As one of Japan’s preeminent samurai series, Lone Wolf and Cub, establishes itself as something of an outsider when compared to the samurai pictures of yore. The series – which in itself features a cast of characters abandoned by society or outright rejecting it – prides itself on its unabashed use of hyperbolic violence and doesn’t care who enjoys it. It’s out to make a statement and it’s not here to make friends.

When you watch the Lone Wolf and Cub films – which aren’t exactly long movies since each film has an average running time of 80 minutes – one of the most immediate things that become noticeable is how much they don’t feel like films. Yes, the production value is there but it doesn’t really ever feel like you’re watching a series of films. Seeing as the series is based on a manga series, each film feels episodic in nature with events and repercussions from previous films hardly carrying over into the next. Whether or not this can be interpreted as a critique on part of the series is entirely up to you but for this writer, it meant having to change my perception of the series. Much of my experience watching Lone Wolf and Cub felt similar to watching television shows and mini-series, and as such, I viewed Lone Wolf and Cub in that manner (which is probably the best to look at the series).

The first film in the series, Lone Wolf and Cub: Sword of Vengeance, can perhaps be considered the best of the series. It is in this film that we learn about Ogami Itto, the framed executioner turned assassin who vows vengeance against the Yagyu clan for disgracing his clan and murdering his wife. Together with his son, Daigoro, the two of them wander as steely-eyed assassins-for-hire, referring to themselves as the Lone Wolf and Cub. The reason why this film may be considered to be the series’ best is due to how emotionally resonant it is. This comes as a surprise, given the series’ renowned violence, but certainly gives you a reason to cheer for Ogami and rally against the Yagyu. The flashback scenes are handled quite delicately so as to extract maximum empathy (the scene where Ogami lets his then infant son, Daigoro, to choose between life as an assassin or death with his mother is particularly powerful). Unfortunately, the rest of the series never quite has restrained moments like these which is a shame considering that there’s probably a lot that could have been done to enhance the relationship between Ogami and Daigoro or given them depth. The end of the first film crescendos into a bloody brawl as Ogami kills off a bunch of bandits who had imprisoned him but his journey to vengeance is far from over.

As each series progresses, the basic outline of each film becomes more apparent; Ogami and Daigoro are hired to kill someone (or several people) where the final battle in the film usually ends in a bloodbath and stacked body count. To the series’ credit however, though it follows a formula of sorts throughout, it does so in a way where each new episode in the series feels fresh. Each situation feels different and the lead up to the final fights still becomes pretty exciting (even if some of the one on one fights are over in a matter of seconds). Part of this is because the Yagyu clansmen are still out to silence Ogami and his son as thatFor some though, the “monster-of-the-week” trope (in this case, the “monster-of-the-next-movie” trope) that’s often perpetuated in television may prove to be tiresome for those wanting to see something completely different or a change of pace. Repetition notwithstanding, Lone Wolf and Cub is a genuinely exciting series. The second film, Lone Wolf and Cub: Baby Cart at the River Styx is great as it features a great fight between Ogami and three specialist assassins. The sixth film is also another standout and racks up an incredibly large body count – one of the largest I’ve ever seen on film by one man – with a final battle that looks stunning against the snowy backdrop.

If there’s one largely disappointing aspect of the film that has to be addressed however, it’s that the series never truly concludes. It’s not clear as to whether or not Ogami sees an end to his vengeance and, though he emphatically takes out most of the Yagyu clan, the culprit for Ogami’s framing, Retsudo, escapes the battle and doesn’t get his comeuppance. There certainly could have been room for another movie to satisfyingly bring the series full circle but as such, we’re left with a very open-ended conclusion.

http://www.youtube.com/watch?v=Qb_2-RpbOLE

Though the violence may seem dated by today’s standards, the series’ reverence can undoubtedly be felt. The legacy of Lone Wolf and Cub has seeped into other films, most noticeably in Quentin Tarantino’s Kill Bill films where references to Lone Wolf and Cub are made on more than just one occasion in those films. It’s an enduring series, one that I’m sure will be told over and over again with different variations.

