AYA TO MAJO
MOVIE
Dubbed
SOURCE
OTHER
RELEASE
December 30, 2020
LENGTH
82 min
DESCRIPTION
Not every orphan would love living at St. Morwald's Home for Children, but Earwig does. She gets whatever she wants, whenever she wants it, and it's been that way since she was dropped on the orphanage doorstep as a baby. But all that changes the day Bella Yaga and the Mandrake come to St. Morwald's, disguised as foster parents. Earwig is whisked off to their mysterious house full of invisible rooms, potions, and spell books, with magic around every corner. Most children would run in terror from a house like that...but not Earwig. Using her own cleverness—with a lot of help from a talking cat—she decides to show the witch who's boss.
(Source: HarperCollins Publishers)
CAST
Mandrake
Etsushi Toyokawa
Aya Tsuru
Kokoro Hirasawa
Bella Yaga
Shinobu Terajima
Thomas
Gaku Hamada
Aya no Hahaoya
Sherina Munaf
Custard
Saito Yusei
Cook
Assistant Cook
Enchou
Selma
Mr. Jenkins
Yuuji Ueda
Phyllis
Sally
REVIEWS
Pockeyramune919
60/100This deceptively important CGI experiment makes me reckon with Ghibli's legacy.Continue on AniListSection One: An Introduction to Studio Ghibli and Gorō Miyazaki Studio Ghibli is a studio that needs no introduction. Since you're currently using an anime site, the overwhelming odds are that you've heard of Studio Ghibli. Beyond being recognizable, Studio Ghibli commands immense respect and acceptance, almost reverence. You'll commonly hear that anime is or is becoming mainstream; Studio Ghibli has been ahead of the curve in this regard. Studio Ghibli movies aren't painted with the same brush as other anime, there's not as much a "stigma", not as much the sense of being strange, or "other." A person who might not consider themselves an anime fan might be enamored with the works of Ghibli, might sport a Kiki's Delivery Service phone charm, might wear a Totoro enamel pin. The layman might not really think of a given Studio Ghibli film as an anime so much of a cartoon akin to Disney. Part of this is undoubtedly because, for the entirety of the noughties, in America, it was Disney. Thanks to Disney distributing, dubbing, and marketing Ghibli movies internationally, Studio Ghibli saw the success it wouldn't have gained otherwise, most notably, its 2001 classic, Spirited Away earning both an oscar and the distinction of a highest-grossing anime movie. Culturally, the 2000s saw Ghibli gain a close association with Disney and the prestige that comes with it. The association remains to this day — when Disney's streaming service, Disney Plus, launched six years after Disney ended its relationship with Ghibli, "will Ghibli movies be on Disney+" was a frequently Googled term.
While the Disney association definitely helps with Studio Ghibli's perception, another, more vital reason is that Ghibli makes damn good movies. Since its founding in 1985, Studio Ghibli has been dedicated to lovingly crafting quality films that hold the respect of audiences and critics alike — of the 22 Ghibli movies listed on Rotten Tomatoes, only two have a critic score less than 78%. Studio Ghibli movies are distinguished by their gorgeous art including vivid character expressions, distinct character designs, and beautiful, painting-like backgrounds depicting locales so iconic that a trope has been named after it. It certainly helps that many Studio Ghibli moves have a wide appeal, often being a great watch regardless of age and incorporating genres that don't feel exclusionary. Demon Slayer The Movie — Infinity Train may have handily dethroned Spirited Away as the highest-grossing anime movie, but its status as a shonen anime bars it from having the same broad appeal as Spirited Away. Your Name might be the anime movie of the 2010s with a box office receipt that's just under Spirited Away, but it's a movie that wears its country on its sleeve more than most Ghibli fare and has a distinct age group that it seems to cater to. There's a whimsy to many Studio Ghibli movies, a whimsy that brings people together. These traits are thanks to Ghibli's skilled staff — most notably its directors. While Ghibli has several directors, the one most associated with the studio is Hayao Miyazaki. Miyazaki and the rest of Studio Ghibli believe in their films' status as art and don't take kindly to edits made solely for profit. After seeing an early, botched localization of Nausicaa the studio made it known that Ghibli's partnership with Disney would be predicated on not cutting the films for international release. When Harvey Weinstein wanted to cut Miyazaki's Princess Mononoke, Miyazaki's producer sent a katana to the disgraced movie mogul with a simple message — "no cuts." Thanks to many movies worth of goodwill and an association with one of the biggest animation studios on the planet, audiences have come to immensely respect Ghibli and its directors.
Yet even the most prestigious of families have a black sheep. In Studio Ghibli's case, that would be Gorō Miyazaki, the son of Hayao Miyazaki. Gorō knew at a young age that he would never quite measure up to his father's titanic success. As such, he decided to turn his sights not to animation, but to architecture. After graduating, he designed various parks and gardens. Being Miyazaki's son, however, it was hard to escape from his father's orbit. In 1998, Gorō helped design the Ghibli Museum before going on to serve as its director from 2001 to 2005. By this time, the gravitational pull of Ghibli was too great. Gorō, almost inexplicably, found himself seated in the director's chair. He was brought onto production of Tales From Earthsea as nothing more than a consultant. However, after producer Toshio Suzuki saw Gorō’s storyboards, he was appointed director of the movie, a decision that Hayao Miyazaki railed against given his son's lack of experience. The elder Miyazaki's attitude towards the movie wouldn't soften. During its premiere, he walked out to smoke a cigarette, stating the one hour he sat through felt like three. He later would say that Gorō Miyazaki "hadn't become an adult" and that he should "stop making movies." The harsh reception didn't just end at Hayao Miyazaki. Tales From Earthsea was lambasted for its dense plot and dark atmosphere, among other reasons. It remains one of the lowest-rated Studio Ghibli films with a Rotten Tomatoes critic score of 43%. It earned the prestigious awards of "Worst Director" and "Worst Movie" from Japan's equivalent of the Razzies. To fans, the movie serves as a blemish on Ghibli's otherwise squeaky-clean track record.
