映画 日記 資料 2009年8月25日 池田 博明
| これまでの映画日記で扱った 作品データベース |
映画日記 『崖の上のポニョ』評 に戻る |
『崖の上のポニョ』を読み解く に戻る |
| 日時 | 評誌および評者 | 批評文 |
| 2009年8月13日 |
シカゴ・サン・タイムズ Roger Ebert（ロジャー・エバート） |
『ポニョ』が描く世界は、世界は魔法だということだ。もっとも偉大なアニメーターによってなされた、詩的で、しかも視覚的にハラハラする、大人と子供がともに感動できる深い魅力をもった仕事であった。それは素晴らしいことで、たぶん誰も試みたことがなく、ファンタジックに展開された。
Gレイトの作品なので物語は簡単明瞭である。海岸沿いの崖の上の家に住む５歳の宗介は、岸辺でビンにはまった金魚を見つける。これがポニョだ。自由になったポニョは宗介がガラス片で切った親指の血をなめる。そして人間の血を味わったことで、ポニョはサカナとヒトの境界に変容する能力を獲得したというわけなのである。 物語は友情で始まる。宗介(声はFrankie JonasでJonas兄弟の弟)はポニョ (Noah Cyrus, Mileyの妹)をバケツのなかで守る。ポニョの体からは腕と脚が出て、ヒトの言葉を話す少女になる。宗介はポニョを学校や、父親が働く隣の介護施設に連れていく（訳注：評者の間違いで、正しくは父親→母親） 。すべてが素晴らしい、私たちが陸と海の境界線を交差することで発見するものすべてが。ポニョは危険な津波を解放し生態変化を引き起こし、宗介の村は洪水で家の玄関先まで浸水してしまう。 これがおもちゃのボートでのエクサイティングな脱出行の始まりとなる。ボートはポニョが魔法で大きくした。樹の先端まで水につかった世界で宗介が母を探す夢のような旅である。水面から二人は古生代の魚を見ながら（魚は大波によって目覚めさせられたのだ）、母親が運転していた道路をクルーズする。 標準的なアニメ作品のように聞こえるのは仕方がない。私は宮崎駿の芸術的才能の驚異を引き出しそこなっていた。この68歳の日本人のマスターは『白雪姫』と『ピノッキオ』がそうだったような手描きのアニメーションを創造し続けた。CGIの安易な効果を凌駕する、なめらかで人肌の質感がある仕事。なんてすばらしい！宮崎の想像力ときたら！ 映画は海底の魔法がかけられたような、言葉のない場面で始まる、ただようクラゲといわく言い難い底生生物が見られる。このシーンのパステルが、『ポニョ』を私をかぶりつきの席にくぎ付けにして没頭させることになった非常にまれな映画にした。これこそ才能である。芸術だ。 さらにこの海景の保護者を人間にした宮崎の想像力を考察してみよう。フジモト（声はリーアム・ニーソン）はポニョと無数の妹（生物学的にどうかは説明がない）の父親である。彼は最初は不吉なキャラクターとして登場し、ポニョを地球的自然の均衡に関連するという理由で海にとどめることを願っている。 すでに地球は人間の文明によるゴミによって脅かされている。私たちは底引き船が何トンもの廃棄物をドレッジしたのを見た。宗介の崖の上のハッピー・ライフと老人施設の友人たちの幸福は傍らの汚染により危うくなっている。むろん、ポニョと宗介は均衡を元に戻す働きをする。 宮崎は『となりのトトロ』や『千と千尋の神隠し』『ハウルの動く城』や他の愛すべき作品の日本のクリエイターである。すでに私は日本製だから見たくないという人がいることを聞いた。それは、度はずれた無知というものである。「吹き替えただけですよ」と私は言いたい。バカを言うものではない！すべてのアニメ映画は吹き替えです！リトル・ニモが話すわけないでしょ！ 宮崎はアメリカのアニメーターの神様で、ディズニーは『ポニョ』にケイト・ブランシェット、マット・ディモン、ティナ・フェイら、Ａランクの役者を声優として起用した。吹き替え翻訳はジョン・ラセター（『トイ・ストーリー』『カー』）で、彼は金ではなく愛情で仕事をしたと信ずる。小さな子供と大人が一緒に楽しめる数少ない作品だ。最高です。 |
| 2008年8月30日 |
The Hollywood Reporter（ザ・ハリウッド・レポーター） Deborah Young（デボラ・ヤング） |
『崖の上のポニョ Ponyo on the Cliff by the Sea』 ヴェネツィア映画祭報告 The first of two feature-length animated films to be presented in competition at Venice, Hayao Miyazaki's "Ponyo on the Cliff by the Sea" is a refreshing thirst-quencher in a thus-far dry lineup. It is a work of great fantasy and charm that will delight children ages 3 to 100. Miyazaki, whose "Spirited Away" won the Golden Bear in Berlin in 2002, writes and directs this fantastic sea tale about a fish who yearns to become human to follow her love, inspired by Hans Christian Andersen’s fairy tale "The Little Mermaid." Excellent commercial prospects loom. Deep under the sea, the sorcerer Fujimoto lives in a fabulous castle where a school of sweet little red fish, his daughters, are being raised. When one daughter, Ponyo, swims off on her own, he tracks her down to a house on a high cliff. There, five-year-old Sosuke lives with his young mother Lisa while his father, a sea captain, is away. The little fish Ponyo likes Sosuke, and ham sandwiches, so much that she sprouts arms and legs to stay with him. Excited by her exploit, Ponyo's sisters turn into giant waves that submerge the town in a mini-typhoon. The two children wake up in a watery world, and board a magical boat to hunt for Lisa and the ladies from the Senior Day Care Center where she works. By keeping his promise to love and protect Ponyo, Sosuke receives the blessing of her sea-goddess mother, allowing her to remain human. A contemporary Japanese backdrop brings the Andersen story closer home, while the total absence of CGI work -- the whole film is drawn by animators -- heightens the film’s childlike charm. In Miyazaki's fertile imagination, the ordinary and magical worlds blend into each other; both are full of marvels. Perhaps his most imaginative representation is the sea itself, which he transforms into a living, pulsating character. On another level, the sea can represent the subconscious mind bursting onto the land above. The tender mother-child relationship of Sosuke and Lisa, and Ponyo and her radiant Mother of the Sea, strikes a deep chord of universality. |
| 2009年8月 | ロス・アンジェルス・タイムズ Kenneth Turan（ケネス・ツーラン） |
With 'Ponyo,' viewers will find their inner child through a charming fish story Director Hayao Miyazaki tells the story of a tiny aquatic creature who longs to be human. ? 