Hot off the high from his first Oscar nomination for 2018's Mirai, Japanese director Mamoru Hosoda returns with a touching virtual-reality riff on the classic beauty and the beast tale. But don't let the familiar source material lull you into a false sense of security; Hosoda is not playing it safe just because he has a reliable tale to fall back on. In fact, after years of constant comparison to the films of Studio Ghibli and their unrivaled consistency and pedigree, it seems like the Oscar nomination may have renewed some confidence and ambition back into the veteran director.
Like The Girl Who Leapt Through Time, this film follows another likable teenage protagonist, Suzu who, unfortunately, is unbearably grief-stricken after the death of her mother when she was six. After over a decade of lament, Suzu still has trouble understanding why her mother would put herself in the position that led to her untimely death. She often finds herself crying uncontrollably, only able to compose herself time and time again with the help of her longtime friend, Hiro.
Suzu's relationship with her mother is portrayed through many wordless montages, only accompanied by the gorgeous work of the film's trio of composers, Taisei Iwasaki, Ludvig Forssell, and Yuta Bandoh. As devastating as it is to lose her mother, Suzu's grief is amplified by her own inability to find her singing voice again after the tragedy, despite her efforts. The despair and loneliness she deals with on a daily basis eventually lead her to try U, a new virtual universe that already totals over 5 billion users.
U's technology works by conducting a biometric scan of its user, then creating a personalized avatar. For Suzu, her avatar appears as a beautiful and slender woman with pink hair, really only recognizable as Suzu due to the splash of freckles underneath her eyes. Once in cyberspace, the urge is irresistible. Suzu begins to sing-- And she sings beautifully. So beautifully in fact that it is only a matter of days before Suzu finds herself with millions of followers, all ready to pack virtual auditoriums as Suzu gives performances under the moniker of Belle.
Described by Hosoda as "the one I've been wanting to make," the giddiness of a director finally allowed to make their long-gestating dream project is palpable onscreen, particularly in the film's virtual world sequences. In the real world, the animation is classic hand-drawn work, but in U, Hosoda translates the world's infinite possibilities into a spectacularly dynamic CG landscape, complete with a kinetic camera that swirls and moves in ways only possible in an animated world.
If none of this so far sounds like the beauty and the beast you know and love, don't worry. The "beast" of this tale makes his grand appearance right at the end of the first act as he crashes through a giant dome that acted as a venue for one of Belle's performances. A figure only known as "The Dragon" is seen being pursued by self-proclaimed "Justices" of U. Though he is said to be wildly aggressive and ruining the sanctity of U, Belle immediately believes there is more to him than meets the eye, recognizing a pain that she herself has seen before. Intrigued by The Dragon, Belle suspends any future performances and instead devotes her time to discovering the identity of and connecting more with the mysterious beast.
Outside of U, Suzu must balance her newfound stardom online with the meek reputation she has with real-life friends and classmates. Where the usual high school relationships and drama could, in the hands of a less skilled director, grind the imagination and creativity shown thus far to a halt, Hosoda surprisingly manages to make the grounded portions of his film just as engaging and playful as the virtual primarily by mining the material for a surprising amount of laughs.
Where the film does falter a bit is with its final act, and while the two storylines are engaging in their own right, there is a feeling that they are too dissimilar to one another to possibly connect in a believable way by the end. And for the most part, this is true. The film employs some eye-rolling contrivances in its race-against-the-clock finale, but when the last scene's emotions hit and Suzu fully blossoms into the strong woman she knows she is, the machinations that led the film to that point are largely forgivable.
When all is said and done, it is not going to be the final moments that stick with you from Belle. It's going to be the wonder and visual inventiveness of the virtual sequences -- the sprawling endlessness of the online world and the guiding hand of a director keen on pushing his film beyond that. Hosoda may have spent much of his career in the shadow of the great Studio Ghibli, but with Belle, he certainly makes the most of his chance at the spotlight.
Like The Girl Who Leapt Through Time, this film follows another likable teenage protagonist, Suzu who, unfortunately, is unbearably grief-stricken after the death of her mother when she was six. After over a decade of lament, Suzu still has trouble understanding why her mother would put herself in the position that led to her untimely death. She often finds herself crying uncontrollably, only able to compose herself time and time again with the help of her longtime friend, Hiro.
Suzu's relationship with her mother is portrayed through many wordless montages, only accompanied by the gorgeous work of the film's trio of composers, Taisei Iwasaki, Ludvig Forssell, and Yuta Bandoh. As devastating as it is to lose her mother, Suzu's grief is amplified by her own inability to find her singing voice again after the tragedy, despite her efforts. The despair and loneliness she deals with on a daily basis eventually lead her to try U, a new virtual universe that already totals over 5 billion users.
U's technology works by conducting a biometric scan of its user, then creating a personalized avatar. For Suzu, her avatar appears as a beautiful and slender woman with pink hair, really only recognizable as Suzu due to the splash of freckles underneath her eyes. Once in cyberspace, the urge is irresistible. Suzu begins to sing-- And she sings beautifully. So beautifully in fact that it is only a matter of days before Suzu finds herself with millions of followers, all ready to pack virtual auditoriums as Suzu gives performances under the moniker of Belle.
Described by Hosoda as "the one I've been wanting to make," the giddiness of a director finally allowed to make their long-gestating dream project is palpable onscreen, particularly in the film's virtual world sequences. In the real world, the animation is classic hand-drawn work, but in U, Hosoda translates the world's infinite possibilities into a spectacularly dynamic CG landscape, complete with a kinetic camera that swirls and moves in ways only possible in an animated world.
If none of this so far sounds like the beauty and the beast you know and love, don't worry. The "beast" of this tale makes his grand appearance right at the end of the first act as he crashes through a giant dome that acted as a venue for one of Belle's performances. A figure only known as "The Dragon" is seen being pursued by self-proclaimed "Justices" of U. Though he is said to be wildly aggressive and ruining the sanctity of U, Belle immediately believes there is more to him than meets the eye, recognizing a pain that she herself has seen before. Intrigued by The Dragon, Belle suspends any future performances and instead devotes her time to discovering the identity of and connecting more with the mysterious beast.
Outside of U, Suzu must balance her newfound stardom online with the meek reputation she has with real-life friends and classmates. Where the usual high school relationships and drama could, in the hands of a less skilled director, grind the imagination and creativity shown thus far to a halt, Hosoda surprisingly manages to make the grounded portions of his film just as engaging and playful as the virtual primarily by mining the material for a surprising amount of laughs.
Where the film does falter a bit is with its final act, and while the two storylines are engaging in their own right, there is a feeling that they are too dissimilar to one another to possibly connect in a believable way by the end. And for the most part, this is true. The film employs some eye-rolling contrivances in its race-against-the-clock finale, but when the last scene's emotions hit and Suzu fully blossoms into the strong woman she knows she is, the machinations that led the film to that point are largely forgivable.
When all is said and done, it is not going to be the final moments that stick with you from Belle. It's going to be the wonder and visual inventiveness of the virtual sequences -- the sprawling endlessness of the online world and the guiding hand of a director keen on pushing his film beyond that. Hosoda may have spent much of his career in the shadow of the great Studio Ghibli, but with Belle, he certainly makes the most of his chance at the spotlight.