Forum - View topicPile of Shame - The Diary of Anne Frank
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Chrno2
 Posts: 6171 Location: USA |
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That pic was hilarious. That girl's face is haunting at times. Well, I found an upload on YT so I'm gonna check it out when I have the chance.
Discotek think about it. 
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DKL
 Posts: 1945 Location: California, USA |
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A lot of what's said in the review of the thing is pretty puzzling to me since they seem like things I always seek out in a film. Particularly the long unbroken cuts (I think people have gotten too used to rapid cutting, rapid movement used in most movies... this kind of thing gives you a better sense of time, which I assume can pass agonizingly slow when you're stuck in a building for forever), lack of medium shots (Sidney Lumet said SAVE your closeups) and the music (why do I need a dramatic score stepping in to highlight the tragedy? I don't need the movie to bribe me into feeling bad... that's the worst thing you can do). Also, on that note, those wide shots from Shohei Imamura's Warm Water Under a Red Bridge were actually the most interesting to me since it felt like I could process what was going on in a more analytical manner: 
I feel like that's what's going on in the little I've seen of this. Also, the edited version sounds like they attempted to make it more palatable for a casual audience... I'm not very interested in that. EDIT: Oh yeah, since we're on this topic of like holocaust stuff, I might as well plug in Lumet's The Pawnbroker, which I really really liked. Rod Steiger was godlike in that movie: http://www.youtube.com/watch?v=5clBF38sqqw |
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Kurohei
 Posts: 597 |
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And there isn't a German dub of the film? Odd.
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gridsleep
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Perhaps they were trying to create the impression of the filming of a stage play? I know this sounds ludicrous since it is animation and anything can be done, but, with that in mind, why was it not done? For a studio such as Mad House, it can only have been intentional. Since excruciating detail was applied to everything visible, it must have been applied to the direction. It was intentional. And one would only see that kind of camera work from stationary cameras filming a live play. Thus, this is a film of a live play of non-living characters in a non-existent set.
Did you stop to think that the excruciating boredom you felt while watching this film was, indeed, the intent? How else to make the audience feel what the Franks must have felt for two years, living in silence above a busy shop in a city occupied by death? You were not meant to be engaged, to be entertained. You were meant to be put there, without choice or escape. The inability to even listen to music and tap one's toes, ever, or to speak above a whisper, while every second living in full conscious terror of exposure. Like a heavy, flavorless cake smeared with a gritty icing of raw nerve. One does not even wish for a slice. And, have you ever looked at the photograph on Diary of A Young Girl? Anne Frank was not pretty. Why would you expect her anime character to be? This is one film that does nothing to embellish the truth for the sake of its audience's visual satisfaction. And you have the temerity to complain of not being entertained by a film of Jews facing extinction. What makes you think you deserve to be entertained by it? |
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Illusionary_Systems
 Posts: 50 |
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I've got to disagree with the author here. The designs look fine and Anne does not look like a man at all.
Also there is nothing inherently wrong with minimalist scores, other than subjective taste. |
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GuyvarIII
 Posts: 8 |
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I had not seen “The Diary of Anne Frank” anime until after reading this review, so thank you for pointing me to it.
After viewing it, I don’t think the movie was going for an intense, claustrophobic drama, à la Sidney Lumet’s “12 Angry Men” (1957), with that film’s overheated, clashing sequestered jurors swapped for Jews sweating and surviving in a cramped hole in the wall while hiding out from vicious Nazis. It seemed to be more concerned about trying to realistically show a young girl’s perception of being a Dutch Jew from 1942 to 1944 in Amsterdam, and the anime handles this well. There’s a naiveté and innocence to her character. At the start, she blurts out about possibly discussing horrors and atrocities, and mentions concentration camps; but her real concerns are that she’s not allowed to ride a bicycle, and she’s banned from movie theatres. The big milestones that mark the passing of the years in hiding aren’t important WWII events (those are things her parents just ask about), but New Years dinners, and her birthdays. For the most part, in the movie, the Nazis are just the reason why these particular people are forced to be together. The payoff occurs when the naïve and petulant teen can overcome her small squabbles, and come to the realization that “people are wonderful”. It’s sad, because, despite the feelings of individual people, the world can’t come to this same conclusion; as our group’s little existence comes to an end, and we get to read their fates. This made the story more universal and timeless, instead of being just an example of Nazi oppression. Like daily life itself, the film is very repetitive, and somewhat sentimental, but it’s good. The exclusion of extreme close-ups and overwrought music helped to make it seem more matter of fact, and hard hitting, in defining Anne and her group as a small, warm, and insignificant part of a larger and colder world. It did make the story less overtly emotionally exploitive, maudlin, and sappy. I would recommend it, though my favorite movie in the WWII holocaust vein is still Joseph Losey’s “Mr. Klein” (1976). |
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