'Ponyo' video reviewYou'll be planning to see "Ponyo" twice before you've finished seeing it once. Five minutes into this magical film you'll be making lists of the individuals of every age you can expose to the very special mixture of fantasy and folklore, adventure and affection, that make up the enchanted vision of Japanese director Hayao Miyazaki. The great genius of contemporary animation, who won the 2002 Oscar for best animated feature (for "Spirited Away," which also took the Golden Bear at Berlin), Miyazaki is more than revered in the international animation community. But though he got a rare standing ovation at the recent Comic-Con, Miyazaki's work has never made the kind of impact in the mainstream American market it deserves. Plans, however, are afoot to change all that with this remarkable story of a goldfish who wants ever so desperately to be a little girl. "Ponyo" is a sweet-natured film that emphasizes the joys of childhood friendships, but though it has a lot in common with Miyazaki's gentle classic "My Neighbor Totoro," it still manages to be exciting when it needs to, and it's been given first-class treatment by distributor Walt Disney Studios. John Lasseter, Pixar and Disney's reigning guru and a longtime Miyazaki admirer, has brought on "E.T." screenwriter Melissa Mathison to do the film's English-language adaptation, and hired such top-quality voice talent as Liam Neeson, Tina Fey and Cate Blanchett to bring to life for domestic audiences a story that echoes Hans Christian Andersen's "The Little Mermaid." Underlying everything, the constant that unites all of the director's 10 features, is Miyazaki's exceptional filmmaking imagination, his ability to bring us into other worlds, to stretch our minds without seeming to break a sweat in the process. Paralleling this is Miyazaki's intuitive understanding of magic and how best to use it on screen. It's not just that there are supernatural doings in "Ponyo," including all-powerful wizards and goddesses who control the heavens and the seas, it's the film's notion that magic haunts the edges of the everyday, mixing with the ordinary in ways we don't always take the time to notice. "Ponyo" begins not with the ordinary but with an extraordinary vision of a dazzling undersea world that is rich with visual wonders. One of the reigning powers is the long-haired Fujimoto (voiced by Neeson), an intimidating wizard who struggles to keep the sea healthy, and finds humans disgusting because the trash they create gets in his way. Fujimoto's daughter, Ponyo, a goldfish with a delightful face, not surprisingly sees humans in a completely different light. In fact, Ponyo (Noah Cyrus, Miley's sister) is desperate to become human herself. Managing to find a way to the surface of the ocean, she gets trapped in a glass jar and nearly dies before a 5-year-old boy comes to her rescue. That would be Sosuke (Frankie Jonas, a Jonas Brothers sibling), who's beside himself with glee at the discovery. "She came to me, I saved her, she's my responsibility," he pleads to his put-upon mom Lisa (Fey), who finally lets him keep his new aquatic friend. Ponyo, however, proves to be a delightfully willful creature, determined to have her own way in all things. She accompanies Sosuke in a bucket as he goes about his day, going to school and visiting the nursing home where his mother works and where a trio of eccentric old ladies (Cloris Leachman, Lily Tomlin, Betty White) are his good friends. Though circumstances conspire to return Ponyo to the sea, she is not the type to give up on anything. But the actions she takes to become human have far-reaching consequences, causing a storm to end all storms that jeopardizes everyone Sosuke knows, including his mother and his ocean-going father Koichi (Matt Damon). Will the intervention of sea goddess Gran Mamare (Blanchett), who happens to be Ponyo's mother, be necessary to set things right? You'll be holding your breath until you find out. Because writer-director Miyazaki very much follows his own star when it comes to story, narratives like "Ponyo" remind you of no one else's tales. Not only do they offer up fantastical images, like Ponyo running on the crests of waves, they make deep connections to our emotions without following conventional paths, using the logic of dreams to excellent effect. The child within this singular director couldn't be stronger and, for that, adults and children both will always be grateful. |
| 2009年8月14日 |
Ｔhe New York Times Manohla Dargis（マノーラ・ダルギス） |
To watch the image of a young girl burbling with laughter as she runs atop cresting waves in “Ponyo” is to be reminded of how infrequently the movies seem to express joy now, how rarely they sweep us up in ecstatic reverie. It’s a giddy, touchingly resonant image of freedom ? the animated girl is as liberated from shoes as from the laws of nature ? one that the director Hayao Miyazaki lingers on only as long as it takes your eyes and mind to hold it close, love it deeply and immediately regret its impermanence. Enlarge This Image Walt Disney Studios Sosuke, voiced by Frankie Jonas, encounters the title character in Hayao Miyazaki’s “Ponyo.” More Photos ≫ Multimedia Slide Show Sea Legs Related Japan’s Master Animator to Be Honored in U.S. Visit (July 9, 2009) Times Topics: Hayao Miyazaki The girl