Lone Wolf and Cub – Ultimate Collection is now available for purchase through Madman Entertainment.

As I receive more and more anime from NIS, they are rapidly becoming my favorite distributor. Not only do they license great anime but it seems they are passionate about creating a total package. Everyday Tales of a Cat God, The Blu-ray Complete Series (S) Premium Edition contains episodes 1-12 plus the OVA and a hardcover, 32-page art book that provides a deeper viewing experience with illustrations and additional personal touches from each of the characters! The everyday tales of this cat god and her harrowing adventures to the candy shop, a landfill, and a beach resort show Mayu and her friends that sometimes, the simplest things in life are the best. Even though Cat God is not exactly the type of show that I was expecting NIS America to license, they once again come through producing another high-quality LE package. The artbook just looks exceptionally great. It’s all bright and cheerful, which is the proper mood for what this show is about.

An engaging slice of deity life comedy with lots of cat jokes about being lazy and greedy for food. The comedic style also runs similarly to Lucky Star. It feels slightly sporadic and silly and very little of what’s going on makes much sense. I love comedy, but my personal choice of comedy usually isn’t the Lucky Star brand of works. While it’s cute, there usually isn’t much substance. So it’s a good thing to watch if you’re in a down mood or had a stressful day. Again, not much is really explained until about halfway through and when it they do it, it really comes as a shocker. It really changed the mood of the whole series and suddenly there was a story arc that took over. Sure the insane antics continued, but the majority of the episodes were far more serious and just peppered with humor. This is what made us to believe that there was a lot they were trying to fit into this run. A lot of things are explained via flashbacks and stories told by Maru or Yuzu for the most part, but there is still quite a bit that’s left up in the air.

No complicated story and no distractions. It’s just laid back simple fun which I truly appreciate. It’s a forgotten kind of approach on anime because almost everything now needs to be compelling and intriguing. Once upon a time though, there were anime you just watch on a weekly basis just so you can have fun while watching them. There used to be a lot of simple anime with non-episodic plots. Shows like Love Hina, Sorcerer Hunters and even Galaxy Angel that was just out for fun and nothing more. All in all this leads to an adorable scene where Shamo shows the level of authority she has. She even has the other gods and goddesses bowing to her. Though she sounds stern at first she then reveals that she’s actually proud of the work that they’re doing and that she’ll leave the town…only to then decide to stay because she wants to beat the video game she’s playing. This series is definitely adorable and the comedy isn’t the funniest, but it has it’s moments. If cute and quirky is something you like in a series, you’ll most likely enjoy this one.

http://www.youtube.com/watch?v=a8qfio5JioU

Some nice seasonal stories as the various gods of Spring, Summer and so on do their “set pieces” throughout the Japanese festival calendar. The animation style is a bit simple, but it’s very clear (especially in HD) and fits the story well. It’s has a pretty modern feel to it. The music is pretty stock for 2010′s Anime, the ending credit song is catchy, the incidental music fits the scenes well. Despite the fact that even the pacing the season and how it was presented was chaotic in and of itself, the show was great. There is also some manga panel style in some of the anime which features another story about a girl and death god. It’s a pretty nice easter egg in the anime. Overall, the good far outweighs the bad.

Miki Purnell recently made her notable recording debut with Swingin’ to the Sea. Musically, the CD is full of joy, high musicianship, versatility, infectious enthusiasm, and memorable singing. But when one considers that Miki is a full-time doctor who practices in the San Diego area, it is particularly remarkable that her singing is so professional, fresh and inventive, never sounding like this is her second career. Miki Purnell has an original style, a very appealing voice, and an irresistible enthusiasm for the music she sings. Read below for the full interview…

Throughout the duration of your album, you have found music therapy to be an asset to your overall character. How has the creative process of this album effected your other professions?

