Unlimited Blade Works ending scene

source.

Did Shirou become Archer, despite Rin’s best efforts and the things they’ve been through together? Where was Rin during the after-credits scene?

Don’t worry and stop panicking; they’re both fine.

Apart from his smile at the end, which confirms that Shirou fulfills his lifelong dream to be the hero he’d always wanted to be that Archer fell short of, here’s what Nasu had to say on the matter on his blog:

It’s a scene that you’ll understand if you review it again, but it was easily misunderstood so it’s cut down from the script:

Wasteland scene
“After the ED. Same scene as the initial wasteland.
Shirou walks alone. Exhausted, his feet slow to a halt.
Shirou, lowering his eyes in the face of a sandstorm, notices someone’s footprints (the place where Archer stopped walking).
Shirou takes a breath, and raises his head. His face is one of pretended resolve, but also full of hope.
Shirou resumes walking in that direction, with a firm gait.
The camera stops at Archer’s trail, and the scene ends on Shirou’s back, shrinking in the distance."

(To make this easier to understand, after Shirou leaves, you can also insert Archer watching Shirou that appeared by the footprints… but I think it’d be best if you didn’t)

He’s not wandering around aimlessly, but rather heading towards a distant point.

The scene above is mostly symbolic if Nasu’s script for it is any indication. Though you can take it literally if you want to.

So whether ufotable messed it up or if they were just saving it for the Blu Rays, one thing is clear:  Shirou does not become Archer and in fact surpasses him thanks to Rin, his development in UBW, and the experiences they’ve had together. Shirou does not make a contract with Alaya: seeing what happened to Archer + realizing the flaws behind his ideals will make sure he doesn’t make the same mistakes he did. In the end, Shirou has succeeded in realizing his adopted father’s ideal, and of course, fulfilling his own dream of becoming an “ally of justice”. What a really happy ending!

But what happened to Rin after all that talk about being together with Shirou?

Don’t worry, I’m pretty sure she didn’t leave him after boldly declaring her promise to both him and Archer that she’d make sure to set Shirou’s path straight so he wouldn’t become Archer and suffer a lonely life full of regrets.

Their conversation at the end of episode 25 was basically a marriage vow, where both have declared that they would never leave the other behind no matter what. They’re practically committed to each other now, and would more likely than not be hitched already had they been a little older than they are now (in case you’re wondering, they’re at least only 20 in the epilogue).

Given what they’ve both been through together, it would make absolutely zero sense for them to leave the other behind. So Rin's probably either at home (tending to kids hopefully), at the Clocktower like she mentioned, OR if at least eight years have passed since the epilogue, then she’s most likely at Fuyuki City with Lord El Melloi II (Waver Velvet) dismantling the Holy Grail System while Shirou’s on a mission. In any case, she’s just offscreen.

Come on guys, it’s kinda like marriage: just because both parties vow to be together till death do them part, doesn’t mean they literally have to be together all the frickin’ time. They’re not attached to the hip or something like that.

Anyway, hope this clears up any misunderstandings or confusion regarding the after-credits scene. Also, Rin x Shirou FTW!!

Fate/Stay Night: My thoughts on Shirou Emiya

As I've blogged here, Archer is one of my top favorite characters.  But Shirou - his teenaged self - is not really on my list of favorites.  The question is why.

First of all, let me say that Shirou has many great qualities, such as:  kindness, empathy, honesty, frankness, gentleness and a wish that no one would have to go through hell like he did.  He learns to be independent since a very young age (since Kiritsugu traveled a lot and left him at home) and works to support himself since Kiritsugu died.  He chose a part-time job that is physically demanding so that it would help him build his strength.  He lets other people (Rin, Sakura, Illya...) to stay in his house for free.  Some people might say he is too incompetent to be the main character, but I understand the pain he feels when he does not have the power or ability to help those dearest to him.  His Last Stardust song moves me with these lyrics:  

"Kizutsuku no ga sadame da to shite mo, kokoro wa mada iro wo hanatsu
... Kizudarake no garasu no kokoro ga wasurekaketa netsu wo tomosu" 
[ "Even if getting wounded is my fate, my heart will still release colors
... My wounded heart of glass relights the passion that I had started to forget" ].

On the other hands, Shirou has some attributes that I find not likable: First is his lack of self-preservation. He wishes to save everyone but does not value his own life, which would make it a waste of a life that Kiritsugu had saved. He needs to learn how to like himself. His soft-heartedness can be taken advantaged of by just anyone, which in turn can cause troubles for his loved ones.  He does everything that anyone asks of him, and that makes them dependent on him, or be lazy and feel superior. I don't think that's a desirable way to help someone. He needs to stand up for himself more.

Even assuming that Shirou's life is meaningless to himself, is it right to save someone against their will? For example, Saber wanted to fight. Even from Shirou's selfless perspective, dying for Saber would be a stupid thing to do because she's an immortal Heroic Spirit, and Shirou would lose lots of opportunities to help people in the future. And what for? What irks me is that he cares about people's feelings and wishes but when it comes to being selfless, he ends up behaving in a selfish way. He cares more about his ideal than about what other people want. Luckily, he does change that during the series.

Shirou has a good sense of justice; however, he also needs a healthy dose of realism. The way he stubbornly clings to his ideal even at the point when he did not understand what a "superhero" was supposed to mean shows that he blindly followed Kiritsugu's image as a kid who admired his father. He acts selflessly because he has survivor's guilt, feeling that he should dedicate himself to help people. After Archer points out to him the flaws in translating his ideal into reality, I think it would be wise for Shirou to edit his ideal a little to make it practical. But he refuses to do that, keeps clinging onto an ideal that he himself knows is unachievable. Here is my analysis of his ideal and how it is impossible in reality.

Some people say that "Archer and Shirou are the same person".  I disagree.

Archer and Shirou: NOT the same person

I disagree with anyone who says, "Archer and Shirou are the same person" and view them as the same person.

It's important to note that Archer, while being the same identity as Shirou, isn't the same person.

None of us is the same person we were ~20 years ago.

Archer and Shirou had the same starting point but their paths diverge. Shirou in UBW is very unlikely to become Archer.  He has been gaining experiences that Archer did not - thanks to the people he got to interact with and the character growth he had - and vice versa: Archer is a Shirou that's evolved over years of experiences and trauma. Their personalities are so different now that they should not be considered "the same person" anymore.