is running parallel to an island road, her eyes wildly fixed on a small car perilously whipping around hairpin bends in a raucous storm. Her name is Ponyo (gurgled and voiced by Noah Cyrus, Miley’s younger sister) and she was once some kind of half-human, half-fish daughter of the sea. But she found a boy, the 5-year-old Sosuke (Frankie Jonas, yet another one of those brothers), or rather he found her, rescuing her by scooping her into a pail. The two were separated ? as fated characters invariably are ? but she’s found him. Now, as she races along the surface of huge peaking waves she has summoned up by the force of her power, Ponyo is expressing not only her bliss, but also ours. “Ponyo” is the latest masterwork from Mr. Miyazaki, the influential Japanese animator who has advanced the art with films like “Princess Mononoke,” “Spirited Away” and “Howl’s Moving Castle.” The new film, despite the initial distractions of the recognizable voices crammed into the English-language version (a subdued Matt Damon, a fine Betty White), shares thematic and visual similarities with his earlier work, notably its emphasis on the natural world, its tumults and fragility. (As Mr. Miyazaki once put it, “All my animation and comics involve land, sea and sky ? they all revolve around what happens on earth.”) But “Ponyo,” which takes some inspiration from “The Little Mermaid,” Hans Christian Andersen’s macabre fairy tale, has a narrative simplicity, or rather the clarity of a distillation. Despite the connection to Andersen’s tale, there is nothing remotely ghoulish about “Ponyo.” No blood and only a few anxious tears are spilled. Far more than Mr. Miyazaki’s other recent films, this one obviously has been created for young viewers, who will have no trouble grasping its broad story or understanding why the characters do what they do, as when Sosuke, worried about prowling cats, places a leaf over the pail with the goldfish girl. At that point Ponyo is as big as Sosuke’s hand. With her broadly smiling, pale human face and wiggling, red fish body, she looks a little like one of the girls that the Japanese artist Yoshitomo Nara likes to draw, minus the scowl. She also looks a bit like a well-dressed tadpole. Like the other characters, with their clean lines and bright splashes of color, Ponyo tends to pop slightly on the screen. Although Mr. Miyazaki eschews the deep space of 3-D animation (over his dead body, as he recently suggested), he is acutely sensitive to texture, an awareness that translates into different visual designs for individual scenes and which intensifies the emotional register of those same scenes. The softly smudged field of grass that surrounds Sosuke’s house like a blanket is striking partly because you can see the touch of the human hand in each blade. The blurred pastel quality of the grass, the softness of this green mantle, convey a feeling of comfort that in turn summons up words like warmth, home, love. Under the ocean the colors are more saturated and the lines often sharper. In this magical realm of undulating creatures and twinkling lights, Ponyo’s father, a wizard named Fujimoto (Liam Neeson), practices his mysterious art. From the prow of a submerged vessel, Fujimoto ? the long tendrils of his rusty red hair waving around his head like octopus tentacles ? releases potions that restore the health of the pollution-choked waters. It’s hard not to think of the wizard, particularly when he gently and very cleanly curses the human world and its harmful ways, as something of a Miyazaki self-portrait. Whatever the case, like his creator, Fujimoto can’t keep Ponyo under wraps: she springs from the sea, exploding into the world with a reckless, infectious, almost calamitous exuberance. This is nature unbound, or maybe it’s the image of childhood right before culture takes over and initiates its relentless tsk-tsking, telling us to mind our manners, shut our mouths and sit up in our seats. Smitten with Sosuke, Ponyo decides she wants to be human, a wish that involves a visit from her mother (Cate Blanchett) and almost upends the balance of the world. As in the original Andersen fairy tale, which turns on a mermaid who dies because she falls in love with a landlocked prince, humanity has its costs. Not to worry: no one dies in “Ponyo” or even coughs. Its sting is so gentle you might miss it. But when the ocean rises in this wonderful movie, each leaping wave stares out at us with a baleful eye as if in watchful and worried wait. |
| 2009年8月14日 |
San Francisco Chronicle Peter Hartlaub（ピーター・ハートラウブ） |