Studio Ghibli really didn't suffer for Earthsea's poor critical reception, but Gorō Miyazaki certainly did. The movie remains a black stain on his reputation that he just can't seem to scrub. He went on to direct 2011's acclaimed From Up on Poppy Hill which won Animation of the year at the 35th Japan Academy Prize. Despite the movie's success, Ghibli fans remained icy towards Gorō Miyazaki — many attribute the film's success to Hayao Miyazaki co-writing the script. It seems like Gorō Miyazaki just can't catch a break. Many see the 54-year old director as nothing more than a talentless hack who got where he is through nepotism. Recently, when asked what makes a Ghibli movie what it is, Gorō replied, "I wish someone could give me an answer." In short, Gorō Miyazaki ranks high on lists of "directors who desperately need a hug." Part of his problem is doubtless due to his proximity to his father. He has big shoes to fill — it's one thing if Hayao Miyazaki had passed, but it's another entirely to be faced with living proof you don't measure up — two years after Earthsea released, Hayao Miyazaki would release the critically-acclaimed Ponyo. While Gorō Miyazaki was poorly received, it was easy enough to ignore him. He was able to fade into the background since people could focus on the plethora of upcoming Ghibli movies headed by other directors.
In the 2010s, Studio Ghibli stopped making movies.
Since its inception in the 1980s, Studio Ghibli had released movies like clockwork — at longest, movies would be released two years apart. It wasn't rare to have periods with annual Ghibli movies, nor was it strange to have years where multiple Ghibli movies were released. However, this bountiful well dried up in 2014 following the release of When Marnie Was There. That year, the studio announced that they were undergoing a hiatus of film production. The decision to freeze production was almost certainly due to Hayao Miyazaki announcing his retirement the year prior, with 2013's The Wind Rises set to be his swan song. In 2015, several Studio Ghibli alums would go on to found and work for Studio Ponoc, including director Hiromasa Yonebayashi (Arietty, When Marnie was There) and producer Yoshiaki Nishimura (Howl's Moving Castle, Tale of Princess Kaguya, When Marnie Was There). Before his untimely death, prolific Ghibli Director, Isao Takahata, was set to direct a segment of Studio Ponoc’s anthology film. With Studio Ghibli on a hiatus and a number of its talent having flown the coop, the fate of the studio that many held dear was uncertain.
The odds were not at all in Earwig in the Witch's favor when it released. All of these factors worked against it. Audiences had been waiting for almost seven years for a new Studio Ghibli film, so their expectations had reached a fever pitch. Audiences had come to love Studio Ghibli for its beautiful, hand-drawn animation, so a seven-year wait leading to the studio's first CG film felt like a slap to the face, a betrayal. The moldy icing on the cake for many was the fact that the film was directed by none other than Gorō Miyazaki.
The reception of the trailer was poor and the reception of the movie was worse, still. Worst, actually; Gorō Miyazaki had outdone himself. With a critic score of 38% and an audience score of 68% (though it should be noted that there are much fewer audience ratings than other Ghibli films) Earwig and the Witch holds the distinction of being the lowest-rated Ghibli movie on Rotten Tomatoes.
With this review, I'm hoping to find out what went wrong, what went right, and what it all means, both in terms of Studio Ghibli and its legacy and my own relationship with the studio. The
bloatedextended intro isn't just important in understanding the initial reaction towards the movie — it’s vital in understanding the film itself. Earwig and the Witch has a life of its own. It's deceptively important and it's a great way to think about Studio Ghibli's past and future. This unassuming movie is also a great way to look at my own thoughts about the studio.
Section Two: The Movie Itself - The Review Earwig and the Witch opens with a woman on a motorcycle being trailed by unseen pursuers in a car. We are shown the woman's magical powers when she makes a strand of her crimson hair bubble and turn into a gaggle of worms that she throws at the windshield of the car, the distraction giving her the lead she needs to escape. The rider then goes to an orphanage in the English countryside, reassuring the baby she's holding that everything will be alright. Once the matron and her assistant show up at the door, they only see a crying baby at their feet with a note. In the note, the woman reveals that she's a witch being chased by the twelve other witches in her coven and that the baby's name is "Earwig." The head matron refuses to believe in the existence of witches and decides to give the baby a more standard name — Erica Wigg. We flash forward ten years to see that Erica has grown up to be a rambunctious child who always gets her way. She loves living at the orphanage because everyone there, child and adult alike, is wrapped around her finger. She loves the orphanage so much that she hates the thought of being adopted. Her perfect life at the orphanage comes to an end when she finds herself adopted by an ominous man and woman. When she arrives at their home, the woman introduces herself as Bella Yaga and the man simply as the Mandrake. Bella Yaga tells Earwig that she's a witch and that she adopted Erica to have an extra set of hands around the house. Earwig then follows Erica as she lives in the mysterious house, trying to learn more about magic while navigating around the domineering Bella Yaga, with a little help from her new talking cat friend, Thomas.