The 17-year-old Shirou is in love with Rin and probably will for all his life. Archer, however, is not and will not. Likewise, Rin is not in love with Archer because he is not "her Archer".

There's a reason that the law would not hold you accountable for a crime that was committed while you were having a mental illness or dementia.
There's a reason that the law would not hold you accountable for a crime that you committed a number of years ago.

IF your grandfather, in his 90s and suffering from dementia, pointed at a picture on the wall of himself as a six-year-old, he would say, “That’s me!”  He was right. But those two people had nothing in common. Physically, they were vastly different - almost every cell in the six-year-old’s body died decades ago. As far as their personalities - we can agree that they wouldn’t have been friends. And they shared almost no common brain data at all.

But remember - it’s not only about similarity but also about continuity.  As an old man, he knows about himself as an 89-year-old, and that 89-year-old knows a bunch about himself as an 85-year-old, and so on. Therefore, Archer and Shirou are not the same person because Archer - despite being older - does not have access to Shirou's 25-year-old self and so on. And the 80-year-old Shirou does not know about the years that Archer has spent as a Counter Guardian, either.

What most defines us as a person is memories which are shaped by our experiences. We use the word "I" to refer to our history, our past that we have access to. We have memories that link us to who we were in the past, but even our interpretation of those memories change as we change, without even realizing it. Even if for some reason, you lost all of your memories, your body would still have the same DNA that your younger self did. However, you would not be "the same person", the same "I" anymore because you would no longer have access to your past memories.

If you somehow could transfer all your brain data into a computer, then that computer IS you - even if your body died.

My favorite Ghibli male: Haku

Haku (Nigihayami Kohaku Nushi) in Spirited Away is easily my favorite Ghibli character.

Although Haku appears 12-year-old, his mental age is far beyond that - demonstrated by his behaviors, confidence and his real identity being a god (he’s probably as old as the river).  His thoughts are wise, and actions decisive.  Although he forgot his real name and therefore lost his identity, he retained his good side that was aware of the status quo of the world he was trapped in.  Because of his understanding of that world, he tried to save Chihiro from being consumed by it.

The moment that Haku proved himself a trustworthy character is the emotion in his eyes when Chihiro was reaching to touch his hand:  He showed a genuine relief when he’s gained her trust.  Haku appeared at Chihiro’s side at the time when she desperately needed someone.  He guided Chihiro on the right path, but didn’t hold her hand too much as to make her completely dependent on him.  When he has chosen to protect someone, he goes to great lengths to do so, even at the expense of his life (remember the scene when Yubaba said she would take his life in exchange for Chihiro’s safe return).

I always find the scene in which Haku and Chihiro were falling through the darkness into the bottomless pit spine-tingling.  For the fact that they were so close to both killing themselves at that very second, but Haku surprisingly managed to take every ounce of his inner being to stay awake and save them both from a horrible fate. 

Haku is like a calm river that breathes life into things.  Objectively, he is a better guardian to Chihiro than her parents seem to be at the beginning of the film.  At the end, even at the time of parting, Haku also gives Chihiro hope and peace of mind by reassuring her that they will meet again.

Miyazaki said that due to an attempt to keep the film’s duration to 2 hours and the fast-approaching deadline, he had to cut a lot of scenes, therefore Haku was “greatly simplified” in the film we see.  This makes me curious about what other dimensions of him that Miyazaki had in mind.  We don’t really get to know Haku as well as Howl and Ashitaka.

But, I am pleased with what I see.

When you were in the most trying period of your life and alone, frustrated and lost and the world you knew fell apart, wouldn’t it be reassuring to have someone there who put his arms around your shoulders, consoled you and told you, “It’ll be all right, I’m here”?

Itsumo nando demo

Stories that have become timeless

Let's make a list!  Manga, anime, movies... that don't fade in the stream of time.  It means that many many years have passed and the people who have read/watched these stories have never lost the enthusiasm for them.  I believe these stories will live on across generations as well. 

• Doraemon (manga)
• Spirited Away (anime)
• Journey To the West (1986 TV show)
• Dragon Ball (anime, manga)
• JoJo's Bizarre Adventure (anime)
• Rurouni Kenshin (manga)
• Fate franchise (anime, games, visual novel)
• 
  
• 
  

To be updated...

My thoughts on Doraemon anime movies

Doraemon anime movies are based on the manga long stories (daichohen).

Pros:
Overall the animation is fantastic due to high budgets and the series popularity. The artwork is fantastic as well.

Cons:
It would be so much better if the anime movies followed the manga closely. For example, most battles in the daichohen are greatly abridged in the anime. I want the battles to be exactly like that in the manga which exposes the scale and extent of wars and the wonder of Doraemon's gadgets in dealing with them.
Another thing I wish the anime DIDN'T do is to alter or add unnecessary, sometimes ridiculous, details into otherwise near-perfect stories. For example, the "Nobita and the Steel Troops" anime added the appearance of Pipo, which is really annoying and unnecessary.
When the anime does follow the manga closely - like "Nobita and the Great Demon/ Peko and the Battle of Five" - it becomes so much better! I didn't like this daichohen manga much, but I like it much more now when it's animated faithfully to the manga.

Howl's Moving Castle: Sophie

Sophie in Howl’s Moving Castle maintains a positive attitude and optimism in the face of adversities, even when she was turned into an old woman!  She’s straightforward in her thinking and actions.  Another thing that I like about her is that she was nice, but NOT the kind of “angelic niceness” that helps everyone at the expense of herself.  Remember when she refused to help the Witch of the Waste walk up the stairs?  She's a human, not an angel.  Thus, she feels ‘real’.

Sophie's curse reflects her inner emotional state: at the beginning, she is young but her soul is old because she sees herself as an old woman, eg, has no hope that anything good will happen for her, has no dream or aspiration, etc. This is why she told herself, "Your clothes finally suit you" when she became an old woman. Note that her first shift in attitude came when she had her table-smashing outburst - something that "old", repressed Sophie would never do. Her grey hair at the end of the movie indicates that the curse is still present but it doesn't hold any power over her, unless she lets it. The curse goes away when her attitude changes. Whenever she feels young, passionate or self-confident, the spell breaks. That's why she becomes young again when she's asleep, feels loved and when she loses herself in the beauty of nature... The whole point of her character is self-acceptance and inspiring the same thing in others. When she gets cursed, her appearance changes but she’s still a person that is old at heart. But although she ends up being just a housekeeper for Howl, she gains confidence because she is loved by Howl and his companions. They value her. So she starts to value herself.

