Nothing is impossible … if your dreams are big enough.
What They Say:
From the creators of Spirted Away and Ponyo, and Academy Award-nominated director Hiromasa Yonebayashi, comes a gorgeous and adventure-filled adaptation of The Borrowers, one of the most beloved children’s books of all time.
In a secret world hidden beneath the floorboards, little people called Borrowers live out of sight of humans. But when brave and tiny Arrietty is out gathering supplies, she is discovered by Shawn, a human boy, and they begin to form a relationship that blossoms into an extraordinary adventure. This sumptuously animated and heartwarming story features the voices of Bridgit Mendler, David Henrie, Amy Poehler, Will Arnett, Moises Arias and Carol Burnett.
The Review:
Audio:
The audio display for this moving release is available in English or Japanese subtitled DTS-HD 5.1 lossless codec or French subtitled Dolby Digital 5.1, and the wonderful fullness of this sound presentation helps to flesh out the film acoustically. We are enveloped through this embracing ambiance to propel the audience within a portrayal which is wholly dependent upon each voice actors’ performance to carry their weight and allowing the audio surroundings to reflect a sense of how different Arrietty’s world is from our own. It is a marvelous aural display as the subtly of natural and instrumental soundtracks allow the audience to submerge themselves within a society of familiarity, but seen and heard from a different point of view. There are times when the wondrous orchestral ambiance becomes a player unto itself, the fullness of music all encompassing and the surprising sophistication of nuanced sounds which we may have never noticed if not due to a difference in size, all as we try to understand the similarities of two environments encapsulated within one. As such, the acoustics are essential to this film, sharing an equal amount of weight as with the visuals to carry the ideals of Miyazaki-sensei into reflecting contrasting natures. The richness of this musical bounty and natural ambiance makes the audience more aware of the underlying sense of the known versus unknown, how people try to continue their daily lives all without knowing there is another layer of complexity laying just beneath their feet.
Normally I try to review a series or film by viewing in its original format, however this is one of the few exceptions in which I opted to watch it again in a secondary language track, namely English. The translation of this film is truly enticing with the use of familiar Hollywood voices, allowing each actor’s own personality to shine through the roles. Yet while prior Studio Ghibli films have utilized a wide array of talent to fulfill these daunting roles, this movie seems to have been an exception by casting relatively unknown Disney actors for the main protagonists, but more glaringly is a change in ages for the characters; as stated in the story, both are supposed to be in their early teens, with our heroine almost fourteen, but the English voices of Bridgit Mendler for Arrietty and David Henrie as Shawn are both in their twenties, as such while Mendler’s higher pitch is acceptable, it is Henrie’s low tenor which sounds strange for an early adolescent who is also sickly due to his condition, making him sound older and under more stress than in the original. Sadly, the more famous performers are also cast in supporting roles in which you may not recognize their usual comedic stylings due to the seriousness of their parts – Amy Poehler as Homily, Will Arnett as Pod and most surprisingly is Carol Burnett as Hara. To have this many familiar names within a Studio Ghibli movie may seem fulfilling, but to have them relegated to such incidental parts is a shame, even if their contributions do help to flesh out the warmness of this magnificent film.
However while these acoustic missteps can be overlooked as the viewer becomes used to mature voices and substitution of ending songs to something more suitable for Western audiences, what is questionable is an outright change of character names from Miyazaki-sensei’s original screenplay: most notably we had Sho in Japanese is now Shawn and Haru the housekeeper became Hara. While this may be passable due to the original source material being The Borrowers by Mary Norton is set in post-war England, there are yet other dubious adaptations in the script which are never explained, most notably the Borrowers calling the big people Human Beans and the Westernized version simply denotes them Beans; without context for this nickname, this translation makes no sense and thus adds to the confusion everytime it is heard, even though the usage is from the original book. Lastly, the English translation also changes the outcome of uncertainty after the pair say goodbye, which unfairly modifies the bittersweet conclusion, even though this addition is never mentioned in the Japanese version. Why go through all the trouble of preserving the original movie, only to alter the selective parts to make it more suitable for Western audiences, when this ultimately disrespects the purpose of the art form?