Let's address the obvious and talk about the models. Whether the director's name was Hayao or Gorō, fans would doubtless raise an eyebrow or two over the use of CG in a Ghibli film. This might be a bit of a hot take, but I'm actually fine with the models. I've heard them often criticized as being "plastic-y," but given Ghibli's usual style, I don't find they look all that strange. They're no Pixar (who've had decades to perfect their models, mind you) whether in terms of texture, minute details, or shading, but they don't look terrible by any measure. The character designs look fittingly Ghibli-esque and I can easily picture them in 2D — from the cute Erica, to the severe-looking Bella Yaga, to the imposing Mandrake. Despite some criticisms I've seen lodged at the movie, I really cannot honestly say these don't look like Ghibli characters. The cast is fittingly colorful, with the type of exaggeration I've come to know Ghibli movies for.
The OST is pretty hit-or-miss. The music often doesn't mesh really well, sounding haphazardly inserted instead of the track being built around a scene. I say "track" but they're more often than not simple riffs that don't really add much before making themselves scarce. If this makes any sense, the score reminds me of a cheap after-school special or a Disney Channel-esque live-action sitcom, more than anything. I don't think the problem is a question of style — in fact, I like some of the music. A prog-rock-inspired soundtrack definitely can work and it would have made Earwig stand out more. The problem is that this feels more like a collection of short clips and not an integrated, flowing soundtrack. Listening to Earwig and the Witch made me really miss longtime Studio Ghibli composer, Joe Heihashi. At the very least, the opening track, ending track, and the insert song, Don't Disturb Me sung by Kacey Musgraves are all quite good.
Then there's the characters. Giving credit where credit's due, I have to give Erica's character points for uniqueness. Unlike most Ghibli leads, Erica isn't a paragon of pure purity of pureness and it's refreshing to see. That said, this uniqueness is achieved by her being a bit of a brat, which is annoying. Her primary goal is to have everything go her way and she achieves this mostly by manipulating adults and picking on kids her age. This goal isn't really analyzed — for example, she doesn't do this because of some underlying issue, she does it just because she can. The goal isn't challenged or modified — Erica ends the movie with everyone wrapped around her finger, making her a fairly static character. We don't even see Erica really earn her ending — instead of her wits being what warms her foster family towards her, they essentially just decide to change without much prompting. I'm fine with Erica being a brat, but nothing is really done with this trait and so it comes across as annoying. Again, though, I give Erica points for being a very unique Ghibli kid protagonist. She might have been a favorite if they actually did something interesting with her unique traits. Bella Yaga makes for an interesting villain, especially as she's the first adult that doesn't bend to Erica's will. But all that is squandered when she has a sudden shift in personality towards the end of the movie, with the conflict between her and Erica ultimately feeling like a waste of time. There's not much to say about the cat, Thomas. He pretty much acts just like Kiki's cat, Jiji, and his English voice actor, Dan Stevens, sounds similar to Phil Hartman's rendition of Jiji. Mandrake is the most visually striking and interesting character. He stole the movie for me and there seems to be a lot of depth in the little that we see. He's still prickly, but not as vindicative of Bella Yaga. The sudden shift towards liking Earwig doesn't hurt Mandrake as much as Bella Yaga since he was never an out-and-out antagonist like Yaga. Thus, when he changes, it doesn't feel as jarring. While Mandrake isn't an amazing character by any means, he's certainly an interesting one, which is more than I can say for the rest of the cast.
With character designs that are fine, characters themselves that are half-baked, and music that's largely underused, the score for Earwig and the Witch isn’t looking good. However, what largely saves the movie for me and serves as its biggest strength is its atmosphere that goes a long way in making this feel like a Studio Ghibli movie despite its shortcomings. Even if people take offense to the CGI, I don't think that anyone can honestly say that this movie feels completely alien. Rising above the faults of this film is the whimsy that many come to expect from a Ghibli movie. The magic and its eye-catching visual effects are there as well as the childlike sense of wonder. While it's animated in a way that many have objected to, despite everything, this feels like a Ghibli movie. An argument could be made that it’s perhaps too Ghibli, with the movie being everything you'd expect from a Ghibli movie. Some might even go so far as to call this generically Ghibli. Call it what you want, but given how hard the CGI Ghibli pill has been to swallow for many, I think playing it safe for Earwig and the Witch was a good call. It makes the change in style feel just a bit more smooth, helps viewers ease into it. Earwig is a bit like Mary and the Witch’s Flower like in this regard — both wished to emulate the classic Ghibli formula in order to ease fans into a change — a change in studio in Mary's case and a change in animation style in Earwig's case. I'll touch upon this again, but I think that Earwig actually handles this better, emulating the aesthetics and tones of quintessential Ghibli while still having an identity of its own.
But there's only so much you can do to ease the blow; just one look at this film shows that it is different than previous Ghibli films. Many love Ghibli due to the beautiful, hand-drawn animation and that's obviously missing. I'd like to say that the CGI is simply different from what we're used to, but unfortunately, it's just plain worse. As I said before, the models are fine on paper, but when they move is where things begin to falter. The characters move stiffly and there's very little in the way of hair physics. Earwig and the Witch definitely tries its best to continue the tradition of vibrant facial expressions, but they fall short. The facial expressions are a touch stiff, linger a bit too long and there aren’t many frames going from the "neutral" expression to the exaggerated one. Worst of all, they really like the reuse the same few expressions. These all make it so these seem less like living characters and more like Nendoroids with swappable faces. It's an admirable attempt, but a mere attempt, nonetheless. The mouth movements also don't look the best, but I can't really put my finger on why, so I won't belabor that point too much. The biggest blow comes from the environments. Ghibli movies are known for their lush backgrounds, their painting-like shots, and that's sorely missing in Earwig and the Witch. It doesn't help that we're relegated to a few, mostly indoor locales. Bella Yaga's workshop begins to approach the level of detail I expect in a Ghibli movie, but it's still not quite there. It feels like a trite criticism at this point, but I can't think of a better word than saying Earwig and the Witch feels lifeless compared to its 2D predecessors.