環境黙示録がやってきた。It's a sentiment that Hayao Miyazaki has been including in his animated films for decades - never mind that many of his movies are rated G and include cute young girls, cuddly woodland creatures and anthropomorphic goldfish. "Ponyo" is one of Miyazaki's most kid-accessible movies, only half a shade darker than his 1988 masterpiece, "My Neighbor Totoro." But it's still an unnerving film, filled with memorable images of humankind on the precipice. The scariest part of the film isn't any monster or child in peril, but the grown-up characters' apparent obliviousness to the cataclysm going on around them. This is not Miyazaki's most focused or bombastic movie - it's the cinematic equivalent of a good Bruce Springsteen solo album. But the 68-year-old filmmaker shows that he's at the peak of his skills, both as a visual artist and a storyteller. "Ponyo," which already set box office records in Japan last year, is a loose retelling of Hans Christian Andersen's "The Little Mermaid." In this version, a young boy named Sosuke discovers a strange goldfish with a human face near his seaside home. Sosuke and Ponyo become fast friends, but the fish-girl's father, an undersea alchemist with godlike powers, wants nothing to do with humankind. "Humans are disgusting," he says, later adding: "They ruin the sea with their ugly black souls." Miyazaki presents the world as anything but a utopia, with his idyllic drawings of young children and seaside cottages above ground contrasting roughly with the sludge and trash lining the bottom of the sea. But when a typhoon hits in the middle of the movie, the result is more surreal than menacing - like an anxiety dream where danger constantly threatens, but the worst never quite happens. The roiling waves always seem to be a few feet above the protagonists, held back only by imagination. The slow-moving, fanged prehistoric fish that swim under tiny boats never attack, but it's still hair-raising to see them there. The English-language translation is better than most, with Tina Fey adding a modern spunkiness as Sosuke's mother. Liam Neeson is also perfectly cast as Ponyo's father, and Lily Tomlin, Cloris Leachman and Betty White are as warm as a cup of cocoa playing three women at a senior home. Kids will understand the obvious moral of "Ponyo," about being yourself. But as it is with Miyazaki's layered worlds, there's an even more dire message for the adults in the audience: You can spend your life hurrying from Point A to Point B, unaware that the world is crumbling underneath your feet. -- Advisory: This film contains strong imagery, although nobody's parents get turned into pigs in this one. |
| 2009年8月13日 |
The Onion (A.V. Club) （オニオン） Tasha Robinson（ターシャ・ロビンソン） |
When Disney released its take on Hans Christian Andersen’s short story “The Little Mermaid” back in 1989, some purists griped that in excising most of the story’s agony and tragedy, Disney lost the story’s heart. Those purists won’t be any more comfortable with Ponyo, another animated take on the story, this time from Japanese writer-director Hayao Miyazaki. It’s aimed at particularly young audiences?in the Miyazaki oeuvre, it’s much closer to My Neighbor Totoro than Spirited Away or Princess Mononoke?and it barely has conflict, let alone a sense of menace or threat. It’s essentially a stroll through a fantastically detailed pastel world, in which the plot is little more than an excuse for Miyazaki to dive into a world teeming with colorful (and sometimes prehistoric) life. Disney’s generally respectful English dub, per usual, populates the story with famous names: Miley Cyrus’ little sister Noah voices the titular character, a willful fish-child who escapes her human-hating magician father (Liam Neeson) and treks to land, where she bonds with Sosuke, a 5-year-old boy voiced by the Jonas Brothers’ younger sibling Frankie Jonas. A surfeit of wild magic activated in the wrong place and time turns Ponyo human and reunites her with Sosuke, while also returning the already lively ocean around Sosuke’s home to the Devonian age, with gigantic, ancient fish-ancestors sporting in the waves. Tina Fey and Matt Damon round out the cast as Sosuke’s parents, but their role is limited in a story that’s mostly about the wonders of being young enough to unquestioningly accept every new surprise that life has to offer. While the story is modeled on a traditional fairy tale and a traditional love story, it’s more primal than it looks. In keeping with Miyazaki’s usual motifs, Ponyo’s attachment to Sosuke is an unthinking force, as avid and single-minded as the decapitated forest spirit in Princess Mononoke, or the crazed, murderous Ohmu in Miyazaki’s Nausicaa Of The Valley Of The Wind. Miyazaki never lets viewers forget that Ponyo is human-shaped but not actually human; her shape shifts and dissolves back toward fish-dom whenever she exerts her magical powers. In this and other things, the story operates on a fluid dream-logic, or the storytelling logic of a very small child: Events melt into each other without urgency, and a simple act like making and drinking tea is treated with the same complacent, wondrous gravity as magic that calls wave-monsters into being. Even so, older kids and even adults are unlikely to get bored, thanks to the story’s unforced sweetness, giddy highs, and stunningly beautiful visuals. Even in the unspoiled Devonian, real life never looked this good. |
