively city atmosphere. The animation is detailed and realistic, with smooth movements, expressive faces and intricate backgrounds. Background characters are never still; they actively engage with their surroundings, making the city a living, breathing part of the story. The style is influenced by manga and the works of Miyazaki, who wrote the screenplay and oversaw the film's production. Around 70% of the film follows Shizuku's everyday life and adventures in Tokyo, allowing the city itself to take centre stage. In contrast, Isao Takahata's Only Yesterday takes a more introspective approach and explores themes of alienation and nostalgia. The film follows Taeko, a 27-year-old office worker, who reflects on her childhood in Tokyo and her current life, feeling disconnected from the city's relentless pace and modernity. The film juxtaposes her desire for a simpler, more rural life with her present-day experiences in Tokyo, highlighting the emotional and psychological distance she feels. The film's animation and realistic portrayal of Tokyo's urban environment bring out her sense of disconnection and longing for a simpler life. The film employs a cold, dark colour palette with shades of blue, grey, black and white to reflect the monotony and gloom of the city, as well as the nostalgia and regret of the protagonist. Taeko's daily commute and office scenes illustrate the repetitive rhythm and routine of adult life in Tokyo. The use of muted and earthy tones for the city captures Taeko's introspective and occasionally melancholic state of mind. The soundtrack is soft and reflective, enhancing the film's contemplative atmosphere and tracing Taeko's emotional journey. A still from 'Only Yesterday'. The animation style is simple and stylised, characterised by minimal, sometimes rough movements, understated facial expressions, and sketch-like backgrounds. This approach is influenced by the watercolour paintings of the original manga, as well as the works of Takahata, who directed and wrote the film. Unlike Whisper of the Heart, the city occupies a small portion of the film, about 15%, as the story alternates between Taeko's life in Tokyo and in Yamagata, the rural neighbourhood she moves to. The dual representation of Tokyo in these films serves not only as a narrative choice but also as a reflection of the city's complex identity. Like many global cities, Tokyo is a place of contrasts where tradition meets modernity and where dreams can be both realised and shattered. This duality is a common theme in urban studies, which regard cities as sites of both opportunity and alienation. Furthermore, the difference in the protagonists' ages influences their interactions with and perceptions of the city. While Shizuku's youthful perspective adds a sense of excitement and discovery to her experiences in Tokyo, Taeko's adult viewpoint is more reflective and critical. By examining these two films, we can gain insights into how Tokyo's multifaceted nature is portrayed through different lenses. Whisper of the Heart and Only Yesterday show us that cities are not monolithic; they are experienced differently by each individual. They are shaped by who we are, what we remember, and what we hope to become. These films help us think more deeply about what it means to live in a city, touching on themes of identity, belonging and the pace of urban change. Together, the two films offer two distinct yet complementary views of Tokyo: one full of possibility, the other tinged with longing. Through their contrasting tones and visual styles, they capture how the same city can feel radically different depending on who is looking and when. It is this quiet attention to emotional texture that makes Studio Ghibli's vision of urban life so resonant and so deeply human. Priya Singh is a researcher at the Indian Institute for Human Settlements, Bengaluru, working on higher education access, qualitative research ethics and cultural representation through both fieldwork and film. Make a contribution to Independent Journalism Related News Banu Mushtaq's Importance Goes Much Beyond the Booker The Politics of 'Heart Lamp' Is Profound, Urgent and Reflects the Lived Reality of Millions Why Banu Mushtaq and Deepa Bhasthi's International Booker Is a Seminal Moment Humour, Scepticism and the Realities of the Familial in Banu Mushtaq's 'Heart Lamp' Ngũgĩ wa Thiong'o: The Kenyan Icon Who Wrote For Freedom Till the Very End Most Indians Can't Even Afford Entry-Level Cars. Maruti Suzuki Chairman Explained Why A Decade of Living Dangerously: The Wire Marks its 10th Year with Pressing Unmute in Naya India Listen: India's Reaction to Turkey is Understandable, But We Should Not Give Up on Diplomacy with it Godey Murahari Was a Spirited Parliamentarian About Us Contact Us Support Us © Copyright. All Rights Reserved.