I could forgive the animation if the story held up, as I favor plot over all else. Unfortunately, the plot doesn't hold the film up after it’s been kicked down, instead, it joins the ring to deliver another punch to the gut. As I outlined in the plot synopsis, the movie begins on a high note with a magical chase scene. Viewers are naturally drawn into this world and want to know more about Erica's mother and the coven of witches at her tail. At the very least, I was excited to see more imaginative spells like the one Erica’s mother showcases. When we jump ten years into the future, the plot slows down and the movie mostly becomes Erica navigating her way through her new, hostile home. She wants to learn magic, but her requests are constantly brushed aside by Bella Yaga. I watched the movie with a friend who described the movie as not having much in the way of plot. And that’s true — for a good portion of its runtime, Earwig and the Witch is more akin to a magical slice-of-life. And this is perfectly fine — after all, Earwig's very own elder witch sister, Kiki's Delivery Service has a similar feel. It would be fine if the movie took its time focusing on the evolution of Erica, Bella Yaga, and the Mandrake's relationships, with a few answers to the mystery of Erica's past sprinkled in. What we got, however, was far from fine.
My friend had started the movie earlier than me, so when I got a text from her saying that she was done, I assumed I was far behind.
The credits started rolling five minutes later.
The movie ends extremely abruptly. Bella Yaga and Erica are in conflict one moment, but everything's hunky-dory the next as the film rushes to a cliffhanger ending that's largely unsatisfying. If the movie wanted to go with a slower, SOL feel, then, again, that's fine, but a slice-of-life lives and dies by its characters and I'm sad to say that the movie really let them down. I hear that the book also ends very abruptly, but I don't care for that as an excuse. What's the point of an adaption that doesn't improve upon the source material? Perhaps with at least twenty more minutes or so, the ending could have been salvaged, but as is, the movie feels unfinished. Like the music, the plot presents a lot of missed opportunities.
Earwig and the Witch should be an easy film to score. The character designs and aesthetics are the only things that rise above the lackluster plot characters, OST, and animation. Looking at Earwig and the Witch in and of itself, I'm confident in saying that it’s not a great movie. It's hardly a good movie, either. If it's not out-and-out bad, then Earwig and the Witch is mediocre, at best and I'd normally be fine with slapping an F on it and calling it a day. But my feelings towards the movie are complex, messy. Again, the movie has an importance bigger than itself. As silly as it may sound, scoring this says more than just how I feel about it movie — it also shows how I feel about the circumstances surrounding the movie.
Section Three: What it Means to Me; What it Means for Ghibli Now that I'm delving more into my Feelings™, let me just take the cat out of the bag and say that I not only have immense sympathy for Gorō Miyazaki but also that I have immense respect for him as well. I can't help but be proud of someone who says they have no idea what they're doing, yet feels a duty and drive to try anyway, to improve despite the insurmountable odds stacked against them. Call it love for the underdog, call it seeing myself in someone who's drowning in expectations, but I look forward to seeing what Gorō Miyazaki is trying next. Hayao Miyazaki is a genius, yes, but what fun is rooting for a genius? It helps that, as much as people drag his name through the mud, as much as some would like to pretend its success cannot be attributed to him, From Up On Poppy Hill shows that he can make as good films as the rest of 'em. In creating a CG movie, in utilizing a heroine that's not so sweet, in attempting a rock-inspired OST, it's clear that Gorō Miyazaki forges his own path while still working through the confines of the empire his father built and there's something very admirable about that.
And it's not like I dislike Hayao Miyazaki as a director. Quite the opposite in fact — years ago, I stated that Hayao Miyazaki was my favorite director and that probably remains true. I love the breathtakingly beautiful worlds he puts to film. I love the timeless, universal stories he tells. My favorite movie of all time, Castle in the Sky was directed by Miyazaki. When I go up to bat for Earwig in the Witch and advocate for its legitimacy as a movie, it's not because I don't care about Miyazaki as a director.
It's because I care about Ghibli as a studio.
If Miyazaki is probably my favorite director, then Ghibli is definitely my favorite studio. Studio Ghibli is more than just Hayao Miyazaki — it's also Isao Takahata, Hiromasa Yonebayashi, Yoshifumi Kondo, Tomomi Mochizuki, Hiroyuki Morita, and yes, Gorō Miyazaki. Two of my favorite Ghibli movies, The Tale of Princess Kaguya and Whisper of the Heart, aren't directed by Miyazaki. The most financially successful Ghibli film in the states, The Secret World of Arietty, wasn't directed by Miyazaki either. The point is that Studio Ghibli is more than Hayao Miyazaki's legacy.