| Entertainment Weekly （エンターテインメント・ウィークリー） Lisa Schwarzbaum（リサ・シュワルツバウム） |
『ポニョ』、古典的なおとぎ話「人魚姫」をイメージし直した、情緒的に深遠で、映像的にスリリングなアニメは明らかに夢中にさせられる別の機会である。 伝説的な日本のアニメ・アーティスト宮崎駿の作品は誤りが無く、かつ、真似のできないものである。妖精的、ロマンティックでどこかセクシャルなディズニーの『リトル・マーメイド』のことは忘れなさい。『ハウルの動く城』『もののけ姫』、2002年のアカデミー賞を受賞した『千と千尋の神隠し』など既に傑作を作っている宮崎はアンデルセンのお伽話の古典『人魚姫』を元にして、惑星の均衡の維持と、世代を超えた愛の寓話にした。伝統的なセル・アニメを採用し、創意に富むイメージで絢爛たるディスプレーを作りだして、宮崎のバージョンは軽く甘く確実にジェンダーの難関を飛び越え、ヒロインを登場させた。ポニョは力強く、たくましく、人を疑わない、愛らしい、海の中の小さな魚である。そして、ポニョが宗介という少年と恋に落ちた時、魔術師の父親の悩みは大きいが、丘に上がって少女になろうと決意するのだ。英語版の声優の豪華さは特筆もの。ディズニーではなく、宮崎駿が真実、魔法の国の鍵を持っているのだ。 | |
| 2009年8月24日 |
Washington Post（ワシントン・ポスト） Dan Kois（ダン・コイス） |
You might think "Ponyo," Japanese director Hayao Miyazaki's new animated film, is the anti-"Up." That recent Disney/Pixar smash was about the joys of soaring into the clouds; "Ponyo," also distributed by Disney, makes its home in the sea. Where "Up" concerned itself with the grown-up problems of an elderly widower, "Ponyo" stays resolutely in the point of view of its 5-year-old hero, to the point that adults might worry it might not be for them. So what do the two movies have in common, besides a Disney logo? They're both masterpieces, and they both draw from deep wells of beauty and wisdom to offer intense moviegoing pleasure to the very young, the very old and everyone in between. Ponyo, a magical goldfish (voiced by Noah Cyrus, sister of Miley), takes a trip to the surface and befriends 5-year-old Sosuke (Frankie Jonas, younger brother of the musical Jonases), who lives with his mother Lisa (Tina Fey) in a house on a mountain peak overlooking the harbor. Later, when Ponyo sprouts legs and escapes her father, a god of the sea (Liam Neeson), to return to Sosuke, the balance of nature is endangered and mountainous waves inundate the boy's entire island. As in all of Miyazaki's movies, the fantasy elements can't obscure a deep commitment to closely observed realism. Sosuke is as authentic a 5-year-old as you're ever going to see in a film. Introducing Ponyo to the human world, Sosuke teaches her How Things Work with an expert's pride every parent will recognize. Lisa, too, is a terrific character, a mother who's no saint but who loves her son fiercely. And Ponyo? She's the kind of bizarre character who would never appear in an American children's movie but whom American children will find instantly hilarious. Ponyo also will appeal to parents exhausted by the constant Disney-led drumbeat of Princessdom. Unlike her clear antecedent, Ariel from "The Little Mermaid," Ponyo doesn't care how she looks, nor is she respectful or deferential. She doesn't wait for true love to give her a voice or make her human, but busts out of the undersea kingdom on her own. Wreaking havoc and spouting non sequiturs, she comes off as a mix of Ralph Wiggum from "The Simpsons" and the Tasmanian Devil. From the raging storms that sweep the island to the calm undersea world, the visual glories of "Ponyo" feel hand-crafted, with colored-pencil lines visible in every frame. In a way, "Ponyo" really is the anti-"Up." Pixar may have cornered the market on perfect computer animation and expertly calibrated storytelling, but "Ponyo" is a reminder of the messy pleasures of a film that's the product of a single vision. 『ポニョ』は宮崎駿の大傑作と言うわけではない。30年にもわたるキャリアの中にはオスカーを受賞した『千と千尋の神隠し』もあったのだから。しかし、彼の美しく風変りな寓話には他の子供映画には扱われなかった魔法がある。 Contains mildly scary action. |
| 2008年8月31日 |
Ｖariety （バラエティ） Ronnie Scheib（ロニー・シェイブ） |
Miyazaki's latest animated epic, Ｐonyo on the Cliff by the Sea,・unfolds with a magic limpidity, teeming with imaginative transports that owe nothing to CGI. Effortlessly shuttling between sea, land and sky, this Little Mermaid・ish tale dives deep into the collective unconscious of Japan's island culture, imagining a transparency between natural elements that promises salvation and apocalypse in equal measure. Though targeted at tots, Ponyo・may appeal most to jaded adults thirsty for wondrous beauty and unpackaged innocence. Pic is the first local production since Miyazaki's Howl's Moving Castle(2004) to pass \10 billion ($93.2 million) at home. Widely perceived as a positive manifestation of the second childhood・of its 67-year-old visionary director, pic marks a stylistic U-turn from the rendered literalism of the fantasy components in Howl's Moving Castle.