Video:
Viewers can watch this outstanding film via either Blu-ray edition in 1080p resolution using AVC codec or the standard DVD encoded MPEG-1/2 DVD media format with 720×480 anamorphic resolution for playback, with both formats in an aspect ratio of 1.85:1. While the opening and closing credits are reworked for English audiences, one has to remember this movie is composed of mostly hand drawn animation within an age of computer generated imagery, which is what makes the presentation all more mesmerizing, even though digital programs were used to color the cels. And yet even with the splendor which is Studio Ghibli, visually this film is an exception due to its organic atmosphere with verdant exteriors of a simple garden and lush pasture, but becomes monumentally captivating are the transformations of everyday objects being utilized in unusual ways thanks to the ingenuity Arrietty’s family. One cannot but smile to see mundane items employed in curious ways such as: stamps displayed as paintings, flashlight bulbs as lanterns, doll sized tea sets being used normally, but most pleasing is the usage of a binder clip as a barrette in our heroine’s hair. All of these unique modern techniques entice the viewer to search out other examples and become enamored by the skill in which commonplace objects now find new purposes for these Borrowers, as we are charmed due to circumstances that we would not consider due to our own size and clumsiness. Staples and nails as stepping points, walls of abundant ivy becoming obstacles to be scaled, lawns of looming grass are imposing forests, small insects such as crickets and pillbugs are competitors for resources plus rats and crows are now dangerous foes which can strike at any time. And yet even within all of these natural wonders, what was so intriguing throughout this amazing journey was the amount attention the animators paid to what should have been an inconsequential moment – the manner in which the surface tension of water interacts with Arrietty and her family; to watch these inhabitants draw water to fill a flower vase or pour tea with viscous droplets is captivating, slowly forming a sphere until it clung to the surface of the object and then finally filling the interior, but just as this natural phenomena is helpful, it quickly became harrowing once Arrietty found herself trapped outside during a storm, with rain now becoming potentially painful projectiles if they hit an unprotected person without a leaf umbrella. This fascinating unseen world is expansive for these little people and at the same time, it holds wonder of potential which we never knew or considered due to our busy lifestyle of overlooking what is curiously underfoot.
Packaging:
The case packaging is the first thing a buyer notices about this product and thus, it should project the proper attitude for this film, with GKIDS doing a great job in creating an appealing mood. You cannot but smile seeing a welcoming image from the movie depicted upon the front of this disk collection ’s cardboard sleeve: a self assured Arrietty standing amongst an entangled wall of ivy, defiantly looking forward from her hiding place not knowing in what form danger may come. And while the same delightful display is repeated on all important media within and the exterior of the Blu-ray disk case, it not until we open the box do we see a new vista for imagination – an innocently presented portrayal of serene Borrower life, oddly displayed through neon blue plastic, but then we must consider between the two video formats suspended above them, with different charming screenshots silkscreened upon each disk. However even as that choice may be essential, it is the exclusive information booklet held within which leaves an impact upon the viewer, allowing us to absorb insight and wisdom from Studio Ghibli Producer Toshio Suzuki. His thoughts and reasoning into creating The Secret World of Arrietty are enlightening, allowing us to understand how mutable ideas develop into such a beloved movie.
Menu:
GKIDS makes a favorable impression upon the viewer after they load a disk by displaying the same joyous image we were presented from the welcoming presentation case – Arrietty gazing upward at a forbidden world from within the protection of enveloping ivy. And while we still have standard menu selections etched along the lower screen, emblazoned in white appropriately surrounded within the plant’s verdant tone, GKIDS has made a tactical error with an absence of any musical accompaniment to make our choice less boring. To stare at this aforementioned screen in silence may not be bad, but with each minute spent musing as to which of the many bonus features you wish to view, it only makes the wait all the more tedious and strenuous.
Extras:
This bonus select has some of the best choices I have ever seen for any animated presentation, and this is all thanks to Studio Ghibli’s need to please their audience. While we may be satisfied with obligatory movie trailers, this is where the collection diverges from the norm and presents the viewer with a range of programs concerning behind the scenes documentaries about the film. Although most may be only a few minutes in length and contain interviews with Miyazaki-sensei about various aspects of the movie, which in retrospect are gleamed from longer conversations, they all contribute to an understanding of how much work was put into creating a diverse world for The Secret World of Arrietty. However even within this diverse assemblage of information, there are still a few gems that shine through all the exhilaration and prove to be ones which you must watch for a greater insight into this masterpiece.