During the first half of The New Tens, I was sad to hear that Miyazaki was retiring. While I was disappointed, I looked forward to the works of other directors, but much to my dismay, just as I was beginning to keep up with the releases, the news broke that the studio was going on hiatus. My disappointment turned to frustration when I realized the hiatus correlated with Hayao Miyazaki's retirement. Say what you will about Gorō Miyazaki, but you have to give him props for trying his damndest to breathe life into a company that everyone is content letting suffocate without Hayao. A big reason why I don't want to write off this film is because I care about the continued existence of Studio Ghibli. It shows in how I watched Earwig in the Witch. I usually watch anime by [REDACTED] them. I watch anime using sites like [REDACTED] and [REDACTED]. I could have easily [REDACTED] this, too, but I made a point to rent it on Amazon Prime Video even though I knew people didn't really like this movie. I bought it because Ghibli is a studio that I want to support, a studio that I'm not content with just letting die. I have mixed feelings about How Do You Live?, the upcoming movie that Hayao Miyazaki is directing. On one hand, given the elder Miyazaki's track record I know the movie will be absolutely amazing. On the other, it will most certainly net a better reception than Earwig and the Witch, confirming what many seem to imply when they write off Gorō Miyazaki out the gate: that Ghibli is Hayao's studio and his alone.
I focus so much on the father-son pair because I think your perception of each of them really informs how you view this movie, warts and all. I've seen people decry this movie as tarnishing the legacy that Hayao built, that it sullies his name. I've heard others accuse Gorō of hijacking the studio to get the prestige associated Ghibli attached to Earwig and the Witch. They’re entitled to their perspective, but here's another, one just as bitter as the other. First, and I'll say it loud for the people in the back, Ghibli has never been just Hayao Miyazaki's studio. To say that someone making a movie for the studio is "hijacking" it is juvenile and, to be frank, fucking insulting to all the other talented directors who gave their time, effort, and passion to the studio for over 35 years. Second of all, I wish the discourse that "this sequel/remake/continuation killed my childhood" would just fucking die already. No movie made in the future can retroactively tarnish your fond memories of what came before. The second we accept this is the second we can begin approaching continuations of established properties with an open mind. It's particularly ridiculous here because this isn't a goddamn series, it's a studio, meaning each entry isn't tied to another. People speak of a legacy, but I value a living legacy more. I think a more fitting legacy than "Hayao left and the studio died" is one in which movies continue to be made. Perhaps they might not be as amazing as the initial ones, but they'll still be lovely. Not to mention, the new generation will be inspired to watch the movies that came before. I think Earwig is important because it highlights that Ghibli, if nothing else, is a sprawling company with many different creative minds. It feels like writing off Earwig is making Ghibli be something that it's not, that it never was.
I'm also somewhat lenient to Earwig and the Witch because it's a special case in the Ghibli catalog. While it's a feature-length film, like 1993's Ocean Waves, it's a television film, with a lower budget. It was never meant to be the same caliber as theatrical films. Perhaps it couldn't have been. While Ocean Waves has the same sky-high critical reception as most Ghibli films, among fans, it’s more mixed. Another mitigating factor for criticism is the fact that, more than most other Ghibli films, it’s abundantly clear that this one has a particular audience in mind: children, younger ones, at that. While many say that children don't deserve to watch crap, this isn't crap by a little kid's standards. It's not good to someone like me with a bulging, veiny eye for structure, but it's never terrible and I think that translates to a movie that's perfectly A-okay for the tots. A movie that, again, might make them watch earlier Ghibli movies, down the line. As far as the animation goes, again, it's not good, but I think it's ultimately fine for a first attempt. Pixar and movies such as Into the Spider-Verse showcase great CGI, but CGI is new to Ghibli and I think it's okay to give them a bit of leeway, given the budget constraints coupled with the new medium.
I should point out that I'm largely coming from the same place as other Ghibli fans — the loss of 2D animation is a blow to me, especially in the face of Disney having abandoned it for ten years now. I'd prefer the animation we're used to, but I understand that beauty can still be found in CGI. I'm open to a new style because one of my favorite Ghibli films, Tale of Princess Kaguya employs a unique art style. Even despite my misgivings, I defend Earwig in part because I want to see Ghibli live on. As hokey as it sounds, it's become a part of me and I don't want to see it die. Wanting to see Ghibli survive (or at least a part of it) is why I watched Mary and the Witch's Flower and why I watched Earwig and the Witch. Neither movie is great and I'm sure people give Mary as much leeway as they do simply because it's in the Ghibli style of animation. I don't think either movie will stand the test of time. I think both movies will largely be seen as mere novelties, proofs of concepts. But for the reasons I described, this probably was never meant to stand the test of time. This was a made-for-TV movie. It was a quick way to make money by creating this on the skinny to fuel future projects…
...
..
.And after all of that, I'm forced to ask: "am I okay with that?" After saying that this was just made to make money, I feel like I need to take a shower. Ghibli seldom trades artistry for profit. Am I okay with a movie being bad as long as it maybe keeps the company afloat for a possibly better movie down the line? Ponyo and Totoro were made with children in mind, but unlike Earwig, that didn’t feel like a mitigating factor. How long am I willing to handwave quality in the name of demographics? I still stand by a living legacy being better than a dead one, but can I say that if the living legacy is poor? While, I still don't think this movie is as ruinous as some people make it out to be, all leeway I have for this it is predicated on the belief that future movies, CG or otherwise, will be better.
As flawed as the movie is, given how important it is to me in terms of Ghibli's future, I have to respect its existence.
But the movie in and of itself is probably a 5.3.