But there is one thing that drops her from my list of "favorite female characters":  When the Witch of the Waste caught fire because she grabbed Calcifer, Sophie poured water on her to save her.  Calcifer had explicitly told her multiple times that his life and Howl’s life were connected in a way that if one of them died, the other would die, too.  Given that information, she should have done everything in her power to keep Calcifer alive.  After all, Howl and Calcifer were so kind to Sophie.  The Witch had never done a single nice thing for them. Instead, she had repeatedly sabotaged them despite their kindness to her. ALSO, when the Witch grabbed Calcifer, her hands weren't getting burned at all (Sophie got burned when she touched the fire, but the Witch didn't)....  So why the hell did Sophie feel the need to dump water on Calcifer?!!  In that moment, Sophie gave up both Howl’s and Calcifer’s lives for the witch's life… She realized a few minutes later that she messed up and cried.  Yes, I understand how movies always try to preach “always be nice to people no matter what”; however, "always helping others at great costs to yourself" is not a motto I would live by.  Sophie would gain more respect from me if she could prioritize and think more rationally in stressful situations.  It was by pure luck that Howl and Calcifer survived that catastrophe.  If it wasn't, it would be the biggest mistake which she would live to regret.

Spirited Away: Not really just for kids

Spirited Away is one of the most beautiful anime movies I have ever watched.

It seems that people tend to think that cartoons should be made simple enough so that children understand them immediately -- not the kind of deep, abstract, meaningful and sometimes confusing as Ghibli films are made to be -- which is why, contrary to the belief that Miyazaki films are "for kids", I believe they are especially meaningful to adults, who are able to pick subtle cues up.  They have way more depth than Disney movies and way more craziness for the children.

You can watch Spirited Away at any point in your life and still find a lot to think about in it.  Its messages come so gently and naturally.  Enjoyment aside, Spirited Away has massive themes involved.  It's a fictional representation of one's passage into adulthood, and each encounter that Chihiro faces is representative of a person's inner conflicts between the nostalgia of childhood and the hardships and responsibilities an adult must face.  As a kid, the only thing that would appeal to me in that film is the train scene and the spirit world.  The messages are so subtle that little kids think the movie does not live up to its reputation.

It's not exactly for kids.

Spirited Away squeezes many messages into a 2-hour movie.  The outstanding soundtracks that play throughout the movie.  The memorable train scene.  But atmosphere and animation are not things that many children appreciate.  And the English dub oversimplifies things.

Spirited Away is something that sort of passed me by the first time I watched it, but really sticks with me upon 2nd watch.  I understand the story more upon a rewatch.
First time watching:  I found the characters extremely interesting and the imaginations beautiful.  I was fascinated by the spirit world and wished that our theme parks could be like it.  But many of its messages were lost on me.

Second time watching:  Now that I had already watched it once before, I knew what to look for and all the 'hidden' messages came hitting me in the face.  I experienced this film on a more emotional level and I also understood the characters more deeply upon 2nd watch.  A great thing about S.A. is that every time I rewatch it, I find something new, depending on where I am in my life.  Now that this film will stay with me forever.

Things that passed me by on the first watch:

- The contrast between the working class (Yubaba’s slaves) and the elite (the ghosts who visit the Bathhouse).

- It is said that the river is still flowing under the residences.  That's why Haku couldn't find his way home.  Where he originally met her, he exists as a subterranean river.

- At the beginning, we are shown that Chihiro’s parents are somewhat careless toward her and things they do.  Haku represents a proper guardian to Chihiro - one who is caring and helping her overcome her fears.

- Haku is willing to give his life so Chihiro and her parents can return to the human world.

- Since Haku has remembered his name, he is free from Yubaba (If he hadn’t remembered his name, he might have been “torn into pieces” by her).  Not only that, he can return to “the real world” as he says when he’s parting Chihiro.

It is a story about personal growth.  In a world without family or familiarity, Chihiro learns how to survive, live, interact and make meaningful connections with others.

Spirited Away has a level of creativity and imagination you don't see very often anymore, especially if you watch it not knowing what to expect.  It's a great story, wonderfully animated, and it's also an experience or even an adventure for some.  To me, it doesn't feel like I'm just watching a movie, more like being in a dream, and you're drawn in by a character with a plight everyone of all ages can relate to: being lost in a strange place.  I think it's very down to earth.  The way it mixes unbelievable creatures with the mundane is masterful.

Another interesting thing about Spirited Away is that there’s no real division between good or evil, which is interesting considering most Western animation always has a very clear line between who’s good and who’s evil, and there’s usually a very clear hero and villain present.  What makes Spirited Away so good is that each of the characters has good and bad qualities, and each of the characters really show both sides, which is very much like the real world.  Everyone has their better and worse sides, and they come out in different situations.  That there’s no real villain in the film that’s through and through bad like you usually would see in Western animations.

The design, look and feel of this film once again speak of Miyazaki’s brilliance.  He managed to create a unique and really beautiful world that just makes you want to be part of it.  After seeing this film, I just wanted to explore this world myself which is actually a very rare feeling.  He created an authentic world inhabited by a group of unique and intriguing characters that have all become iconic.  Each one is like nothing you’ve seen before, and each and every one of them is masterfully brought to life by the film’s amazing animators.

Spirited Away truly is a timeless classic.  Many people have described the film as a classic fairy tale, and I think it definitely lives up to that standard.  It’s an amazing story with complex characters, a wondrous world, and beautiful visuals!

Spirited Away: The Working Class

Part 2:  The Working Class

The sootballs that many of us think are "cute" are the first representation of the working class: They are small, made of dust, heavily exploited when they have to carry oversized charcoal grates and face danger near the charcoal furnace, but the sootballs still work their asses off only to get some candy in exchange.  And when they think that their jobs are taken over by Chihiro, they are also ready to fight with her.  

The second representations of the working class are Kamaji and Lin, who are also exploited as much the sootballs are.  At first, we thought that they were a bit distant and not wanting to be troubled but behind their frankness is an enthusiasm for helping Chihiro in a place where most people just know how to exploit one another.  Unlike the sootballs, Kamaji and Lin both yearn for freedom and a return to their home worlds.  Kamaji has prepared the train ticket for 40 years.  Lin works hard to earn gold for the day to be redeemed ... but both lack determination and courage.  And no one other than Chihiro has proved to them that courage will help achieve what they want.  Perhaps because they realize Chihiro’s courage, they take care of her wholeheartedly while she is in the spirit world.  This is a symbol of the goodness in the working class.