Miki: During the creation of my debut album “Swingin’ to the Sea,” I found music brings peace within chaos, helps me focus, and helps me appreciate my day-to-day life more. I spend five to six days a week taking care of my patients. The other one to two days a week are my days to relax, revive, and reset. My favorite time is going to the beach and “feeling the ocean.” That is where my album concept came from! I walked on the beach barefoot, pedaled my bike in the sweet and salty air, and felt the melody and words come from my heart. It was a wonderful feeling! When things go crazy in my busy day, I just meditate for a few seconds, remembering how wonderful the feeling was, and I feel the peace I felt within immediately coming back to me. I find it very therapeutic!

What challenges presented themselves when you take a classic song and give it your own personal twist and arrangement? Did you experience any pressure tackling these musical challenges?

Miki: Finding a balance between preserving the essence of the classic music and yet still bringing my own twist was challenging. You want to be tasteful. You respect the original and only change the area where your interpretation/your idea is meaningful and tastefully tells your own story.

I believe you grew up in Japan and graduated in Okayama. What impact have these experiences living in another part of the world had on your life? Was it hard to adjust living in California afterwards?

Miki: Moving to another country opened my eyes! And living in California helps me accept diversity and see the benefit of it! 1+1=3!

Tell us a bit about the positive messages embedded in “Swingin’ to the Sea.”

Miki: In the stress of life, one must take time to connect with nature and oneself.

Why do you feel jazz was the best genre to communicate your message to the musical audience of the world?

Miki: Jazz is timeless and it allows for the freedom of improvisation. Jazz was born to cope with difficulties such as slavery and world depression. I wish jazz to continue to evolve in our time and help us cope with the modern stresses of life.

http://www.youtube.com/watch?v=4zPmRHqVCUQ

Do you have any favorite Asian films?

Miki: “Seven Samurai” by Akira Kurosawa. This film shows how people who help their fellow men need courage and love and need to make sacrifices.

Recording a CD is an important milestone in turning your hard work of vocal and songwriting training into fruition. Having worked with so many people along your journey, what was the evolution process incorporating your own style, voice, and lyrics?

Miki: I am still evolving and I wish to continue to evolve. There are always next steps. I work with wonderful mentors and they are all evolving. This time, the most important thing I tried to do was to find “my color,” and my persona as an artist. I find that singing is a reflection of my life. My positive and bright side was the primary focus of this project as I stepped into the world of jazz.

How incredible is it that the right song can be stumbled upon at the right moment and somehow inexplicably become a part of who you are? You stated that ‘Music can reach people when words fail.’ How were you able to create songs that achieved this goal?

Miki: Some things are unexplainable. They just happen. That’s what art is. That is the difference between art and science. Art comes from the soul.

Since you have a very busy day-job as well, will there be any tour dates or intimate venues where people can catch your music live this year?

Miki: Yes, life is all about balancing. After my debut concert, I will plan to have regular concerts once every 1-2 months. I also plan to visit Japan in Fall 2013, and wish to have some concerts there.

Lastly, what advice do you have for someone who might be scared or fearful of following their musical dreams?

Miki: The worst failure in life is never trying!

Make sure to mark your calendars as June 23rd is her album release concert. Follow the links below to get info on Miki and her music:

http://www.mikipurnell.com/
http://www.youtube.com/watch?v=4zPmRHqVCUQ

Japan’s greatest living director (for my money), Hirokazu Kore-Eda returns with a feature which seeks the definition of family. Set in modern-day Japan, the film paints in patient brush strokes the uneasy association between two families who unexpectedly learn they’ve been raising the other’s son for the past six years. Although the film displays very traditional Japanese family values, the themes found within can be related to universally. It seems hard to believe that a hospital could give someone the wrong child, but it has actually happened several times in real life. As you can imagine, this is absolutely devastating news to both Ryota and Midori who have spent six years carefully raising a child turns out to not actually be their own.

Kore-eda handles this material in his typically gentle, methodically paced style. The end result is a film of unforced profundity, one that wisely implies that mere biology means little in the face of complicated human emotions. That Kore-eda’s able to offer even a faint glimmer of hope while staying true to the tenuous nature of such a relationship is further proof of his unique talent. Like Father Like Son doesn’t try to find out which family raises its son the best but rather simply aims at being a celebration of love.