As much as I love Ghibli, I have to acknowledge that its survival is seeming more like a crapshoot at this point — Gorō seems to be running a one-man ship as Hayao Miyazaki didn't do a great job of fostering new talent. The fresh blood that was injected into the company slipped out and into Studio Ponoc. For what it's worth, one of my favorite anime is Weathering With You, which is a non-Ghibli film. I'll keep my eyes open to Ponoc and other studios, hoping that one day someone will rise to the occasion, capturing the magic of the studio I love.
salemsuru
19/100Bruxas, Gatos e Feitiços: Um Tédio por Goro Miyazaki.Continue on AniListAcho que essa foi a provável uma das piores experiências que eu tive vendo animações japonesas recentemente, o que é algo raro, já que Makoto Shinkai solta filmes com uma certa frequência nos cinemas. Comparar Goro com seu pai, Hayao, é desonestidade pura, porque é algo que poucos diretores conseguem se equiparar, e vendo Goro Miyazaki apenas como mais um diretor de animações, a figura não muda, não só como piora porque é perceptível que bem, ele é uma pessoa que conta histórias de uma maneira pobre, e nada competente.
"Earwig and the Witch" é um filme que para alguém que já consome da Ghibli se familiariza, toda a questão de bruxas, gatos pretos e feitiços é um lugar comum, e até algo que talvez te faça pensar que a história tenha um pouco do charme de "Kiki's Delivery Service", mas subversivo como esse filme é por inteiro de uma péssima maneira, não entrega nem o pouco disso, te mostrando só um vivência monótona sem nem um pouco de deslumbre, ou de fato a magia que filmes com esse tipo de temática tem.
A utilização de um tema tão fantasioso, e tão fácil de acertar é feito de maneira pobre, e complemente sub-utilizado dentro do filme, mas pelo menos existe a chance do elenco de personagens ajudarem nisso, porque pensando na ideia de que filmes desse tipo trazem personagens exóticos, únicos, de personalidade forte e fácil de gostar é frequente né? Bem, isso foi o que eu tentei me forçar a pensar, porque aqui o elenco de personagens de "Earwig and the Witch" existe, e é isso que posso falar. Com designs muito charmosos, todos os personagens aqui estão no filme por estar, apenas movendo a trama confusa pra frente de um jeito nada natural, e completamente mal escrito.
Falando na questão visual, falar do elefante na sala é necessário, e eu venho aqui falar que sim, esse 3D é feio; sim, esse 3D é mal colocado; sim, esse 3D faz o filme ser mais sem graça visualmente. Dito isso, posso falar que mesmo tendo concepts legais como os mostrados nos créditos, o filme se perde muito em um 3D completamente estranho, que apenas e só funciona direito em uma personagem em específica por algum motivo (A Mãe), e também quando os personagens fazem feições caricatas aproveitando bem o recurso, que é algo tão raro quanto esse filme ter uma cena que se conecta bem com a outra.
Continuando a frase das cenas não se conectarem, tenho que vir fazer a minha maior reclamação desse filme: SUA ESTRUTURA, MONTAGEM E DIREÇÃO TERRÍVEIS. Em um filme desses, principalmente com a ideia de acompanhar o cotidiano de alguém, é necessário ter uma boa noção de pacing, o que é inexistente aqui. O filme mesmo tendo os formulaicos três atos de un longa, se mostra sendo a coisa mais arrastada possível, com a história inteira parecendo que não sai do lugar, onde a introdução tem 5 minutos, o desenvolvimento tem uma hora, e a conclusão tem 20 minutos. É mal montado, estruturado, a direção e escrita de Goro Miyazaki beira o amadorismo, onde até parece que sinceramente um robô comandou o processo do filme, por sequer saber escrever uma cena emocionante piegas, fazendo algo pior que é fazer uma cena emocionante que você sequer entende o porque está ali.
Mesmo com seus dois pontos interessantes dentro do filme, sendo seu character design, e até sua trilha sonora (a música da banda é legal, quase repetitiva mas legal), "Earwig and the Witch" é um desastre que mesmo tendo pouca duração, parece se arrastar por horas e horas de tão tediodo e medíocre que esse filme é. Goro Miyazaki tentou inovar, mas acabou fazendo um dos piores filmes do Studio Ghibli. Realmente não julgo seu pai por não ter aguentado ter visto o filme no cinema.
TheRealKyuubey
60/100Hot Take: Earwig and the Witch is Good ActuallyContinue on AniListOnce upon a time, a witch on the run from a dangerous threat decided to leave her infant daughter at the steps of an orphanage. Originally named Earwig, after a nasty bug of the same name, the matron of St. Morwald’s Home for Children bestowed a far more proper name upon her. Growing up in their care, little Erica Wig was able to build a nice little life for herself... Not only was St. Morwald’s far from the stereotypical orphanages you’ve seen in the movies, what with its friendly staff, decent food and spotless conditions, but she had friends there, and she always knew what to say in order to get her way and stay out of trouble. One day, however, her happy life would be forever changed as another witch, named Bella Yaga, and her demon companion known as The Mandrake, would come to adopt her... Not as their actual foster daughter, but as their servant, as Bella Yaga needs an extra pair of hands to assist her in spellcrafting. Will little Erica be able to escape, or at least adapt to her new environment, or is she doomed to spend the rest of her life as a witch’s slave?