The workers also have bad side, that is, the bathroom staff are not united against the common authority figure Yubaba, but attacking their allies themselves.  Only when seeing Haku and Chihiro fighting for freedom together do they really become enlightened and support her escape from slavery.  The scene at the end of the movie is an open ending for the staff, who will soon unite to get rid of their curse as Chihiro and Haku did.

The last metaphor is Zenniba's quiet place where she lives in harmony with nature, is self-reliant and does not exploit anyone.  She is happy with her work and enjoying her leisured life but is still rich.  Her house might give you an impression that Zenniba is poor, until you see her hand glittering with many jewels...  That is Miyazaki's dream for the working class.

That peaceful place is so far away!  The distance from the Bathhouse - the metaphor for life's flimsy reality - to the Swamp Bottom is an immense gap ...  But Miyazaki showed us that hope is alive:  He enabled Chihiro, Haku, Boh and NoFace to set foot there.  This represents the hope of the young generation who will escape the Bathhouse and create a Swamp Bottom utopia.  That hope has been around since the 1960s, the last century!

So the third meaning that we see from the movie is the multi-dimensional view of the working class: hardworking, united, jealous...  Even though they might not be the ones who will create revolutions but they still keep the fighting spirit of a continuous struggle.  And then… underneath it all is the hope that is placed in the younger generation!

Spirited Away: Lost in translation (English dub loss of meanings)

Out of curiosity, I watched the English dub of Spirited Away because this anime movie is my favorite.  I was half-surprised and half-disappointed that the Eng dub is NOT as good as the Japanese dub (especially Haku's voice sounds like a 30-year-old and doesn't fit the character at all, and Chihiro's voice is annoying as hell); it also changes several important details.  I think the problem was that they tried to turn this into a kid's movie, and that the West in general has very high censorship when it comes to those.

The following essay excellently points out the important changes [ I also added my viewpoints in blue ] :

"No cuts," Hayao Miyazaki’s producer at Studio Ghibli famously told Disney’s Harvey Weinstein using a note attached to an authentic Japanese katana; he did this when Disney attained the distribution rights for Miyazaki’s earlier film Princess Mononoke, and Weinstein demanded to make several edits to no avail.  By the time Studio Ghibli’s 2001 film Spirited Away came into Disney’s proverbial hands, everyone knew the rules.

Fittingly enough, for a film as focused on identity as Spirited Away is, a great deal of the identity and characterisation of the film changes from the original Japanese audio track to the later recorded English dub.  Whether in names, subtleties of language, or major differences of motivation – especially in the case of the titular Chihiro herself – the different language tracks end up showing just how open Miyazaki’s visuals really are to interpretation, and how audiences might wish to learn to appreciate that versatility by looking at all sides of these interpretations.

Most obviously out of all the changes, the North American release’s title, Spirited Away, shortens the longer and perhaps slightly more unwieldy Japanese title of Sen to Chihiro no Kamikakushi.  Along with being more specific to the plot of the film by adding character names, the word "kamikakushi" means "being hidden away by the gods".  (IMO, I prefer "Spirited Away" to the long Japanese title). 

While interesting enough that a single character has both her names in the movie title, the second reading makes a further suggestion of not just having two names, but of replacing her real name and not just forgetting it.  The whole issue of losing or forgetting one’s name in turn ends up being a focal plot point of Spirited Away, being the way Yubaba asserts her control over her employees. The English dub lost this theme by having Haku call Chihiro "Sen" while in the Japanese version, Haku always calls Chihiro by her real name. 

While on the subject of names, Chihiro’s change to Sen shows another moment of language play.  "Sen" in Japanese means "one thousand" and makes the whole scene of Yubaba contracting Sen to work both clever and perhaps even a little conventional; the protagonist has her individual literally name exchanged with a number. Names like Chihiro or Sen lend quick hints as to the nature of the characters they describe.  Yubaba’s name comes from a combination of "bath" and "old woman"; other characters like Zeniba ("money" and "old woman") or Kamaji ("boiler" and "old man") share in similar punning. While a viewer without foreknowledge of these very minor points could watch the film without any repercussions, a young Japanese child watching would have that much more to latch onto and understand about the characters.

As a character, Haku portrays many of the subtle translation nuances that occur with the English and Japanese tracks of the film.  "Haku" literally means "white" which connects to both his clothing and his colouring as a dragon.  The English dub abridges the substance of his full, true name, giving it as “Kohaku River.”  The original Japanese elaborates more on the issue, in which Haku remembers his full name as Nigihayami Kohaku Nushi.  His name sounds extravagant and impressive and, when considering he needs to repeat it to the barely-grasping Chihiro (she goes on to remark, "What a name! Sounds like a god!") – Miyazaki clearly meant for that.

Going further with his status as a kami (something that loses emphasis when he refers to himself as a "river" in the English), Haku portrays himself in a manner befitting his godly name.  For one, he dresses in traditional shrine clothing; for another, he speaks in a formal tone with formal vocabulary which is especially noticeable in his use of pronouns.  Thus, Haku’s use of "watashi" to refer to himself basically belies his appearance as a young boy whom one would expect to perhaps say "boku" instead.  And when he addresses Chihiro, he uses the ancient noble aristocratic term "sonata".

When the polluted river (the stinky spirit) is cleansed, its mask-like visage says to Chihiro through the clear waters, "It feels good."  That is, it has returned to its natural powerful freshness that characterizes all phenomena.  In the English version, the kami of the river says, "Well done," making it a compliment regarding Chihiro's good deed, not an affirmation of the river's natural state of purity so necessary to promote life.

Furthermore, Japanese honorifics that come after names lead to further translation anxieties, and the English translators chose to dub "Haku-sama" as "Master Haku".  Honorifics in themselves are not titles, and “master” perhaps sounds a little more weighty in tone than it should – the workers at the bathhouse give him a great deal of respect and reverence (and he expects as much for the most part), but he does not exactly demonstrate mastership over Yubaba’s other employees.  It keeps the English elegant while not in any way being a complete or direct translation, and it would not be surprising to believe that English scriptwriters had to contend with such issues constantly.