・Pic frequently partakes of simpler, sparer setups, and more distilled, abstract compositions, with foreshortened perspectives and whimsically freewheeling character designs that imply the direct influence of children's drawing. Miyazaki's underwater specimens decidedly defy scientific categorization. Perky Ponyo (voiced by Yuria Nara), a fish with a little face and red dress, lives beneath the sea with her red-haired, ecologically anxious father and hundreds of much tinier, red-dressed sisters. Curious about the surface world, she hitches a ride atop one of many floating jellyfish (using a smaller, more diaphanous jellyfish as a windshield dome). Swept up by a dredging net, along with the detritus of civilization (everything from bathtubs to oil sludge), Ponyo is rescued by 5-year-old Sosuke (Hiroki Doi), who resides on a cliff above the ocean and promises to protect her always. Eventually, Ponyo sorcerer father manages to recapture his wayward offspring. But Ponyo, both a willful child and an ungovernable force of nature, soon escapes again, in the process upsetting the Earth ecological balance. Accidentally unleashing her father magic elixir, Ponyo triggers a tour de force orchestration of swirling elements that transform her wee helpful little sisters into huge fish that overrun the sea in a vast tsunami. Ponyo triumphantly rises atop the mounting waves to near-Wagnerian strains, oblivious to the total devastation she has wrought. If Sosuke serves as the template for the perfect child (with his boat-captain father often away and his dashingly imagined daredevil mother given to impulse, he assumes responsibility for everyone), Ponyo is definitely a handful. Miyazaki has crafted no demure little mermaid, and no soft dissolves accompany her awkward transitions to human form: The legs she first sprouts are chicken-like appendages, and her occasional headlong dives involve swift regressions to amoeba-like formlessness. Miyazaki has inadvertently dished up yet another challenge to the universe of hand-drawn toons: Even more so than his previous outings, the film confounds traditional notions of anthropomorphism, dwelling especially on the transformative properties of water. Far more upbeat than much of Miyazaki oeuvre, limned in bright pastel colors where even destruction is golden, Ponyo・possesses an almost demonic childish energy and a delight in form stronger than reason or narrative. Even Armageddon, as loosed by Ponyo and imagined by Miyazaki, is a wondrous place where half-armored prehistoric fish glide alongside their more evolved cousins, submerged trees form mysterious swamplands and a ship graveyard・of foundering vessels appears in the distance, like a fairyland of lights stretched out upon the water. |
| USA Today （USAトゥディ） Claudia Puig（クラウディア・プイグ） |
『ポニョ』は精気に満ち、想像力にあふれている 変動し続ける世界と明白な魔法の感覚で、『ポニョ』は子供という存在の不思議を獲得している。 宮崎駿は、『千と千尋の神隠し』のような視覚的にみごとなアニメ映画で、エンターテインメントの価値を低めることなしに情熱的な環境メッセージをも表現することが出来る。宮崎は現実と幻想を織りませる職人である。彼が想像する世界は非常に創意に富んでいる。驚くなかれ、『ポニョ』はアンセルセンの『人魚姫』にインスパイアされたという、宮崎の本国、日本で大成功を収めた。 ポニョ（生き生きした声はノア・リンゼイ・シルス、ミレイの妹）は魔法で少女にもなれる元気な小魚である。海底では、魔法使いの父フジモト（声はリーアム・ニーソン）の監視下にある。彼はシマのスポーツ・シャツを着て、なだらかな髪と、どこかビートルズの『イェロー・サブマリン』の登場人物のようなルックスの海の支配者。以前は人間だったが、フジモトは海底に住んで、ポニョを泡の中に保護し、海を弱体化する人間の破壊を軽蔑している。ポニョの海の神の母の声はケイト・ブランシェット。 ポニョは父の手から逃げ、クラゲに乗って海水面に向かう。映画のもっとも生き生きした場面はポニョが陸に上がる冒険行で台風のなか大波の表面を怖がりもせず笑いながら駆けるシーン。 魚として、ポニョは５歳児の宗介（声はフランキー・ジョナス。その名を冠した音楽家の兄弟の年若い親戚）に拾われバケツに入れられる。ポニョは少女になり、宗介と強い絆で結ばれる。宗介は勇敢な少年で母親（声はティナ・フェイ）が働いている介護施設の老嬢たち（声はクロリス・リーチマン、ベッティ・ホワイト、リリィ・トムリン）に慕われている。 父親（声はマット・ディモン）は海に出ており、宗介は海のすべてに魅了されている。しかし、ポニョが陸に上がった後で、洪水が町を襲う。 これ以上、ストーリーを見たい方は別の個所をクリックして下さい。 多面的な『千と千尋の神隠し』よりも単純な物語で、『ポニョ』の楽天性が結論に達する前に遅れを取るフィナーレによって引きずり降ろされる。≪後半誤訳のような・・・原文は、Ponyo's buoyancy is dragged down by a finale that lags before it reaches its conclusion. 斜体は作品名を表す≫ 宗介は彼自身と洪水に飲みこまれた彼が愛するものたちのために、ポニョへの愛が真実であることを証明しなければならない。この象徴は明快である、「生き残るためには、人間は自然を愛し、保護することができることを証明しなければならない」。 宮崎は魅力的で、流れるような、風変りなシナリオを創造している。あらゆるものが、粉砕された物でさえも、変容の常態にある。そして魔法の精神が毎日の大気を吹き込む。 『ポニョ』はチャーミングな冒険だ。 |
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| Anime News Network （アニメ・ニューズ・ネットワーク） |
