THE STORY – A murdered princess awakens in a realm between life and death. Racing against time in a world of chaos, she must defeat her father’s killer and reach a mythical sanctuary before her soul vanishes forever.
THE CAST – Mana Ashida, Masaki Okada & Kôji Yakusho
THE TEAM – Mamoru Hosoda (Director/Writer)
THE RUNNING TIME – 111 Minutes
It’s rather amazing how many times Shakespeare has been used as a source of inspiration for storytellers. Perhaps there’s a reason that all those English teachers insist on continuing to study his text. Because, in an industry that seems to always value remakes, going back to the classic works he produced has seemingly never been discouraged. His material doesn’t even need to be a direct adaptation either. Even a whiff of interpretation is all that’s necessary to create an entirely new and inventive landscape. Often, the less traditional adaptations of his work are the most memorable because of the creativity that’s employed. It’s safe to say that Shakespeare himself probably could never have imagined someone taking his writing as inspiration for a story that “Scarlet” ends up spinning. It wants to use one history’s most revered works in service of an epic tale of revenge and personal growth. What it showcases is a visually impressive feast that’s not matched by the shallower thematic commentary at its core.
The basis for this story comes from “Hamlet,” though more as if it were more akin to the version that was adapted in “Last Action Hero” starring Arnold Schwarzenegger. This Hamlet is instead a young princess named Scarlet (Mana Ashida), and she has vowed revenge after seeing her father killed by her usurping uncle Claudius (Kôji Yakusho). Her attempt to kill him results in her own poisoning, and her soul is sent to a barren yet vibrant underworld. This is a realm where the sky appears as a raging ocean, warring armies do endless battle, and a giant dragon pierced by thousands of swords looms overhead to reign down bolts of lightning from its mouth. It’s a place where time has no meaning, which is why Claudius has already arrived and is determined to enter the gates of Paradise himself and eliminate all others who try. This begins Scarlet’s quest for vengeance, and along the way, she crosses paths with Hijiri (Masaki Okada), a nurse from the modern age who is confused as to why he is in this strange place. The two pair up along this journey, reaching a destination that will shake both of them to their core.
Mamoru Hosoda has been one of the most prolific directors in Japanese animation for some time now, and it’s not hard to understand why when you look at his filmography. He generally paints on a grand scale, delivering vibrant spectacle in fantasy realms that attack the senses with awe-inspiring beauty. “Summer Wars” and “The Boy and the Beast” are examples of his detailed artistry. Even though the Oscar-nominated “Mirai” is less ambitious regarding the more fantastical elements, it still taps into a sincere emotion that’s shared with his other works. The world created in this film is an imaginative arena that highlights its unique aesthetics with impactful action sequences and a deafening sound design that immerses you in this environment. The animation has an expressive quality to it, with meticulous designs to bring energy in every corner. Sometimes CGI is utilized to enhance the grandiose pageantry or rotoscoping is employed for dance sequences that require precise movements. Even when the quality of the animation isn’t always at the very top, the imagery that’s created can reach breathtaking levels of amazement.
For as accomplished as Hosonda is as a visual artist, there’s another component to his storytelling that’s consistently been a downfall. He crafts such vivid and extraordinary atmospheres to explore that are exceptionally rendered that ultimately result in a thematic conclusion that’s overly simple and sentimental. For as memorably stylized “Belle” is to watch, its concluding message culminates in an anti-bullying sentiment that feels quite reductive. The same applies to this narrative. It attempts to transform a recognizable text and infuse it with distinctive elements to bring real novelty to the execution. But the prevailing themes surround a basic understanding of the futility of being consumed by revenge, and the necessity to let such hateful emotions go in order to find peace. It’s not exactly an innovative assertion to make, and this concluding thesis sadly fits in line with his work as a whole. It means the characters’ lessons are mundane and lack complexity to make them more captivating, and the finale turns out to be an elongated chore. At least this one has some cool sequences with that dragon’s lightning being put to exciting use, but the dramatic explorations are disappointingly hollow. Not to mention that, for an adaptation of “Hamlet,” there’s a lack of focus on Gertrude that’s especially underwhelming given this own version’s implication of her importance to Claudius.
Even for those that may not understand every nuance of the Japanese language, there’s still an impressive array of voice talent assembled here that utilize their skills to deliver notable portrayals. The passion that Ashida infuses in this role is felt within every moment, and the pain she endures in order to reach a sublime realization is palpable in her performance. Yakusho mostly indulges in the flamboyant presence of a villainous rival, but there’s an appreciation for the joyous deliveries he provides, making him a compelling figure. Many will remember Okada for his brilliant turn in “Drive My Car,” but he doesn’t do much to make the greatest impression with this role. Hijiri is just not a very complex person, and the performance attached to him is equally unmemorable. He’s the weakest link amongst the cast, but serviceable enough to make the part work within this framework. He just doesn’t have the same level of intrigue as the others.
“Scarlet” has a fantastic hook that immediately makes you fascinated with its premise. The gorgeous display of artistic vistas being projected is an absolute vision. As an example, with a depiction of Hell that has rows of ghastly limbs reaching upwards from a blood red sea, you do find the visuals to be arresting in their originality. It’s easy to find the moments of action totally engrossing, and most of the voice performers elevate their roles in an absorbing realm. Yet, as is always the Achilles’ heel with Hosada, his narrative devolves into an elementary morality argument that feels completely dissonant with the extravagant imagination he’s able to conjure in his illustrations. His ambitions will always be appreciated for the bombastic exhibitions, but a deeper meaning to the themes he examines would also be appreciated.