While most of the video assemblage may be interesting, the interviews with Miyazaki-sensei’s of how talented animator Yonebayashi-sensei was chosen as director and his response enlighten viewers as to how tentative decisions can lead to great successes. However even with these revelations, it cannot top the true treasure of the bonus section, which are the full length storyboards for the movie itself. Although some production companies may endeavor to piecemeal this for their own features, Miyazaki-sensei himself drew most of the layouts which exactly follow the entirety of this wondrous film, from beginning to end. And if this wasn’t enough, they also included the entire movie soundtrack with every Japanese seiyūs reproducing their performances for this sketch based artist walkthrough of the presentation. This is one time I wish for two copies of the Blu-ray, accompanying televisions and players, all to watch both versions in a side by side comparison, allowing full enjoyment of seeing the differentiation between roughs and the final product – that truly would have been a delightful treat.
It is a brilliant summer day as Sho finds himself being driven through the city by his Great Aunt Sadako, but for the rest of the week, he will spend time trying to recover his strength within an unfamiliar setting. However as they slowly pass through the busy urban surroundings, these bothersome distractions begin to lessen once the vehicle progresses into the surrounding countryside, until they finally arrive at their destination. After turning into a nondescript driveway, the dirt road is quickly overshadowed by a thick canopy of comforting trees embracing the entirety of the sunlight which tries to shine upon the ground below. But as the transport approaches a Western style house, all headway is stopped as their path is blocked by another car barring entrance to the home proper, causing Sadako to excuse herself as she attempts to have the offending vehicle moved so they may settle into Sho’s temporary home. But as he waits for time to pass, the sickly boy becomes entertained by his view of the serene scene out his window, with curiosity taking over as he makes his way through the rickety white picket gate and into the yard beyond.
The tranquil backyard and welcoming pasture beckon Sho, but his attention is diverted by a rotund cat who is stalking something within a nearby bush, and yet as the unlikely predator draws ever closer, the annoying cry of a crow pierces from above as it begins to relentlessly peak and claw at its feline competition. As he watches this fruitless one sided contest, his notice is drawn to something moving within the dense undergrowth which was the focus of this hunt, an almost unseen rustling beneath the foliage as if something is darting behind each covering in an effort to hide from prying eyes. It is only then as he attempts to garner a clearer view does Sho witness something which should not be possible, the undeniable details of a creature who appears to be human, but standing no taller than the leaves which hide its indistinguishable features. However as he steps nearer, the voice of Great Aunt Sadako is a brief enough distraction to break his line of sight, thus making any tracking of the elusive prey now impossible, leaving him no other choice than to heed her call and enter his new shelter.
The tiny person deftly leaps from her hiding place before secluding within the tall grass, and it only then does she navigating the dense blades of the yard before dashing into a grate leading under the house, with a ferociously hissing feline in close pursuit, only to have its fun halted by the annoyance of its prey being protected by a flimsy set of bars and straining metal. Now safely hidden from any other hunters, the small child happily puts on her shoes and swiftly walks down the corridor, with the only distractions now a pair of crickets attempting to nibble on the plants she has tucked under her arm. Not willing to surrender her prizes, the joyful girl races forward until she finally arrives at the familiar decorations of home: various stamps serving as colorful portraits and scraps of discarded wallpaper covering the blank spots, only to stop as she climbs into the window of her room. But as she tries to find a hiding place for her latest treasures within the jungle of arrangements, a woman’s voice calls for Arrietty and the addressed panics once she hears her door quickly being opened. Her mother Homily has spoiled the surprise and rather than try to deny its presence, the girl amusingly brings out early birthday presents of bay and shiso leaves, all as a distraction and apology for going out again without permission. But as they exit and enter the kitchen to place the accompanying sakura blossoms within a vase with water, the parent begins to voice her objections against what Arrietty has so enthusiastically been looking forward to tonight – her first borrowing trip.
It is only as neither side sees the reason in either’s argument does the back door open, and in steps a stern looking man to which his daughter gleefully welcomes home. Homily also greets her husband Pod and offers to serve tea, but then is surprised as he states an infirmed child has moved into the human beans’ house, but as she voices concern that the younger ones are more dangerous than the adults, he bluntly declares it should be no problem since the boy is sickly. Only then does his family’s heated discussion continue, with the silent man listening to the disagreeing women, until he surprisingly slams his tool and gruffly states children should go to bed early, allowing Arrietty to know her trip will begin this evening. While his wife is still worried about her daughter going out, Pod reminds Homily she is almost fourteen and needs to learn how to take care of herself, and yet she cannot but be concerned their family may be the last Borrowers that they know of within this world.