I believe the circumstances behind this movie’s production have become quite well known since its release, but just in case someone out there has been living under a rock, here’s the story. Earwig and the Witch is Studio Ghibli’s first ever fully CG animated movie. They’ve dabbled in CGI before, most notably in the backgrounds of Spirited Away and a monster or two in Princess Mononoke, but Earwig was the film where they finally took the full leap. I don’t know if animating the film in full CG was a studio mandate, or a decision made by director Goro Miyaaki, but the decision was definitely made, and oh boy was it a consequential one. I’m tempted to believe Goro made the call himself, because from what I’ve heard, his father Hayao insisted on handing this to him as a solo project, and he wound up in charge of a team of brand new animators to the studio, so it would make sense to me if he picked CG because it would be less time consuming, and because his new team weren’t used to the studio’s more traditional aesthetic. Still, just a guess, correct me if I’m wrong.
For there to be a fully CG Ghibli movie at all has been a source of controversy for the film, as it was a choice that very clearly defies studio tradition, and the critics have not been kind to it, with the CG aesthetic being one of the biggest reasons. What do I think of it? My feelings are honestly a bit mixed. This is going to sound like an extremely harsh insult at first, but once I’ve explained what I mean, I think you might understand a bit better where I’m coming from; What this movie reminds me of, visually, is one of those Pixar movie rip-offs that companies like Asylum like to make in order to piggy-back off of more popular films, tricking senile grandparents and thrifty parents into thinking they’re either buying the real thing, or a cheap alternative to it. Or rather, it looks like what movies like that COULD look like if they had much bigger budgets to work with. Yes, while Asylum Pixar ripoffs tend to be hideously poorly rendered and full of obvious mistakes and errors, Earwig looks like the more polished, expensive, quality-controlled version of that, and I don't dislike it. Goro’s unexpectedly inspired sense of direction also does a lot of heavy lifting.
That probably still sounds like an insult, so let me also add that CG anime almost always look awful, and Earwig by default looks better than at least 95% of them, dwarfed primarily by Land of the Lustrous(which smartly took advantage of the uncanny valley) and FF7 Advent Children(basically a feature length video game cutscene). Where Earwig’s CG aesthetic shines the brightest is in the backgrounds, which are insanely detailed, from the rows and stacks of books in a dusty library, to the shelves of ingredients and surfaces full of clutter in Bella Yaga’s apothecary. The textures and layers of clothing are also immaculately captured whenever they’re in close-up, and the food that we see looks pretty fucking delicious. Where the CG falters, however, is with the characters. Now, to be clear, all of the characters are well designed. They all look really interesting and unique, and while being rendered in CG doesn’t directly damage their looks, it does cause two noteworthy issues; One, while the characters move with flawless grace(unless they need to move awkwardly for comedic purposes), they look really gummy, especially in their faces, and that style does not fit the otherwise borderline photorealistic aesthetic of the environment.
For two, CG lip flaps are way more articulate than 2D lip flaps, and while the actors were clearly putting forth a Herculean effort to match the flaps, it’s jarringly noticeable whenever they can’t quite make it fit, which is unfortunately often. Speaking of the English dub, though, it is really good. Everyone uses English accents, which is probably because the story was originally based on a British children’s book, and it fits the setting. I haven’t actually heard of any of the actors involved with this dub before, but Taylor Paige Henderson does an amazing job as Erica. Somewhere around thirteen years old at the time of recording, she says all of her lines with a bright and cheerful energy, bringing an all-around authenticity to a character who is sometimes duplicitous, sometimes mischievous, sometimes even a little devilish, but almost always positive. I’d also like to highlight veteran voice actor Vanessa Marshall, who was clearly having a blast losing herself in Bella Yaga’s very specific hoity-toity cadence. It’s a really nice dub overall.
So real quick, since I came back to reviewing anime, how many times have I started this portion of a review by commenting on the subject having a complicated reputation? Quite a few times, right? I don’t know why. It’s certainly not just a general attraction to controversy, because I recently watched Happy Sugar Life, and I wouldn’t review that trainwreck with a sixty foot pole. Having said that, a negative reputation was exactly what convinced me to check out the film Earwig and the Witch as part of my 2024 Re:Solution list, because it is famously considered one of the worst movies, if not THE worst movie, in the history of Studio Ghibli. That’s saying a lot, when it has competition like Ocean Waves, Tales from Earthsea, and From Up on Poppy Hill to contend with. People hate the animation, they hate the plot, they hate the main character... Interestingly enough, ‘people’ does not include Hayao Miyazaki, who not only enjoyed the film, but finally praised his son’s work, which is kind of a big deal because while nepotism may have gotten Goro the job, his father has still always been a harsh and honest critic who trashed Goro’s previous films. And the movie he liked was Earwig and the Witch. Huh.
As for me, well, my feelings run from mixed to positive. After watching it a couple of times, I’ve discovered a pretty weird dichotomy within me over it. I enjoy this movie very much when I’m watching it, but I find that I don’t enjoy thinking about it when I’m not watching it. I know that sounds weird, and it is weird, but there are reasons behind it. First of all, one of the biggest complaints people like to make about this movie is that they despise the main character, Erica, AKA Earwig. They call her a manipulative, entitled, stubborn brat who is completely unlikeable, and I disagree with most of that. I agree that she’s manipulative, but it's not to a point that would be unforgiveable in a child. To be specific, she’s very vocal about the fact that she likes getting her way and having people do whatever she wants. That sounds bad on the surface, but how does she achieve this? By being friendly, generous, personable and observant. She does favors for people, she befriends them, and when she’s faced with the consequences of her actions, she immediately claims responsibility and finds a way to soften the narrative. You want to know what that’s called as an adult? It’s called keeping your fucking job.