Boston Globe
2 days ago
- Entertainment
- Boston Globe
Two strangers carry a budding romance, and a cake, across New York
The musical, by Jim Barne and Kit Buchan, makes the most of Tutty's irresistible charm as the naïve fish-out-of-water, in contrast to Pitts's jaded Robin. Tutty and Pitts have terrific chemistry, and Tutty absolutely delivers on Robin's description of Dougal as 'a Golden Retriever with less boundaries.' His opening number, 'New York,' perfectly captures Dougal's childlike excitement about his 48-hour adventure in a city he expects to be defined by the cherished movies he's seen (including 'Taxi Driver,' 'Midnight Cowboy,' and 'Big'). Advertisement Despite her eye rolls, it's clear Robin finds his comically dorky impersonations more endearing than she'd like to admit. Tutty has impressive vocal chops and dance moves, both of which feel wild and free — when he lets them explode — even though we know they were precisely rehearsed and choreographed. Advertisement Pitts's character is explored in 'What'll It Be,' a heartfelt ballad set in the Bump and Grind, the coffee shop where Robin works, as she wonders what will be next for her. Pitts, too, is a stunning singer and actor, giving the audience a haunting tour of her childhood neighborhood in 'This Is the Place' with all the love and regret that can entail. Tutty and Pitts in "Two Strangers." Nile Scott Studios and Maggie Hall Director and choreographer Tim Jackson moves his two performers effortlessly up, down, and around Soutra Gilmour's inventive baggage claim area set. Gilmour's piles of suitcases turn to provide different scenes, even as an outer turntable allows the actors to cover a lot of ground — a visit to the ice rink at Rockefeller Center, a sumptuous Plaza hotel room, an Uber ride and a coffee shop, and even a Chinese restaurant. Gilmour's collection of seemingly nondescript luggage also provides a delightfully surprising array of closets and cabinets as needed. Every inch of the space is employed in a climactic booze-fueled spree through New York, courtesy of Dougal's estranged father's credit card. Despite the limitations of creating dance routines that can be safely executed on a narrow, moving turntable, the couple's fearless energy, whipped up lighting, and spot-on timing (watch for the appearance of his tux jacket) are perfectly combined. Barne and Buchan's musical numbers are pleasantly, sometimes humorously derivative, with a special nod to Stephen Sondheim's patter songs in 'The Hangover Duet.' Jeffrey Campos leads the crisp five-piece band (keyboards, guitar, bass, drums and percussion). Advertisement The magical moments emerge from the clever and funny banter between Dougal and Robin, which reveals more about their characters than the exposition-heavy phone calls and letters that slow the action down. This is perfectly summed up by a subplot in which Dougal helps Robin find a match on a dating app. His sweet understanding of what she's looking for could have been more deeply explored. 'Two Strangers' finishes with a big, heartwarming number, 'If I Believed' — spoiler alert, there is snow — leaning more into cliché than necessary. Like a Hallmark movie, 'Two Strangers' boasts enough humor and whimsy to be sweet and superficially appealing, but at the end, all we're left with is the superficial. TWO STRANGERS (CARRY A CAKE ACROSS NEW YORK) Musical by Jim Barne and Kit Buchan. Directed and choreographed by Tim Jackson. Music direction by Jeffrey Campos. A Kiln Theatre production, produced by the American Repertory Theater. Loeb Drama Center, Brattle Street, Cambridge, through July 13. Tickets from $35. 617-547-8300,
Khaleej Times
22-05-2025
- Entertainment
- Khaleej Times
Cannes Film Festival 2025: Jodie Foster prefers life outside US
Jodie Foster prefers to be outside the US right now, the Oscar-winning actor told Reuters at the Cannes Film Festival on Wednesday, citing better conditions in Europe's film industry as well as more freedom now that her children have grown up. Foster was in southern France for the premiere of A Private Life, a psychological thriller in which Foster assumes the role of a psychiatrist who tasks herself with investigating the death of her patient, played by Virginie Efira. The US-born actor, who won two Oscars for The Accused in 1989 and The Silence of the Lambs in 1992, had to speak in French only for the Cannes film that is screening out of competition. Foster, 62, began her career filming commercials at the age of 3 and has received numerous awards throughout her career, including an honorary Palme d'Or award from Cannes in 2021. "I'm really enjoying working outside the United States," she said, recalling how she is not as tied down to the US now as she was when her children were little and she had to stay close to home. Foster, who first came to Cannes as a 13-year-old when she starred in Taxi Driver, said working as a director in France was better than in the US because of more creative freedom. Blending genres, like director Rebecca Zlotowski does in Foster's new film, is very uncommon in the US, she said. Studios want a film to be either a thriller or a comedy, they don't want a mixture of the two, she said, whereas France allows the director to have more authority on such decisions. "That's the reason why filmmakers love to come here." In Europe, female directors also have had more opportunities compared with the US, said Foster, herself a director. "I'd only worked with one female director until a few years ago. Isn't that kind of amazing? After I've made 60 movies that I've barely ever worked with another woman?" she said. "Europe has always had a female tradition, or at least for quite a while. But in America, somehow that bias really took hold."