Once night falls, a nervous Homily watches father and daughter prepare for their nightly excursion, all as her worries surface again, even though she knows this trip is necessary for Arrietty’s growth, a mother cannot deny the concern she feels in letting her child leave to explore the world. Only after they are about to leave the safety of their home does she remind them to pick up some sugar and tissue paper, her face no longer showing the concern it had expressed only a few moments ago. After Pod ignites his lantern, the pair tentatively makes their way through worn walkways, utilizing well-placed nails and staples as steps to navigate the dangers in the darkness. But as his child is immediately fascinated by the foreign sights, Pod does not neglect to point out there are dangers lurking in every corner and she must be wary, even as the experienced explorer opens a carefully hidden door to their first stop – the kitchen. The array of strange devices and objects are overwhelming, making Arrietty stop to stare in awe before her father motions to the location of their prize, a platform in the middle of the organized chaos which holds a woven basket with the container in question. Pod wastes no time in using a fishing hook and twine to descend to the floor, then begins scaling the table with pieces of double sided tape applied to his feet and hands, and only after arriving at sugar bowl does he motion for his child to proceed, tying a cube to some string and waiting before slowly lower their prize to which Arrietty secures within her knapsack. As they run across the floor to a nearby electrical outlet, the girl spots a discarded safety pin and shows it to her father, it is only then does he show a brief smile and declare she now has her first borrowing, to then turn his back and pull the plastic aside to reveal the path to their next destination.
The crawl space is extensive and looms over two sets of glowing red eyes, with Pod once again warning of unseen dangers, but his enthusiastic daughter cannot but declare she is not afraid, not with her new weapon to defend against the threat of menacing rats. After a few moments they arrive at a squared panel and her father pulls it aside to reveal an amazing sight: behind it is a room which seemed tailor made for Borrowers, with furniture, fixtures and tableware all small enough for them to properly use, but he firmly states they must never take any of it, otherwise it will reveal their presence. These items were made for the dolls human beans play with, directing her attention to a huge figure sitting in the corner, then leads his child out the door to a balcony which overlooks the massive room, pointing to a carved tissue box placed on a nearby night stand. Carefully pacing across a wall mounted cornice, father and daughter finally arrive at the table and he directs Arrietty to take one corner of the paper as he grabs the opposing side, allowing them gingerly raise it upward and out. However as half of the material is slowly drawn out, it is only then does the girl notice someone has been watching them the whole time – her shadow has been projected through the flimsy film and a human bean, the same boy who saw her in the garden now intently stares at this thief who is frozen with fear and cannot move. Panicked by her exposure, Arrietty does not know what to do, and becomes more shocked when Sho begins to speak to his visitor, telling her not to be afraid, even though her instincts reject the calming voice of something she has been told always means to do her kind mortal harm.
In Summary:
Even though the foundation of The Secret World of Arrietty attempts to communicate the differences between two distinct cultures, one cannot but attempt to comprehend there are still too many similarities which draw the worlds together, even as Arrietty and Sho try to bridge the same gap. It is this burgeoning friendship that forms the charming basis of this story, with ingrained mistrust against human beans versus family stories of secretive people which separates the misbegotten companions. However, the curiosity of children is what propels the audience into this fascinating escapade, at the same time the film proceeds at a plodding pace, being cautious in revealing too much, as is the way of the Borrowers. While this approach may due to the manner by which Miyazaki-sensei chose to adapt the original story or lack of knowledge from fledgling producer Yonebayashi-sensei, whichever is at fault, there are times in which the audience may lose interest, but if they stay with the story, the bittersweet resolution is well worth the investment in time for watching this moving experience.
Features: Exclusive Booklet, Feature-Length Storyboards, Interview with Hiromasa Yonebayashi, Interview with Hayao Miyazaki, Music Video, Original Theatrical Trailers
Content Grade: A
Audio Grade: A
Video Grade: A-
Packaging Grade: A
Menu Grade: A
Extras Grade: A-
Released By: GKIDS
Release Date: November 21, 2017
MSRP: $34.95
Running Time: 94 Minutes
Video Encoding: 1080p High-Definition Widescreen/480i mpeg-1/2 video codec
Aspect Ratio: 1.85:1 Anamorphic Widescreen
Review Equipment: Sharp LC-42LB261U 42” LED HDTV & Microsoft Xbox One S Blu-ray player via HDMI connection