“The Secret of Mermaid Island: A Movie” – I’m so glad Mr. Nagano was involved [Commentary Review]
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I usually try to avoid using the word “perfect” when evaluating a work as a whole, but there’s no other way to describe “Chiikawa: The Secret of the Mermaid Island” than “perfect.” I’ve been
eagerly awaiting updates to the original manga since it was serialized, and I’ve enjoyed rereading it many times, but seeing it as a complete film offered many new discoveries.
The story of Chiikawa and her friends, who come from elsewhere, rising up for the inhabitants of an island, is reminiscent of “Seven Samurai,” and I realized that it has the structure of a classic period drama or Western action film
. The mystery element even has the style of a Matsumoto Seicho adaptation of “Seven Samurai.”
Furthermore, this film is also a lighthearted opera, a musical film, which I couldn’t have imagined just by reading the silent manga. I
can’t think of any other Japanese film that has succeeded so well as a musical.
All of this is woven together by the adorable mascot characters.
It has every entertainment imaginable—a classic action movie, a compelling mystery, musical numbers, and mascot characters—and yet it’s a work that can be enjoyed by everyone from preschoolers to the elderly, regardless of gender. It’s simply a “perfect” work.
The title, “Something Small and Cute,” includes the word “cute,” suggesting that the reason “Chiikawa” has achieved dominance as a character content is because it embodied the ultimate definition of “cute.” By defining the ultimate
, it has seized dominance in character content, and no one will ever be able to replace “Chiikawa.” There has never been a more
critical entity when it comes to critiquing the character culture that Japan has produced.
I am overwhelmed by the talent of its creator, Mr. Nagano.
In addition to writing the original story and screenplay, he also served as the chief animation director, and considering that Mr. Nagano corrected and instructed many cuts to be retaken, he accomplished work that is almost on par with legends such as Hayao Miyazaki, Hideaki Anno, Katsuhiro Otomo, and Takehiko Inoue. This
proves that it is a remarkable achievement that sets it apart from other hit works that have been propelled by the current anime boom.
In the long history of animation, there are only a few examples of the original author intervening to improve the quality to this extent, such as “AKIRA,” “THE FIRST SLAM DUNK,” and “Gothicmade,” and this work has become a work that rewrites the history of animation.
This film has the feel of a major holiday-themed movie, much like the “old” Doraemon, Crayon Shin-chan, Pokémon, and Detective Conan movies, featuring all the regular cast members and guest characters. It even embodies the lightheartedness and refreshing feel that the “current” Doraemon, Crayon Shin-chan, and Detective Conan movies have lost. The
gentle story of the usual characters going to a different place and returning a little more mature is both nostalgic and perfectly executed. It has
undoubtedly become a masterpiece comparable to classics like Lupin III: The Castle of Cagliostro, Urusei Yatsura: Beautiful Dreamer, and Crayon Shin-chan: The Counterattack of the Adult Empire.
Even so, the magnitude of what the music in this work has achieved cannot be praised enough.
The brilliance of the background music by Shugo Tokumaru, who continued from the TV anime, and the songs “Island Song,” “Rabbit Rap,” and “Bleeding Shoes” go without saying, but what about the ending song?
The lyrics, which capture the subtle sensibilities of Nagano-sensei’s everyday life, the straightforward singing voice of Haruka Aoki, who plays Chiikawa, and Shugo Tokumaru’s pure sound have resulted in an unprecedented masterpiece.
For those who have watched “Chiikawa” all this time, the lyrics bring back so many memories, the voice actor has grown up with Chiikawa, and Shugo Tokumaru’s refreshing sound stimulates the tear ducts every time you listen to it, and you can’t help but cry.
The background music by the luxurious musicians is also well worth listening to, and the achievements of the talented people who strived to recreate the charm of Nagano-sensei are also a great feat.
One of the most memorable scenes is the one around the campfire, where Chiikawa, having realized the truth, bears the weight of her decision and resolve.
Chiikawa tries to question the truth of what happened.
There, she makes a certain decision, and in doing so, she takes on a kind of complicity and resolve.
Why did Chiikawa make such a decision? Perhaps it’s because she saw herself and Hachiware (or Usagi) reflected in those two.
Perhaps she saw herself in them and felt deep sympathy. Perhaps it
was born from a compassionate heart that forgives the two who bear the burden of guilt.
Kindness is similar to, yet slightly different in nature,
the heart of this work lies in the fact that even childlike characters make altruistic and compassionate decisions.
Hachiware wants to take pictures of his friends, Usagi wants to eat a meal with his friends, and Chiikawa wishes to be with his friends forever.
Perhaps that’s all that matters in life.
— Chiikawa💫Anime Tuesday & Friday (@ngnchiikawa) December 30, 2020
I’m so glad there are people who say things like this.
The magnitude of what Nagano-sensei has achieved in this work, his delicate sensibility, his precious heart—all of these elements deserve to be cherished. A masterpiece has been born.
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