Free Malaysia Today
22-05-2025
- Entertainment
- Free Malaysia Today
Jodie Foster says she prefers life outside the US
Jodie Foster at the photo call for the film 'A Private Life' at the Cannes Film Festival. (Invision/AP pic) CANNES : Jodie Foster prefers to be outside the United States right now, the Oscar-winning actor told Reuters at the Cannes Film Festival on Wednesday, citing better conditions in Europe's film industry as well as more freedom now that her children have grown up. Foster was in southern France for the premiere of 'A Private Life,' a psychological thriller in which Foster assumes the role of a psychiatrist who tasks herself with investigating the death of her patient, played by Virginie Efira. The US-born actor, who won two Oscars for 'The Accused' in 1989 and 'The Silence of the Lambs' in 1992, had to speak in French only for the Cannes film that is screening out of competition. Foster, 62, began her career filming commercials at the age of 3 and has received numerous awards throughout her career, including an honorary Palme d'Or award from Cannes in 2021. 'I'm really enjoying working outside the United States,' she said, recalling how she is not as tied down to the US now as she was when her children were little and she had to stay close to home. Foster, who first came to Cannes as a 13-year-old when she starred in 'Taxi Driver', said working as a director in France was better than in the US because of more creative freedom. Blending genres, like director Rebecca Zlotowski does in Foster's new film, is very uncommon in the U.S., she said. Studios want a film to be either a thriller or a comedy, they don't want a mixture of the two, she said, whereas France allows the director to have more authority on such decisions. 'That's the reason why filmmakers love to come here.' In Europe, female directors also have had more opportunities compared with the US, said Foster, herself a director. 'I'd only worked with one female director until a few years ago. Isn't that kind of amazing? After I've made 60 movies that I've barely ever worked with another woman?' she said. 'Europe has always had a female tradition, or at least for quite a while. But in America, somehow that bias really took hold.'
Extra.ie
19-05-2025
- Entertainment
- Extra.ie
Graham Norton reveals the 'one particular thing' he will keep when leaving BBC
Graham Norton has revealed one precious piece of archive he will be looking to hold close when he finally leaves behind his BBC talk show. The Graham Norton Show has aired on BBC One since 2009, having initially featured on BBC Two from its beginnings in 2007. The Irish comedy legend has interviewed a who's-who of celebrity royalty in the eighteen-year interim, with many memorable moments on the famed red couch along the way. Graham Norton. Pic: Stuart C. Wilson/Getty Images The show format of gathering together all guests for a communal chat has often provided impromptu moments of amusement – and bemusement for some guests too. One such cringeworthy instance was in 2015, when actor Tom Hiddleston took into a Robert De Niro impersonation with the Taxi Driver star sat just feet away at the other end of the couch. De Niro had a decidedly stiff reaction to the attempt and Norton revealed there had been plenty more silly moments which hadn't even aired – one of which he wants to keep a clipping of post-retirement. The Graham Norton Show has been running since 2007. Pic: BBC/So Television/PA Media/Isabel Infantes 'There are worse things than that [Hiddleston impersonation] on the cutting room floor,' Graham told The Adam Buxton Podcast. 'I can't name any names, but when I finally retire, I will have to go into the big bin of edits. 'There's one particular thing I want to keep with me forever, it's so bad, it's amazing.' With the show recorded in front of a live studio audience, it means the moment in question would have been witnessed by a select few – but Norton reasoned that a retelling could never live up to the original moment itself. He said: 'Describing it to someone would never be what it was, and for how long it went on for.' Norton recently took a break from his chat show to embark on a comedy tour of Australia, entitled 'An Evening With Graham Norton'. While retirement plans may figure in the distance, he is also soon set to host new reality series The Neighbourhood on ITV.