At the orphanage, she doesn’t throw people under the bus, she doesn’t snitch, she just knows how to behave to get what she wants, and isn’t that the kind of attitude we encourage in kids with Santa Claus and most religions being based on a system of reward and punishment? I mean, okay, she gets a little more devious after she’s adopted, but considering the fact that she’s being forced into a life of servitude, I think that’s mostly forgivable. She is creative, she is resourceful, she is resilient, and she’s brave. Before you start throwing out the label of “Mary-Sue,” however, she’s also easily frustrated when things don’t go her way, which is a common enough flaw that it should be immediately relatable, and she’s defiant when she believes she, or a friend, has been treated unfairly. I get how it might rub people the wrong way to hear her talk about wanting everyone to do what she wants them to, that sounds pretty bad in isolation, but her actual behavior throughout the film is never rotten or entitled enough(in my opinion) to back up that implication. Those bits of dialogue aside, I think she’s a really likeable character, as well as an interesting and well written child character.
Another complaint is that she doesn’t develop very much through the story... Fair enough, I guess... But is that really important? Because I haven’t been driven out of town with pitchforks enough lately, let’s compare her story to that of Chihiro from Spirited Away. Both are taken out of their comfortable family situations against their will, and forced to perform hard labor under a witch. Chihiro receives help from several sources, Erica receives help from a cat. Chihiro mostly does what she’s told in order to survive, Erica has to be creative and rely on herself. Neither character really learns any important lessons, other than maybe the value of hard work. Chihiro triumphs and returns to her life a little stronger and more grateful than she was before, Erica triumphs and stays where she is, overcoming the danger and uncertainty around her to make a new home. Both characters have similar arcs, but where Chihiro is changed by her environment, Erica’s environment is changed by her. Yeah, Chihiro receives more development, but Erica feels more interesting and dynamic. For these reasons, I don’t think Erica’s lack of significant personal change is really that big an issue, and I like that the story is about her adapting and facing challenges to overcome the terror of change.
So here’s where we are; I like the main character. I have a soft spot for the animation. There’s a lot I like about the story. I didn’t really talk about it, but the soundtrack is pretty fucking sweet too. There is, however, one problem with this movie that I can’t defend, and it’s actually a pretty big problem... The plot. As much as I do like this movie, it would be extremely disingenuous of me to not mention just how poorly executed a lot of it is. The pacing, for one thing, isn't terrible, but the movie does feel slightly longer than it actually is. This is partially because of the way it’s edited, with scenes that should lead into each other often being separated by several far less interesting scenes. Most of the movie has a sort of slice-of-life feel to it, basically whenever the story isn’t focused on a mystery that never gets fully solved despite the amount of clues that build up at various plot points.
I do personally enjoy watching Erica fight back against Bella Yaga, but it never really feels like she’s in any real danger. Yeah, being an indentured servant sucks, but she’s well fed, she’s almost never harmed, and even the Mandrake, who’s built up to be a serious threat, never does anything threatening other than looking scarier. If you can’t tell, these factors rob the movie of having any effective stakes. In addition, one big plot hole I noticed is that apparently it’s not certain whether witches are commonly known to exist in this world, as the orphanage matrons argue about their existence, so how is Bella Yaga able to operate a successful witching business, selling spells for people? Probably the biggest problem, however, is the way the backstory is handled. Yeah, there’s a backstory that ties Erica, her foster captors, her birth mother and even the orphanage, but it’s barely touched on in the movie, until it ends on a cliffhanger that maybe it’ll all be revealed? Hell, I genuinely liked this movie, and even I feel robbed by this.
Beyond all that, there’s one change I think could have been made to vastly improve the general perception of the movie. After Erica is informed that she’ll be acting as a servant, she asks to be taught witchcraft in exchange. Believing a deal has been made, she diligently puts in the work. She complains, and asks a ton of questions, but she does what she’s told, until it’s revealed that no deal was ever made, and Bella Yaga had no intention of teaching her. I found this extremely disappointing, because up until that point I genuinely thought there was going to be a clever twist that Bella Yaga WAS teaching her this whole time, by forcing her to memorize all the spellcraft ingredients as well as the tedious processes behind preparing them. I thought there would be some kind of moment like “You little idiot, I’ve been teaching you the basics this whole time!” And hell, it kind of DID work out that way, because Erica later uses her experience to craft an anti-magic spell(which, when it finally pays off in the story, just looks like the spell kind of misses). So yeah, in between viewings, it’s hard to not think about all the problems I have with the writing of the movie. But I still enjoy it when I’m actually watching it.
Earwig and the Witch is available from Gkids. The original book by Dianna Wynn Jones is available from Greenwillow Books, and can be found in paperback, hardcover and audiobook form on Amazon.
Earwig and the Witch is far from a perfect film. It has its fair share of problems, some bigger and more obvious than others, and I do believe there are good reasons out there for people to hate it, but I still find some of the criticisms that have been lobbied against it to be unfair. I like Earwig, I think she’s one of the more interesting and relatable children protagonists in Ghibli’s catalogue. The animation and aesthetic may not be up to Studio Ghibli’s famously high visual standards, but for a CG anime, it still looks pretty damn good for what it is. It’s well directed, funny, and has a good sense of humor and comedic timing. The first time I watched it, I made the observation that it was like if Coraline were written by Roald Dahl... A dark, quirky story that some people might find unpleasant, but that I find myself very easily getting lost in.
I give Earwig and the Witch a 6/10.
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Ended inDecember 30, 2020
Main Studio Studio Ghibli
Favorited by 52 Users