Spirited Away contains other language and cultural nuances that do not translate into the North American release, either in the English dubbing or the English subtitles.  Some, like the part where Kamaji performs the "engacho kitta", come from casual Japanese playground superstition; though the English script says "evil be gone", the whole action of chopping between the hands - as explained in the DVD special features - holds about as much spiritual cleansing strength as a North American child "passing cooties" by tagging another.

Others, like the relationship between the twin sisters Yubaba and Zeniba, come from the aforementioned idea of different words for older siblings and younger siblings. Despite being twins of basically the same age, Zeniba refers to her sister as "imouto" (for "younger sister") while Chihiro tells Kamaji how Haku had taken the seal from Yubaba’s "oneesan" (for "elder sister").  Despite their being twins, the distinction still makes for certain formalities between the two.  Nevertheless, Yubaba clearly holds resentment or jealousy towards her older sister, stealing from her and basically exploding when learning that her son is with Zeniba later in the film.  Yubaba’s rivalry becomes even more interesting when considering that she owns the grand, prosperous bathhouse while Zeniba lives in a cottage in the middle of "Swamp Bottom" – Yubaba wants what her sister has regardless of how much she has herself. Again, not catching any of these details does not hinder any enjoyment of Spirited Away as a whole, but as details they still enhance the understanding of the film, its characters and their motivations.

Not all discrepancies between the English and Japanese language tracks are quite so trivial, though.  In fact, much of Sen or Chihiro’s motivation changes quite dramatically with what she says and what others say about her. Early in the film, after Haku first brings Chihiro to see her parents in the pig sty, Chihiro rediscovers the farewell card she had received from her friend and remembers her real name.  In English, Chihiro says "I can’t believe I forgot my name!"  In the Japanese, however, she says, "I’d nearly turned into Sen!"  This distinction ties directly with the above-mentioned title ambiguity of Sen to Chihiro no Kamikakushi, where the idea of replacement works in tandem with that of forgetting.

More poignantly, though, is how Chihiro’s character in her Japanese comes off as more engaged and even assertive with the spirit world.  Much like the earlier name-forgetting and replacement, Chihiro’s lines differ in the two language tracks at several points throughout the film, but the best example comes from her confrontations with Kaonashi, or NoFace.  When NoFace offers the pile of gold to Chihiro in the hallway, her English line, "I don’t want any, but thanks" contrasts starkly with the abrupt Japanese of "I don’t want any... I don’t need any."  Later, when Chihiro faces off against the bloated and grotesque NoFace who continues to ask her what she wants, she replies (in both language tracks), “you should go back to where you came from.”  Her following line marks the change:  she says "Yubaba doesn’t want you in the bathhouse any longer" in English – thus placing her as but a means for Yubaba’s end – while in Japanese she states, "you can’t help me with what I want."  In these two moments, Chihiro displays a strong understanding of herself and her true needs, furthering her development as a character.

Another very different take on the characters and their understanding of each other comes with the subject of Haku as a dragon.  The English dub presents a simpler take on the whole subject, with Chihiro acknowledging upon first sight, "Haku... he’s a dragon?"  The dub continues to briskly make points clear upon Haku’s return under assault, and Chihiro’s big shock comes from realising that Haku is hurt.  In the Japanese, Chihiro sees Haku’s return and comments, "It’s the dragon from before," without making a direct connection to Haku.  Then, while witnessing the paper onslaught, she spontaneously shouts out, "Haku, hang on, come here!" – this time her shock comes from her sudden understanding of the dragon’s identity (In my interpretation, Chihiro makes the connection between "haku" meaning "white" and the dragon being white).  With that single moment, the "Japanese Chihiro" floods herself with subconscious questions:  "Why is Haku a dragon?", "Why do I know that Haku is a dragon?"  Indeed, Chihiro does not even confirm her feelings until after Haku finally reverts to his "human" form, saying something to the degree of, "so it was Haku after all."  Though hesitant with her thoughts, her sudden realisation furthers the connection between Chihiro and Haku that Haku establishes prior – "I’ve known you since you were small," he says shortly after their first meeting in the film.

Their connection re-establishes itself in a later scene mirroring Chihiro’s subconscious epiphany, when Haku awakens after recovering from the cursed seal:  "Grandpa, where’s Sen?" he asks Kamaji quickly (and curiously informally for this moment). Directly afterwards in his recollection, though, he says, "Chihiro kept calling my name in the darkness..."  Kamaji sees Haku’s calling Chihiro by her real name as the most significant detail, and reasserts the intimacy between the two younger characters.  The English script, meanwhile, has Haku continue to refer to Chihiro as "Sen" in his reminiscence – for this, Kamaji has nothing to elaborate upon, and instead narrates exposition until the next scene.  These sorts of moments in the Japanese script really make apparent the deep, spiritual closeness Chihiro and Haku have for each other.  That "power of love" may be there in any language version of Spirited Away, but the Japanese track definitely refines it to a degree.

Spirited Away: A Golden Point of View

SOME ASPECTS OF SOCIETY
Part 1:  A Golden Point of View

“Golden” here is not an alluding metaphor.  It literally refers to money.  The beginning of Chihiro's troubles is due to money.  The shadow of money has covered the whole movie.

The first instance is when the Ogino family stray to the spirit land:  Chihiro’s parents think that this is an entertainment area where very few people visit, so when they see the food, they have no hesitation to partake because they think that the owner will always be stoked to have customers.  Moreover, when the father says that he brought cash and credit card, he implies to his daughter that "everything can be bought with money". Right from the beginning of the film, Miyazaki shows us how society is dominated by money.  Just with money in their hands, people feel that they can do anything and in fact they can do anything, including ignoring basic decorum…

The second instance is Yubaba’s curse:  She always has to accept everyone who asks for a job.  It sounds like trouble but no, look at the way Yubaba exploits the workers:  She does not pay them; she only gives them food and a place to stay, sometimes throws them a party when there’s a big catch.  Therefore, when the opportunity comes (when NoFace comes), the Bathhouse staff rush to get money like crazy with the desire to free themselves from indentured servitude.  (As Rin tells Chihiro, she hopes to earn enough money to get out of that place one day).  Yubaba exploits the staff to the bone and keeps the money to herself.  Thus, near the end of the film, Yubaba tries to prevent Chihiro from returning to the human world because - besides the reason that the spirit world wants to keep its secrets - she knows that if one person escapes her clutches, everyone else will follow.  If there is no one to exploit anymore, she will be poor.