謎めいた魚少女は、彼女を海にとじこめておこうとるする押しつけがましい父親から逃亡し、宗介に救助されて自分を取り戻す。５歳の少年はポニョと名付け、世話をしようと決意する。当然、父親は彼女を取り戻して、人間になろうとするポニョを守ろうと決意する。 【レビュー】 宮崎駿は敬愛されている映画作家です。彼の全作品は世界じゅうの多くのクリエイターたちの称賛を浴びて来ました。 そこで、彼が新しい作品を提出したとき、どこから議論し始めるかは、少し難しいのです。自然な反応は彼の前作品と比較することでしょう。最近の三作『もののけ姫』『千と千尋の神隠し』『ハウルの動く城』は主題や視覚的類似性によって支持され、勇気づけられてきた反響があります。これら三作は個人的なところから社会的、環境的な範囲にわたるテーマやメッセージを含んだ一大ファンタジーでした。 彼の最新映画、『崖の上のポニョ』（英語題は『ポニョ』）は、基本的にすべてを窓の外に放り投げたので、彼の前作品と本作を比較するのは、『となりのトトロ』は例外ですが、時間のムダとなるでしょう。 その理由というのは『ポニョ』がその最初のフレームから最後まで、純粋なおとぎ話（フェアリー・テイル）だからです。あなたが幼いとき、両親が読んでくれた子供の本は、驚異的な冒険を含み、当たり前の道具立てや家族的な要素や親しい材料に満ちており、あなたの想像力をピストン運動させ、あなたを夢でいっぱいにしました。このフィルムがそれなんですよ。そして、あなたが心地よいバジャマを着て、寝ながら魔法と驚異の物語にワクワクしているとき、あなたの両親は物語を読みながら、首尾一貫しない内的な論理や頭にひっかかるプロットの急転回やナンセンスな進行がぎっしりつまっていることに、注目していたはずなのです。 けれどもそれは重要ではありません、お伽話なんですから、ね。若い知性を刺激して、好奇心をそそればいいんです。冷淡な大人の論理は、物語に入り込む場所も手がかりもありませんでした。『ポニョ Ponyo』の物語はそのようなものです。 この映画は海中の異色な生物の密集した場面で始まります。生物は、なにか実験を行っているように見える魔法使いが指揮する奇妙な海底船の周囲を催眠術にかかったかのように漂っています。 頭の赤い魚少女みたいなものが、小さな赤ンボ魚少女みたいなものが群れをなして後に続いていますが（これらは明らかにマーメイドなのですが、これまでのマーメイド像とは異質です）、魔法使いの監視から逃げ出し、海面に浮き、彼女を拾う親切な男の子・宗介と出会います。宗介はこの生き物（かわいいけれども、ちょっと奇ッ怪な人間頭の生き物)の世話をし、ポニョと名付けます。 まだ先を読みますか。 当然魔法使いが彼女を取り戻し、閉じ込めますが、それ以前に彼女は人間の血液を味わったため（宗介の親指の傷を舌でなめて治した）、遺伝的な魔法の力を持ったまま、人間になる強力な能力を獲得します。魔法使い、彼女の父親にとって、これは面白くない事態です。彼は人間が遺伝的に醜悪で尊敬に値しないことに気づき、自ら海底に身を沈め、魔法の井戸を維持しててきたのです。魔法の井戸は地球を先史時代の魚に満ちた、地球を被っていた自由な海洋の時代に戻すものです ポニョは人間になって、海上の大好きな宗介に再会しようと決心し、逃げようとします。そして、魔法の井戸を解き放ってしまい、その結果、宗介の住む崖の傍の村をのみ込む無数の深海の生き物を産出して、海に大波を起こします。ポニョの変容は物質の自然のバランスの変化を起こし、月が地球に近づいたり、人間にとっては驚異の海面上昇をもたらします。 そこで、魔法使いは修正のためにポニョの母親＝海の女神を呼ばなければなりません。二人は宗介のポニョに対する愛情を試すことにします。宗介の肩に彼自身の力量を示すことと、その過程で惑星を救うことが課されます。 もし、これらすべてがナンセンスに響くのならば、そう、あなたが８歳以上だからですね。物語をダイジェストするのになんらかの一貫した内的意味をもつことが必要とされるからです。 けれども、それはこの映画を正しく批評するのに必要なものではありません。非常に明らかなことは、宮崎が 『リトル・マーメイド』や『ピノキオ』（『ポニョ』は多くの共通の要素を持っています）と同じ静脈があるフェアリー・テイルとして、創造にあたったということなのです。もし、あなたがそれらの現代のディズニー化された版や他のファエアリー・テイルに戻ってチェックすると（われらの時代の、しばしば血なまぐさい、残酷なオリジナル・バージョンよりも、人々が記憶にとどめている方のお話を）、それらは本作とちょうど同じくらいのナンセンスでいっぱいです。宮崎の映画にはちょっと解説や説明が多いものの（それらは道徳的なメッセージを含んで、明らかに教訓的なタッチであることは言うまでもありません）。 そこで、あなたは映画を見ている間じゅう自問自答するでしょう。「何だこれは？なぜこうなるんだ？なぜポニョの魔法の力はまったく気まぐれに見えるのか？海底の魔法使いは海の神様とセックスしたのか？だとしたら、うわ！ それに、2ドアの日本製小型車がどうして巨大な魚の動かす大きな津波を上回って走ることができるのか？」、映画に入りこんでいる観客がこういったことを考えていないことは確かでしょう。スクリーンに展開するファンタスティックでワイルドなイメージ豊かな映像に驚嘆しています。物語にひきずられて、ヒーローとヒロインが恋に落ちるのを許容しつつ。論理や意味といったものはすべて重要ではありません。 結局のところ、『ポニョ』は少なくとも宮崎の尊敬すべきフィルモグラフィーの最新のメンバーではあるわけですが、芸術家としての宮崎の長年のファンからはスランプの作品とみなされるかもしれません。 『ポニョ』は、ほとんど現実的には意味のないサブテキストをもち（魔法使いが生まれつき人間を嫌うことが主要な衝突をあおることにならず、衝突がたいして意味のある衝突にならないという）、映画のなかの現実的なテーマよりもサイド・ノートの方が多く、羽根のように軽いのです。きびきびとしたペースで、一か所に長くとどまることなく、 キュートな終わり方をします。全体を包むことなく中断します。要するに『もののけ姫』が贅沢な7コースの食事だったとすると、『ポニョ』はよく練られたクリーム・ブリュレです。すべて上出来なのですが、７コースの食事を期待していた宮崎ファンは必然的にがっかりすることになるでしょう。しかしながら、結論的には、宮崎が愛する孫たちのために作ろうとしたことは明らかです。そしてとてもよく出来ています。『となりのトトロ』を別として、絶対的・決定的に年少の観客をドキドキさせる彼の他の映画を考えることはできません。この映画は子供のいる家族にはあまり推薦できるものではありません。 この映画に関連して「家族（ファミリー）」について述べることは重要です。なぜならばそれがファンタジーの罠のすべてですから。あるキャラクターが存在します。宗介の母リサです。彼女には大人としての基盤があります。スクリーン上の彼女はいつも輝いています。ひび割れからかいま見られる多くの人間的な傷はあるものの、強くて、面倒みがよく、理性的で、全体として現代的な母親像に描かれています。彼女の宗介に対する優しく現実的な関係は、そして結果的に『ポニョ』の、この映画の大きなハイライトです。そして彼女の登場場面は、大人の視聴者にとって、そのあとに続く物語がもたらすフェアリー・テイルの狂気の嵐による破壊から必要な、繊細でありながら有力な避難所を提供することになります。 予想通り、このプロダクションは豪勢で、敏感です。「おとぎなばし」のテーマはあらゆるフレームから、スケッチ風な、色鉛筆とパステルの背景美術から（彼のキャラクターが以前に占拠した超詳細な環境からの出発）、燃えるように鮮やかなカラー・パレットまで噴き出し、この映画が基礎からストーリィブックに生命が吹き込まれるまで、デザインされました。特に海面下の場面は息をのむ出来ですし、アクション場面もたくさんありますが、どれもスリリングです。 スペクタクルなアニメと芸術性は人々がスタジオ・ジブリに期待するものですが、ここで彼らは再びそれを実現しました。久石譲は、キャッチーな（とてつもなくシンプルな）、素朴といってもいいほどのエンディング・ソングと、いつもの素晴らしいスコアを提供しています。 英語の「吹き替え」は素晴らしく、ディズニーの人々は彼らが素晴らしい吹き替えを保証できることを証明する必要がないにもかかわらず、そのことが先行する作品よりも強く感じられます。演技は自然で、吹き替えを感じさせません。ファンはディズニー・チャンネルのキャスティングがギミックでイージーだと心配していました。ジョナス兄弟の弟のフランキーとか、ミレイ・シルズの妹のノアがポニョの声だとか。けれども彼らは、子供らしい熱狂をにじませながらも、いらだたしくもなく、大きな劇的な感情を適切に保ちながら、キッズの声で素晴らしい仕事をしています。彼らの演技はキャラクターにうまく合っています。他のレギュラーは、魔法使いのフジモトのリーアム・ニーソンや海の女神のケイト・ブランシェットなど驚くべきキャスティングです。 リサ役のティナ・フェイは特記しなければなりません。素晴らしい演技です。彼女が喜劇女優であり、もっとも有名な30ロックやサタディ・ナイト・ライヴの彼女からはだれもが予想しなかったものです。まったく傷がありません。私が聞いた限りジブリの吹き替えの最高です。フェイのコミックな性格を完ぺきに避けていて、代わりに完全に現実的で時には非凡な親としてのキャラクターをもたらしています。 したがって、『ポニョ』には、現時点で宮崎ファンが期待するものがないにもかかわらず、彼の試みは成功しています。真に息をつかせぬ瞬間のある古風なフェアリー・テイルですが。宮崎のベストな、強い、思索的な映画とは言えないでしょうが、彼が作ろうとした映画を作ったことは明らかです。 『ポニョ』のエンド・クレジットは心地よい海のスケッチの上に垂直にスクロールされます。最初にクレヨンで「私たちがこの映画を作りました」と走り書きされて、製作に関わった全員の名前が小さな手描きの漫画の横に出て来ます。主要なキャスト、監督、脚本家、作曲家は別として、誰彼の区別なく頭文字順に並びます。それは幼稚園のクラスで作られる当直表のなごりです。この可愛いクレジットは『ポニョ』について何を知るべきかの多くをあなたに告げることでしょう。 【グレイド（評価）】 総合（吹き替え） Ａマイナス 物語 Ｂプラス アニメーション Ａプラス 美術 Ａプラス 音楽 Ａ |
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| 2009年8月11日 |
Lauren Davis（ローレン・ディヴィス） |
