After premiering in Japan in May, the animated film “Ghost Cat Anzu” made its U.S. debut on Friday, Nov. 15. Adapted from the Japanese manga “Ghost Cat Anzu” by Takashi Imashiro, the film attempts to condense the original story’s plot while maintaining its fast-paced action. Although “Ghost Cat Anzu” is charming in its absurd comedy, it struggles to fully connect its narrative threads — when not engaged in abrupt action such as battling for the fate of her mother, many characters end up meandering through the plot.
The one hour and 34-minute film, directed by Nobuhiro Yamashita and renowned artist Yoku Kuno, follows Karin, a spirited child who, after being abandoned by her father at her grandfather’s temple in rural Japan, meets Anzu, an anthropomorphic bakeneko (a large, talking, immortal cat from Japanese folklore) who bears an uncanny resemblance to Garfield. Although initially wary of Anzu and annoyed by his carefree life, Karin eventually comes to love the cat — and joins it in performing all sorts of odd jobs and tasks throughout town.
However, she struggles to find emotional connections with real people after the loss of her mother, and the scene of mourning is then transformed into an adventurous journey into the Buddhist Land of the Dead to revive her mother. The directors, much like Anzu’s carelessness in driving, fail to acknowledge the audience’s need to digest rapid accelerations in the plot — as the audience is vacuumed through a toilet into the underworld and promptly launched into the demonic battle of the century. The sudden shift in pacing is jarring and disorients the watchers, much like being caressed by a serene river only to be hurled off a waterfall.
That being said, the graphics in the film are nothing short of stunning — viewers can appreciate comedic moments such as Anzu jokingly telling Karin he has an “inkling” that she doesn’t like squid, to the tranquil, Studio Ghibli-style backdrops painted throughout the film. Buddhist influences in the film also enchant it with a sense of wonder. Directors Kuno and Yamashita reference “The Great Buddha” statue in India several times, and their design for the main antagonist Enma — the Buddhist King of Hell — makes “Ghost Cat Anzu” stand out from the typical cartoonish genre.
Many illustrations in the film are similar to that of Studio Ghibli’s “Spirited Away,” as both films highlight an enchanted bridge with beautiful illustrations that utilize dull, bleak hues that connect the living and the dead. However, at this point in the story directors Kuno and Yamashita take a page from Anzu’s specialty of speeding and slam their foot on the gas pedal to speed up the story — so much so that the audience begins to struggle to keep up with the plot. For all the squid “inkling” jokes Anzu makes, the film directors don’t have an inkling at how to manage action and progression throughout the story.
Amidst the drama, Karin takes the role of a stereotypical heroine and rescues her mother from the dead. Regardless of Karin’s well-thought-out characterization up to this point, the sudden shift from a timid little girl to a raging teenager is as shocking as seeing a Japanese Garfield that can talk, cook and drive — coming off as a quick attempt to center her as the protagonist of the story more than anything. Flaws in the graphics also soon become apparent, with Karin’s art style clashing with the caricatured demons long before their actual fight in the story.
On top of that, the film is plagued with strange dubbing inconsistencies — while voice acting is a tough feat for any animated movie, the voiceovers in “Ghost Cat Anzu” at times feels crusty, as if the characters themselves are narrating the story. Nonetheless, the film’s theme song written by Japanese singer-songwriter Chiaki Sato is a quirky departure from pop songs typically seen in anime, with a strong rhythm and clear-cut voice reminding viewers of the more playful aspects of the movie, as the tune as if on cue plays whenever Anzu does or says something in his unorthodox fashion and humor.
The producers of the film also choose to experiment with themes and characterization through not just interactions and dialogue, but through art style as well. While the art-style used to depict Karin resembles typical anime characters, the villagers and monsters are more cartoony, with dots for eyes and more simplified silhouettes. Karin feels and looks out of place after moving to the rural area, leaving the audience wondering how such a girl made friends with a character like Anzu in the first place.
As the movie rolls to a halt, the audience is reminded of Anzu’s lighthearted laughing and the film’s strangely comedic moments that at times overshadow the film’s central themes. However, given its struggle with pacing and lackluster production, it’s safe to say that the movie is far from great — and just like how Anzu lets out a drawling “Meooow” whenever he’s bored, the audience is left yawning, reminding us that “Ghost Cat Anzu” will only ever become a ghost as it fades into our distant memories.
RATING: 2.5/5
