It has always been Mamoru Hosada’s signature to tell ordinary human stories through a fantasical lens; from his earlier films, The Girl Who Leapt Through Time (2006), which follows a high school girl who acquires the power to travel back in time, to the critically acclaimed Wolf Children (2012), which follows a mother who is left to raise two werewolf children alone after her lover passes away.
In that regard, his latest film Scarlet is no different. Having premiered in Malaysia earlier this month, the animated film follows Scarlet, a medieval princess on a quest to seek revenge against her uncle for her father’s death. Her quest leads her to a realm between life and death, where she encounters an idealistic man from the present day who shows her the possibility of a future free from bitterness and rage.
For those familiar with William Shakespeare’s Hamlet, the similarities are unavoidable; including the intentional naming of the film’s antagonist, Claudius. Mamoru Hosada wouldn’t be the first in history to be inspired by the famous playwright’s work, but his reimagining presents enough twists and turns that it manages to avoid feeling like a direct copy.
For one, most of Scarlet takes place in a fantastical version of the afterlife; although ‘fantastical’ might be a stretch, considering the place is mostly made up of sand and more sand. The standard rules of time no longer apply in this realm, as allies and enemies alike converge across various nationalities and points in history. It sets up a bleak but curious interpretation of the afterlife, and a thoughtful backdrop for the human lessons that the film hopes to convey.
Throughout its nearly 2-hour runtime, most of the film focuses on Scarlet’s journey through these wastelands, where she encounters different people and situations that force her to confront her purpose and the life she has led so far. While the narrative doesn’t contain any surprises in that regard, considering themes about life and death are well-explored by now, it does present these familiar paths beautifully.
The entire film is animated in stunning 3D, lending itself to the grandeur of the endless desert afterlife that Mamoru Hosoda has envisioned. Even for anime fans who prefer the 2D treatment, it’s undeniable that its 3D animation allows for an even more high-action and cinematic presentation that made watching it on the big screen worth your time. Combined with Mana Ashida, who lends her wealth of live-action work to her show-stealing vocal performance as Scarlet, it was difficult not to get swept up in the big emotions of the film.
But while Scarlet hits many of the right emotional beats, its narrative lands a little flat and predictable at times. I feel the same about the choice of having a female protagonist, which is a common thread within Hosada’s filmography, but doesn’t get explored in a meaningful way within the narrative; especially considering her status as a combat-capable princess in a medieval setting was an interesting premise to begin with.
That being said, there are merits to the simpler tale being told here. In between the big confrontations and tense action shots, the film takes plenty of intentional pauses. Its slower and quieter presentation, with sparse dialogue sprinkled throughout, leaves room to imagine her inner monologue and the contemplate the deeper meaning of the film. And by the end of her journey, we leave the theatre feeling a little lighter in our hearts and thoughtful about our own lives.
Scarlet is now screening at GSC International Screens.