Next is the image of "dirty money", when the White River Spirit comes to the Bathhouse and gives Sen a gold bar 'wrapped' in a pile of mud.  It can be inferred that the cycle of money, initially "clean" by doing the right thing, but then through many hands, it will soon become "dirty" by the means of shady business.  And the River Spirit - an apparent symbol of Nature/environment - has been muddy, filled with dirty filth of human waste - became stinking, disgusting.  Another symbol is the mud that NoFace has turned into gold, which can be inferred that material money is ultimately a mere useless mud, but the real “golden” value is always in the heart of every sentient being.  That is why Yubaba is so mad at losing her child, not because of the damage that Chihiro and NoFace caused, simply because motherhood is her most precious treasure!

Aoimirai - Sen to Chihiro no Kamikakushi (Spirited Away) explained

Source

These interpretations make perfect sense, which I agree with, too.

For ease of reading, we composed this in a bullet point article that follows the timeline of the movie. Please notice that pretty much every official translation (either English dub or sub) get a lot of things wrong, so if you want to see a better subtitling, it is highly recommended to watch from a Fansub version.

1. The small shrines in the road they take “as a shortcut” are little Shinto Shrines for nature and supernatural spirits. It hints that the road ahead is one of intense spiritual power.

2. Chihiro, still saddened by losing her old friends and school (and from the 5 stages of grief, leaving denial into anger as she is bothered that her first bouquet is one of goodbye), is careful about her surroundings:  Children are more perceptive to the supernatural than adults.

3. While her parents perceive the large red entrance as the old entrance to a now-abandoned theme park, Chihiro feels otherwise, specially by the moss covered spiritual symbols, which show no human presence been there for a long time.  The door also inhale the air despite the bland weather, showing a flow from other realm. After getting past it, Chihiro mentions the wind "sounds like a cry".

4. Chihiro is scared by the multiple hints her intuition give about the place, while her parents are embroiled in the wonder and smells of their senses.

5. The river they cross to get to the stores represent the division between real world and spiritual world.  Rivers are standard divisions on most oriental folk tales.

6. Her parents, "with knowledge", believe they are ok starting to eat on the banquet around them, as they have "cards and money", while Chihiro denies, intuitively realizing this is not a place where their card or money have actual value. Also, note how her parents are extra gluttons now (an effect of non-pure spirits in this realm. Chihiro, as a child, is unaffected)

7. Walking around, Chihiro stumbles upon the Bathhouse, the center of the local spiritual presence. A humanoid spirit - Haku - sees her and immediately realizes she is a human: Humans cannot exist in the spiritual world and would be "eaten" by the spirits for their strength and power. He urges her to flee. Note: there is speculation that the Bathhouse also represents a brothel, but this is only because of the appearance of the building with a real historical brothel, and Yubaba nearly dictatorial work schedule. The meaning of work and self worth, while a critique to capitalism and current society, remains the same.

8. As the night sets, Chihiro is now entirely in the spiritual world. In it, her parents are turned into pigs, representing their gluttony. They are now completely irrational and driven by their instincts. Chihiro, in despair, tries to leave, only to find that the river has now raised and blocked her way out of the spiritual world.

9. The river, the border of spiritual and human world, is overflowing with life force. Spirits from all parts come to visit the Bathhouse and stores by the river. One can see multiple deities or representations in this sequence.

10. Despair sets in and Chihiro cries. Humans cannot exist in this realm, and she is disappearing. Haku finds her, and she can no longer touch him. Realizing she is disappearing, he gives her something from the spiritual world to eat. That makes her now part of the spiritual world, and she recovers her presence of spirit (literally).

11. Fear still binds her to the ground, and they don't have time to lose, so Haku uses magic to unbind her from the grass, giving her strength.

12. Haku tries to get Chihiro to the safety of the Bathhouse by making a spell that renders her human presence unknown. Breathing (symbolism for life) would reveal her despite the spell.

13. NoFace appears for the first time. NoFace is just like his name implies. He is a pure spirit with no will or desires, and such, absorbs anything. However, he takes notice of Chihiro for her humanity, purity and will, something different from what he is used in that realm. He is also forbidden of getting into the Bathhouse (as he would absorb the strong energy ~mostly negative~ and become uncontrollable ... as we eventually see happening)

14. Haku explains that to live and eventually save her parents, Chihiro must remain hidden from the spirits, or work for the Bathhouse owner (and thus be protected under her contract), Yubaba, an entity with many meanings, but mostly an insidious witch, owner of everything around and usurper of power and money. A basic capitalist figure, she cannot refuse those who ask for work, so, Haku argues, she will trick Chihiro in trying to leave rather than work (if she doesn't work, Yubaba will rather just turn her into pig or whatever).

15. Haku knows Chihiro's name from the "past", which also explains why he is so keen to help her ... what past is only revealed later.

16. Sootballs work for Kamaji, because everyone in this world must work (or be useful), even soot.

17. Kamaji convinces Lin to take Chihiro to Yubaba, as Kamaji can't have her working there. Lin is scared because the presence of a human is already know and she doesn't want to be caught protecting her.

18. The big spirit who eventually helps Lin and Chihiro in the elevator is clearly a Radish Deity Spirit.

19. As expected, Yubaba tries to dissuade Chihiro from working, and tries to scare her into acceptance.

20. "Baby" represents the huge importance of a child, making even the most powerful of witches answer for his whim. Busy with "Baby", Yubaba have no option but to hurry and rush a contract.

21. By signing the contract, Yubaba "steals" her name, Chihiro is now owned by Yubaba, represented by loosing her name. For a new name, Yubaba steals 3 Kanji from her name, leaving only the one for Sen. Chihiro is bound to Yubaba until she allows, or Sen can remember her name (representing she is set free).

22. Chihiro thinks there are two Haku because he treats her coldly, not recognizing he is just pretending (Yubaba would be furious if he knew her).

23. Yubaba flies in the dawn to the horizon. It hints us that despite her differences, she still visits family (Zeniba) as if in neutral ground, though she uses this time probably to also spy on her.

24. Having helped the Sootball the previous night, showing kindness to those who are nothing but "dust", they are immediately friendly towards her and keep her shoes (the night before, also protect her from the nasty works of Kamaji). Her sincerity and kindness will be the main drive into making others help her in this world filled with greed. Again, an analogy to our own world.

25. NoFace is still at the bridge, as he has no deal with the Bathhouse (alas, with no one). He keeps getting more interested in Chihiro, which is as foreign as he is.