As the two families begin to intermingle, they decide to exchange the boys for weekends on a trial basis, each family gets a chance to see a different way of living. Most significantly, in the context of the film, each boy and father gets to experience an alternate relationship. Tender and moving at times, light and humorous at others, the film seems repetitive and monotonous in its two-hour duration, while attempting to reach a conclusion which could have been reached much earlier on. Perhaps that flaw is what keeps it from being one of the best films I’ve seen in years…

http://www.youtube.com/watch?v=vhNGMHqPMs4

Koreeda continues to excel with Like Father, Like Son. The drama in Kore-eda’s film is subtler and quieter, its surfaces relatively placid yet nonetheless coursing with underlying tensions. This is the eclectic Japanese director working in his Yasujiro Ozu-like Still Walking mode, and that is all to the good in this case. As a whole, the film is an excellent display of storytelling as it takes a rather basic premise and turns it into the emotionally complex film that it is. Just be preparing for the film to overstay it’s welcome just a smidge.

“Nothing’s so solemn as a man’s last moments.”

Akahige is the beginning of Kurosawa’s later career; when his output became less prolific and dealt more with sprawling ideas (this one running over three hours) and a more determined, less specific approach to storytelling. 1965 also marked an end for black and white film in Kurosawa’s filmography and his final collaboration with longtime collaborator, Toshiro Mifune. Known for his unparalleled use of widescreen, Red Beard is the final of these as well. The film is based on an anthology of short stories by Shugoro Yamamoto and Dostoevsky’s The Insulted and the Injured, both of which share humanistic qualities present in much of Kurosawa’s work.

Dr. Noboru Yasumoto (Yuzo Kayama), an arrogant novice educated richly at the Western-influenced port of Nagasaki, dreams of being the personal physician of the Shogunate – an affluent career in correcting cataracts and such work. His family and contacts are wealthy and reputable so he is confounded when, for his postgraduate work, he is sent to the rural Koshikawa Clinic as understudy to Dr. Kyojo Niide (Mifune), Red Beard. Adapting to his new post and having to follow Dr. Niide’s firm policies cloud his ambitious mind for a good portion of the film early on. For Yasumoto, his position is one wherein he may innovate and excel. When Niide demands to see his medical notes, Yasumoto refuses. Niide views a physician’s work as belonging to the medical community, not to be hoarded by aspiring practitioners. By breaking every rule, Yasumoto hopes to be dismissed from Niide’s service and moved to a more comfortable locale where he can be independent. His self-image is great, but he also has a genuine interest in helping others: at his worst, his bleeding heart is blinded by his ego. He hears Red Beard’s wisdom, “Even bad food tastes good if you chew it well,” as practical as it is humourous, and is encouraged by the other employees of the clinic, “He’s unfriendly to people he likes.” It is once he begins meeting with the doctor’s patients that he finally sees worth in Niide’s methods.

We meet Sahachi who sells the goods he crafts to help support the patients at the clinic. With his failing health however, he soon becomes too ill to work. We learn of Sahachi’s past, riddled with earthquakes and lost love, as a reason for his insistent selfsacrifice. Yasumoto’s introduction to The Mantis is the longest shot in the film. The gossip he had heard before of her, of outright violence and murder, is contrasted by her initial subservience to him – but this is also dangerous for she is well-versed in getting physicians to respond to her feigned vulnerability. We meet also, Rokusuke, once a gold lacquer merchant, now dying of liver cancer. Niide’s lesson for Yasumoto is simply to watch the man die. Niide believes in alleviating a patient’s suffering as much as possible especially when there is no cure to their ailment. To comfort, one must be able to look death in the eye. It is a harrowingly moving scene that consists of gasps and horrified looks. It is Niide’s intention for Yasumoto to relinquish his literal mind towards a greater understanding of death: its mysticism, its inevitability, and finally one’s acceptance of it.

http://www.youtube.com/watch?v=TgNgXsKSzp0

In this film, Kurosawa is associating and, in many ways, predicting the far reaching consequences of, the incursion of Western medicine in Japan, an emphasis on the physical, and the dismissal of any spiritual or psychological facet in one’s analysis. It is a reaffirmation of Kurosawa’s views of existentialism in that the personality of the individual determines his fate; a transitional film, where such topics as social politics and conventional heroism give way to detailing the philosophical and existential struggle we all must endure and bear others through.