Miyasaki's Fishy Love Story Celebrates the Spirit of Adventure Hayao Miyazaki's latest film Ponyo may be inspired by "The Little Mermaid," but amidst its stunning underwater scenes and raging storms, it's less a tale of romantic love than of strong, self-sufficient characters eager for new adventures. Miyazaki doesn't hesitate to show us his underwater vision, a dreamy land of shimmering squid, inquisitive fish, and swirling bubbles of jellyfish. This is where the sea wizard Fujimoto, an easily flustered fellow in a vaudevillian jacket voiced in the English-language version by Liam Neeson, practices his magic. Frustrated by the garbage dumped into his ocean waters, Fujimoto has developed an extreme hatred of humanity, and he is storing up magic to bring the sea back to the Devonian Era, ending the reign of humans. But his eldest daughter, a goldfish with a human face named Brunhilde, is not content to watch her father stew and brew, and quietly slips away one day to explore the rest of the sea. After a run-in with a garbage trawler, Brunhilde is trapped inside a jar and washes up on the shore of a seaside town. There, she is discovered by five year-old Sosuke, who quickly recognizes her as a magical fish, dubs her "Ponyo," and vows to take care of her. Sosuke cares for Ponyo for the better part of a day, slipping out of school and bringing her to the senior center next door where his mother, Lisa, works, but Fujimoto manages to reclaim his wayward daughter, commanding the currents to seize her and bring her home. But Ponyo has already fallen in love with the kind-hearted Sosuke, and, with the help of her little sisters, escapes her fathers home and steals his magic, transforming herself into a human so she may seek out Sosuke. Her transgression unleashes a tsunami on Japan and creates an imbalance that threatens to destroy the world, but that's of little concern to Ponyo, who simply wants to be reunited with Sosuke and learn to adapt to life on land. Despite Fujimoto's grumbling about humans and their pollution, Ponyo contains little of the moralizing of Princess Mononoke or Howl's Moving Castle. Ecological disaster strikes, but when it does, it's caused not by humans and their ignorance, but by the magical beings that inhabit the ocean. And the people of Sosuke's town are a level-headed, competent bunch. When the town is flooded by the storm, they band together in boats and search the town for neighbors in need of assistance, and Sosuke's own home features its own amateur radio, propane tank, water tank, and generator. To all the human characters, the flood is treated not as a disaster, but an inconvenience, one that has added wonder to their world. It's not a movie about antagonists or conflict, but about self-sufficient characters who meet challenges and adventures head-on. That Ponyo is character, rather than plot, driven is at once the film's greatest strength and its chief weakness. Ponyo and Sosuke (voiced respectively by the youngest Cyrus child and the youngest Jonas brother, as if the families were somehow indentured to Disney) convey all the wonder, severity, and fearlessness of being five years old, making their post-diluvian adventure both believable and a delight to watch. And Tina Fey as Lisa, who happily indulges her son's mystical notions but has trouble coping with her fisherman husband's long absences at sea, is at once maternal dutiful and impulsive, maternal and prone to fits of childishness. She, and most of the other characters in Ponyo feel multi-faceted and alive as soon as they step on screen, and much of the film's humor is derived from our instant affection for them. But, like any proper, hyperactive five year olds, our heroes are far more interested in exploring their new world than in sticking to a fairytale script. There are no puzzles for Ponyo and Sosuke to solve, no powerful beings they need to impress, no villains to outwit. Eventually, Sosuke must pass a test of love, although it isn't even as substantial a test as the one Chihiro must pass at the end of Spirited Away, and Sosuke has no way of knowing that Ponyo's very life hangs in the balance. Even Fujimoto who seemed like a possible antagonist to be swayed by Sosuke's own earnestness seems to change his tune on humanity rather abruptly, landing him more in the category of comic relief than imposing wizard. As a result, the first half of the movie feels like a promising set up for a story that never happens. Ponyo and Sosuke don't seem to mind though, content as they are to travel through their flooded town on a magical boat and name all the prehistoric fishes they see below. But even with a weak story behind it, Ponyo proves Miyazaki is still a master animator, one whose vision and attention to detail may be unparalleled. The tsunami, with waves represented as giant, eager fish, is at once beautiful in its magical elements and terrifying for its very realistic power, and once Sosuke's city is submerged, Miyazaki shows us the underwater remnants of suburbia as enticingly tranquil, rather than as skeletons of human society. And he can add humor to a scene by simply with the apt placement of an octopus or crab in the background. It's certainly a film whose visual elements will demand repeated watchings, and a light enough tale to make those watchings enjoyable. |
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