26. When talking to her parents (pigs), Chihiro is already in full submission as Sen, but Haku gives her clothes back and she reads her name from a card, remembering it. Finally, Haku explains the secret behind "stealing the names", which represent one’s identity.

27. After a long time fighting in her situation, once Haku offers her kindness from a pan, she breaks up in tears for the first time:  It is ok to cry, you need to let it out in order to keep strong.

28. Chihiro lets NoFace in unaware she shouldn't. Without his own will or thoughts, he just gets in and further develops an attachment for Chihiro, but also starts absorbing the ill energies from the place.

29. Yubaba realizes the rain might not be a coincidence, and related to some strong guest (which we eventually learn to be true, it is a river god - thus the rain)

30. Being attracted to Chihiro, NoFace helps her when she needs tags for the herbal bath (to clean the main tub). He further keeps stalking her, unaware that his "empty shell" of sorts is absorbing the ill energy of greedy spirits of the bathhouse.

31. Yubaba also realizes they have an intruder (NoFace), but can’t pinpoint it.

32. While a bathhouse, they still try to stop the huge stinky spirit to avoid losses, after all, Yubaba is all about greed and power. As he approaches, she realizes there is some power underneath all the filth and decides to allow him to approach.

33. Still trying to get Chihiro to quit, she orders her to handle the stinky spirit (before, it is mentioned that from “orders from above” Chihiro is to clean the main (filthiest) tub).

34. Black transparent goo usually represent bad vibrations or simply negative energy. You can see how the stinky spirit is covered with mud and bad vibrations which can even corrupt Lin's breakfast.

35. After entering the bath, the stinky spirit looks at himself realizing he is still not clean, so he asks for Chihiro. Meanwhile, Yubaba is enjoying seeing Chihiro suffer.

36. The stinky spirit takes Chihiro closer, and she realizes he has further dirt that not even the hot bath can clear. As Yubaba hears Chihiro mentioning a "thorn", she realizes the stinky spirit is filled with dirt and, thus, is probably a powerful entity (only a powerful entity can get equally powerfully stinky), so she decides to help Chihiro and enlists the help of everyone in the bathhouse.

37. As everyone pulls the bicycle out, the whole filthiness is released, revealing the River God’s true form. Needless to say, this represents how humans pollute nature.

38. The river God awards Chihiro with a dumpling. It represents the most pure form of health, purity and energy (though Chihiro perceives it as not tasty - she doesn't need it!)

39. As the greedy employees try to find more gold. NoFace, with his strong influence, can show people what they want (even though it is fake). The greed ends up getting the best of him and he starts consuming everyone in a reflex of others consuming gold. As he eats others, he gets their personality and abilities, including the ability to talk. NOTE: in this spirit realm, everyone are spirit essences, so "eating" one another equals consuming one’s energy. You can conversely release the energy back into the original creatures.

40. Chihiro dreams of trying to give her parents the dumpling. Deep in her mind, she knows the cleansing power of the dumpling.

41. The bathhouse is in full work to serve the "rich customer" ... NoFace, getting more and more powerful, while still mirroring everyone's greed. Since Yubaba is asleep, only Chihiro is suspicious of the new customer.

42. Paper birds (an usual witch familiar) attack a Dragon, which Chihiro calls Haku - as she can see other's true form (that is actually a direct answer to her question "what if I can't recognize my parents?". She can, for they are NOT pigs)

43. NoFace is curious how Chihiro is the only one not interested in gold, which makes him unstable for she is the reason he is there. As such, he goes berserk.

44. One paper bird sticks to Chihiro as a spy for whoever sent them (Zeniba). As Chihiro searches Haku, she sees that Yubaba is not asleep, but was away.

45. Curious to the human intention, the paper bird (or rather Zeniba, who controls it) helps her.

46. Yubaba is now aware that NoFace is present and wrecking havoc, yet ...

47. … she put Baby to sleep before. The greedy powerful witch Yubaba is still a slave to her baby.

48. According to Yubaba's sister (Zeniba), Haku stole a seal. Seals are almost as important as names since they are used as signatures in Japan. They believe the seal had strong protective magic, which is killing Haku.

49. Upon holding Haku's horns, Chihiro sees herself in a river. Eventually we will learn why. The connection they share allows Haku to regain consciousness and flee for Kamaji.

50. Chihiro knows the green dumpling is powerful and gives part of it to Haku, which works to purify him and expel the spell.

51. Chihiro squashes the spell, which in this realm can take visible form. EVERY form of spiritual energy can take form in the spirit world.

52. Since Chihiro squashed the spell, she is now poisoned by it unless she breaks the spell immediately. The gestures they perform cutting the representation of the spell in half is a common folktale about preventing spells to take root.

53. Chihiro wants to return the seal to Zeniba to prevent her anger over Haku. Her integrity and sincerity brings everyone to help her, even spoiled Bo (Baby)

54. As much power Yubaba have, she can't either dispel NoFace (because he is a pure empty shell), nor recognize that the rat is her baby (because deep down she cares more about gold than Baby, she is a witch after all).

55. Again, Chihiro uses the dumpling by offering it to NoFace, somehow aware its purifying powers will cleanse him of all greed. It works immediately making NoFace start losing corruption (black goo) and the spirits he ate.

56. Despite all trouble, Chihiro still calls NoFace to make him get away from the bathhouse. As he vomits the last spirit (which was the first he ate), he loses the ability to talk.

57. Although it was shown before with images from the stores, the other passengers in the train are just shadows. The train represents our lives and how every other person are just "passengers", we might not even remember their faces or characteristics, only a shadow in our memory.

58. The whole train trip is rife with analogies about our life. Passengers coming and going, the vast "sea" that is the real world, random images and lights passing by. Also, notice how Kamiji mentioned this train is 'one-way only'

59. During the trip, we see a strong-willed Chihiro. From all the hardships, she grew and learned fast.

60. Haku mentions that Yubaba was played, the first thing that comes to her mind is the gold (not Baby). As she tries to close Baby's mouth because he is eating loudly, her spell breaks Zeniba spell and the three heads return. Only then NoFace lack of power finally catches up and the gold turns back to what it really was: mud.

61. Yubaba calls Zeniba an evil witch. Zeniba calls Yubaba an evil witch. It goes to show that we are usually hostile with those we don't understand. For one, others are evil if they don't agree, but in the end, it is all about different point of views.