Warner Bros. is proud to announce the arrival of Jack the Giant Slayer released on DVD & Blu-ray on June 18!

Unleashed on the Earth for the first time in centuries, the giants strive to reclaim the land they once lost, forcing Jack (Nicholas Hoult), into the battle of this life to stop them and rescue the princess!

The question is… are you courageous enough to rescue the princess? Are you brave like Jack?  Take the quiz to find out!

Take the quiz and post your results! One lucky reader withh win Jack the Giant Slayer Combo Pack (Blu-ray + DVD + Ultraviolet)! Contest ends June 18, 2013!

Monica is a young illustrator, born in the Philippines and raised in between beaches, mountains and a quiet neighborhood. She graduated from the Illustration program at Parsons the New School of Design with honors and lives in Brooklyn (for now). Painting food is her excuse to eat so much. We sit down and talk with Monica about her style, technique, education, and more! Read below for the full interview…

Your art has a tessellation vibe to it. Would this be an accurate description?

Monica: Maybe, if you emphasized the “vibe”. I don’t do any math or complicated geometry. I enjoy repeating forms. Maybe by repeating something over and over again, I can capture it’s essence, or show people’s individuality and unity. I also like actually making patterns, combining shapes, fitting objects into odd spaces. It’s meditative.

What kind of avenues can you explore with your art using a pattern-like layout?

Monica: I’d love to design some textiles and make a small collection of clothing.

Parson school of design provides us with more artist interviews than any other formal institute. Why did you choose Parson’s to further your education and how has it helped you?

Monica: I remember reading about Parsons while I was in high school, in a college guide book. It seemed like one of the best art schools in the country. I naively thought that I would go in and learn every possible major and come out a completely transformed. My hopes were very high. I was actually too intimated to even apply right out of high school and transfered in after going to a liberal arts college. Parsons felt like four years of stress and rapid growth. I tried things I have never thought of, was inspired by all the creative people around me and got some good insight into what the “industry” is like. I feel like I have so much to learn still, so much more to improve.

Lots of your work starts with the word ‘How’ as to illustrate a quirky way to do something. Does this stem from you being an observer?

Monica: Oh, I hadn’t noticed that. I’m not very good with titles. I usually just put something I think is funny. Many tend to be suggestions of ways to act as well as observations. I think a lot of my work is about trying to capture these little moments that make up life. Or trying to make up a dream world that I want to be a part of. I wish I was a better observer or a writer with photographic memory.

You also sell prints in your shop. Some artists have reservations about selling their art so soon after college yet you don’t seem to have reservations about it. Could you tell us a bit about your decision to do this?

Monica: In my last semester in school, I took a silkscreen class and made prints and tote bags of a drawing of naked ladies. One of my friends encouraged me to put them up on Etsy to sell. I had so many of them and people seemed to like them so I just did it. A woman invited me to join a group print show in Texas, but I didn’t have enough silkscreens to send her, so I had a small run of prints made. I try not to take myself too seriously. If we wait for our work to be totally perfect, we’ll never show anything at all.

Your art is cute. Can I call it that? Ever thought about doing a series that was a bit morbid? Or can you only channel your creativity when surrounded by positivity?

Monica: [Laughs] It is pretty cute. It’s the way I draw! I can’t help it. Even when I draw sad things, they just look cute or funny. It’s partly my own insecurity. I have trouble sharing the dark, sad side of me. It’s scares me, so I end up making it with humor or softness. I respect people that can just expose themselves that way. It’s something to work on, opening up and making more honest work.

What are some of your favorite Asian films?

