They make due by taking a cube of sugar here, a safety pin there, and using these things we would never miss in inventive ways to survive. The 14-year-old Arrietty and her parents, brave father Pod and nervous mother Homily, are tiny people known as “Borrowers”, living under the floorboards of a full-size human house. The script, by Miyazaki and Keiko Niwa, follows Norton’s original novel, in spite of moving the story from post-WWII England to a secluded house on the outskirts of present-day Tokyo. Their simple, hand-drawn approach embraces a painterly visual style that enhances their stories and enduring contributions to the art form. They have no need for fast-talking antics or dated pop-culture references no need for 3-D glasses or an abundance of computer-generated imagery. Miyazaki, and by extension all Ghibli films teach us that animation can be used to observe the rain or a ladybug’s crawl they build characters and tell deeply moving stories. John Lassetter himself convinced Disney to import Miyazaki’s catalog for English-language redubs and future distribution, exposing western audiences to the apex of animation-as-cinematic-art. But when the film started to roll on Studio Ghibli’s feature, its unobtrusive opening settled my rattled sense of viewership, and through a staggering contrast, it became apparent how over-stimulated the majority of Hollywood animated films have become.Īdapted from Mary Norton’s 1952 novel The Borrowers, the film comes from Japan’s premier animation house, whose works by legend Hayao Miyazaki (look over the Miyazaki Retrospective) are so well regarded by Pixar and Disney animators. Even the gorgeous trailer for Pixar’s 2012 release, the promising Brave, wasn’t above potty humor. Another trailed featured claymation pirates who, even amid some clever quipping, manage to fit in street slang and pop-culture references galore. One preview for the third Madagascar flick showed talking animals that dance to thumping beats, dodge explosions, and make in-your-face gestures. As the theater’s lights dimmed before The Secret World of Arrietty, movie trailers began advertising several Hollywood-brand animated films.
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