62. Zeniba explains to Chihiro that the spell she squashed was actually Yubaba's control over Haku. That explains why he challenged Yubaba earlier telling he will return Baby if she returns Chihiro and her parents to the human world.

63. In the cozy home of Zeniba, NoFace doesn't turn into a greedy creature, but rather a helpful one, showing both how he absorbs the environment energies, and that Zeniba is, indeed, Yubaba's opposite.

64. Zeniba gives a hair band to Chihiro. This will be extremely important in the end of the movie because it is proof everything was not a dream. Zeniba also mentions the hair band will protect her because it was made from the thread they (friends who care about her) spun:  They all care for Chihiro, and therefore, their positive energy is in the hair band.  A "spell" can be something as simple as a good memory, that when you remember, gives you energy and hope.

65. Knowing that the Bathhouse environment is negative to NoFace (which absorbs energy), Zeniba invites him to stay as her helper.

66. As they fly back, Chihiro once again sees herself in a river while riding Haku's dragon form (his true form). She finally remembers when she almost drowned in a now extinct river and realizes that river god is Haku; she remembers the name of the river and tells Haku, which is now free, since he remembered his name. And this is why they both knew each other.

67. Yubaba dares Chihiro to tell from a group of pigs which are her parents. This is a logic test, a rather easy one at that: Her parents are not pigs, thus they are not there. Also, it would be impossible to differentiate them while in pig form, so the only logic possible answer is that they are not one of them. Also, Chihiro’s strong intuition can discern the pigs, just like she knew the dragon was Haku, or that NoFace is not intrinsically evil.

68. Haku can't return with Chihiro because his home (the river) no longer exists in the real world.

69. Chihiro is not supposed to look back:  it represents regret and longing, and that would undermine her will to really leave.

70. Initially, when they came in the tunnel, Chihiro held her mother for protection. Now, stronger and grown up, Chihiro holds her because she doesn't want to let her go.

71. The car is dirty and full of leaves, representing the passing of days, not hours, as her parents expected. As she turns, we see the hair band she got from Zeniba sparkle.

72. Her Journey into adulthood is over.

Rurouni Kenshin - the best live action so far!

It’s been almost  5 years since I’ve found the fire to write commentaries on manganime again.  It’s been 18 years since Rurouni Kenshin manga ended, and I was so glad to find that some people (the film makers) found the fire to recreate the series in another medium.

First of all, praises to the music!  “Flow of Life” is a brilliant OST and extremely fitting for RK!  https://www.youtube.com/watch?v=jW1Ze8IkH6c .

I love the scene in which Himura Kenshin is riding a boat into a new era with this song playing in the background in LA 1 - like an echo of time with life flowing from the past to the present - perfect!

Second, let me come right out and say that although there are A FEW scenes that I believe could have been done better, this is unquestionably the THE best live-action (LA) ever done so far!

Third, let’s comment on the acting:

Kenshin by Takeru Satou:  Before the movies came out, I had reservation about the actor who would play Kenshin because of the way he looks.  I could not imagine him as Kenshin from just seeing him.  But when it comes to acting, I was pleasantly surprised:  He doesn’t play Kenshin.  He is Kenshin!  Yes, his face does not look as gentle as Kenshin’s but he proved that he’s the perfect pick for the role.  He even did all the fight scenes himself without stuntmen.  I cannot think of another actor who could replace him.  “Kenshin” is perfect, from acting to character design!

Kaoru by Emi Takei:  The actress looks way prettier than Kaoru.  The design is not exactly like Kaoru but still good enough.  But her acting leaves something to desire.  No, it’s not about her acting skills; it’s about how the film makers decided to portray Kaoru that disappoints me:  Kaoru is supposed to be a tomboy, an energetic Kenjutsu instructor - NOT a soft-spoken, gentle, typical girl like the LA wanted her to be.  

Seta Soujiro by Ryunosuke Kamiki:  Here comes my #1 favorite character in RK!  And I had very high expectations for the actor who would play him.  But I was disappointed so much by (1) how the film makers chose to adapt this character, and (2) how the actor does not have “the Seta’s smile” (TBH, I found Kamiki’s smile a bit… evil at times, which is not at all like Seta).  Seta is supposed to be an innocent-gentle-looking young man with an angelic smile, all the while mysterious and having a lot to hide behind that smile.  As one of the chief antagonists (besides Shishio), his disarmingly harmless appearance strikes a jarring juxtaposition with his formidable combat prowess, and this makes for a uniquely interesting character.  Sorry to say, the way they designed “Seta” in the LA failed to convey the essence of this character.  I feel like the only thing that was done rightly about this character is his sword fights, which are impeccable choreography.  If I could pick who would play Seta Soujiro, I would pick Koike Teppei.

Sanosuke by Aoki Munetaka:  Loud, energetic and abrasive - that is Sanosuke.  Grade A acting!  The ONLY thing that disappoints me about this character is his appearance.  Of course that real people cannot look exactly like anime characters, but at least they could have done a better job at designing him.   

Finally, let’s comment on the movies:

RK LA actually has broken the record of ANY Japanese films ever shown!
The cast was so overwhelmed by passionate fans who came out and greeted them in the Philippines! (I wish I were at such event :D)

Choreography is impeccable!  I was so impressed when I found out that all the sword fights were NOT sped up or camera tricks, which means that the actors moved with such speeds in real time!  When the first RK LA came out, it pretty much set the standard for how LA should be.

LA 1 (The Beginning) is IMO the best out of the 3 movies.  The pace is perfect.  The script-writer did a great job at blending an entire Arc into one movie.

LA 2 & 3  go a bit too fast with the pace, with too many fights and events unfolding at once that it looks a bit messy at times.  I love how the movies take the time to shed light on how “dirty” and weak the Meiji government is throughout the movies.  I especially love the ending scene where Kenshin proposes to Kaoru and I wish it hadn't just stopped there!  

Now, only IF Seta Soujiro character were done well, these two movies would easily trump the 1^st LA.  The movies missed the key part of his character; they could have shown short scenes of his past or made him say brief lines that could explain it a little more.  It would have been easier to understand his mental breakdown. I know it doesn’t have to be the same as in the anime and that he is a minor character, but his story is important to understand what Kenshin is standing for in a way.  At least they could have shown how important Shishio’s beliefs were to him, because at the end it was the only thing that kept him alive and survive. 

Rating:  9/10

The best live-action so far!