Monica: I love “Akira Kurosawa’s Dreams” ! The stories are beautiful and terrifying and suspended in a dream logic that totally escapes me when I try to explain their plots. Spirited Away, Seven Samurai and Battle Royale. I also love watching cheesy Filipino love stories sometimes and crying a lot at the end, like All About Love. I can’t watch American romantic comedies, but the FIlipino ones hit me in the heart.

What was is like displaying your work in Austin versus New York? Was there a different dynamic to it and did you have to shift your style around?

Monica: I didn’t go to the show opening, so I cant say.

What lies ahead now that you are free to work anywhere and with whoever?

Monica: Oh, I’m really not at that point yet! Though I am excited about joining the staff of Rookie Mag as an illustrator and cooking with more vegetables.

Lastly, can you offer up any advice for the everyday struggling artist?

Monica: Be kind, work hard and trust yourself.

Want to stay up to date on all of Monica’s artistic adventures? Follow her cookie crumb trail below:

http://www.monramos.com/
http://monicatramos.tumblr.com/
http://www.etsy.com/shop/monramos

A movie with the title Kung Fu Master is an obvious ploy for martial arts film fans to just pick up a copy, sit down and enjoy the ride. Yuen Biao stars in this film as, you guessed it, a kung fu master (actually a monk with kung fu skills but whatever) who fights any enemy who comes his way. It sounds like the typical martial arts film plot. We can talk about how this film is just a collection of action scenes from a Hong Kong TV series that Yuen Biao starred in called The Legend of Shaolin Kung Fu 2 with the scenes coming from the middle portion of the 120 episode series condensed into 95 minutes. How in the world did the filmmakers decide that doing that would be a good idea? Do they think we’re stupid? Like, we aren’t going to find out for ourselves because we don’t know how to do research on a film that looks like it was made for TV.

Anyway, one of the things that stands out as how you can tell this film was condensed is the fact that there is an action sequence for almost every minute of screen time except for a few short scenes put in to establish a main plot line that doesn’t go anywhere. I’m sure the TV series is decent and interesting enough but this condensed version of the series is not something that would suffice on a Monday afternoon. Yuen Biao does get to showcase his amazing talent but unfortunately there are times when the man is obviously doubled. There are some awkward camera angles and there are times when the fights don’t flow as well as they should have. Even though this is off of a TV series, the editing could’ve been a much better highlight.

Going on a tangent here but there is one time, during the final fight, where the same sequence is used twice – in chronological order. You read that right. The camera is on Yuen Biao and then zooms out with his entourage forming a line on both sides of him. Then, the next sequence, IS THE EXACT SAME THING! Wow, that is same horrendous editing. Someone must’ve been sleeping on the job while they were editing that. You will know what I mean when you see it.

http://www.youtube.com/watch?v=VDW3Y8mEutE

Yuen Biao is such an amazing talent that it’s a shame he never reached global super stardom like he deserved because he truly is an astonishing martial artist. This “film” definitely doesn’t help that cause and for all of you martial arts fanatics out there, you should do yourself a favor and skip this. Better yet, when you see the DVD, save everyone the trouble and just throw it on the ground and stomp on it. Is that too harsh to ask?

Starship Troopers: Invasion is surely a curious beast. Not only is it a belated animated sequel to Paul Verhoven’s cult classic Starship Troopers, but it’s also a Japanese co-production directed by Appleseed’s Shinji Aramaki. It’s not the first time Japanese studios have produced animated versions of existing Hollywood properties, but they generally take the form of spin-offs like the Animatrix or the animated Supernatural. Invasion is unusual in that it’s intended to be an official sequel set in the same universe as the original, and even featuring some of the same characters. This makes it an interesting prospect for both fans of the original flick and for anime fans.

Starship Troopers has already spawned two live action sequels, but this feature wisely chooses to ignore them. They were direct-to-video cheapies of the worst kind, with the second outing Hero Of the Federation being a particular abomination. When you can’t even get Casper Van Dien back.. you know you’re in trouble. The third one was quite an improvement in comparison, but was still not a patch on the original. Therefore saying that Invasion is the best of the sequels is the very definition of damning with feint praise, but that’s not to say it’s not worth a watch.

This is actually the second Japanese adaptation, following a little known 80′s video series. Japan has long had quite a love affair with Robert Heinlein’s original novel, which is seen as being quite influential on Japanese science-fiction. The original novel had mech-style powered suits, so it’s barely surprising that it was so popular in the land of Gundam . Although sold as a sequel to the 1997 live-action film this is actually more faithful to the original source material, in some ways at least. The opening lines are lifted directly from the novel, and the suits appear on screen for the first time.

http://www.youtube.com/watch?v=TCAiF4JOcFo

Yet in other areas it does stick closer to its’ live-action predecessor. The alien bugs look exactly as you would expect them to, and the action looks just like it should. The animated version also shares the original’s preoccupation with gratuitous nudity and bloody violence, so it’s much closer to a true sequel then the afore-mentioned straight-to-video clunkers. The animation looks pretty good, but has a more realistic look than Aramaki’s earlier CGI efforts. This does put the end result perilously close to the uncanny valley, but it generally avoids tumbling in. Although characters from the original appear (including Johnny Ricco), no effort has been made to make them resemble the actors who portrayed them- and perhaps this is for the best. In the end Invasion is a fun time for fans of the original, and a welcome return to the universe. While much of the elements that made the first film so fun are here, the satirical edge of the original is sorely lacking. Ultimately it makes for diverting enough 90 minutes, but nothing more.

For those unfamiliar, Anne Frank was a Jewish 13-year-old living in Amsterdam during the Nazi occupation. With more and more Jews being taken into concentration camps, Anne’s father arranged for the family to hide in a hidden apartment above the office he once worked in, where they stayed for two years (sharing the close quarters with another family and a single man). The family was eventually betrayed, and all were taken to the camps, where Anne later died of illness. But she left behind her diary, which accounted the entire ordeal in intimate detail. Only her father survived the war, and upon discovering the diary (and with it, her dream of being a published author), he submitted it to publishers. In the decades since, it’s become a seminal work, and part of the curriculum of many history and literature classes in schools around the world.

She didn’t have much friend in her life so she puts her sorrows, sufferings, joys – everything in journal. After some months, she has to go to a hiding which she refers as the ‘Secret Annexe’. There, she meets a new family – the van Daans. As the story continues, her life as a teenager, family affairs, relationships and sorrows reveal. It will surely make you moved! I can find almost no information about this film online, in English or Japanese. I have no idea if it was successful or not. What I can say is when you take the touching subject matter aside, it’s not a great anime. If the cinematography makes one think of an intensely bad play, the dialogue does not help. We sit still from far away, watching characters speak in oddly informative arguments, and then overact, all without moving their faces much. Entire scenes play out from a single, unmoving camera angle, with not a single cut.

The creators managed to portray Anne really well as an average teenager, with her strengths and her flaws. The other people around her are also wonderfully characterized: but when there is no interpersonal action to be had, Anne moves slowly, maddeningly slowly, in every possible interaction with the world around her, accompanied at times by the funerary, droning score of British minimalist composer Michael Nyman. The story is also unlike any other WWII movie I’ve seen so far. Most deal with the horrors of death and destruction. However, this movie is about the fear of death and destruction. Anne and her family, along with a number of other people were locked away for two years, without ever going outside. Kudos to Madhouse for focusing on a slow methodical take on an otherwise grizzly storyline.

http://www.youtube.com/watch?v=y6tWlDRnHog

I’m very surprised at how little known this movie is. The story is still haunting and tragic — the book is so widely known for a reason. But I can’t think of a worse way to experience the story than watching this film. As supplies begin to dwindle and relationships grow more complex and heated, Anne continues to write, dreaming of a life in which she is free. It did a wonderful job in portraying the setting without falling into stereotypes. It’s a claustrophobic movie which for its majority just plays out inside one single house. it’s a real recommendation for those looking for a movie and don’t mind the lack of action. But, strip away the subject matter and it’s just another ho-hum anime. Thumbs in the middle.