Studio Ghibli needs no introduction. They took us to the heavens in "Castle in the Sky", sent us into a realm of demons with "Spirited Away", and plunged us into a desperate struggle for protecting the forest in "Princess Mononoke." Arguably, no other anime studio knows how to nail complete immersion into a world, except for places such as Kyoto Animation and Madhouse. When it comes to making us believe every second of a story, Ghibli knows how to hit the sweet spot. With it's only misfire, the absolutely dreadful "Tales of Earthsea", etched into North American audience's memories more recently than 2009's excellent "Ponyo", there was some speculation at whether or not this would be the venerable studio's chance at redemption. Simply put: it is.
"The Secret of Arriety" is a wonderful film, up there with classics such as "Kiki's Delivery Service" and "Spirited Away." Based on the timeless children's story, "The Borrowers", it follows Arriety and her family, who are all Borrowers living inside the house of a disgruntled old woman. A Borrower is a sort of pocket human, a tiny person who goes around and takes things from humans that they wouldn't miss. Examples include a cube of sugar, or a single snack cracker. To the Borrowers, these things are massive hauls that will last them weeks. But their existence is threatened once the old woman who lives the house, Haru, discovers their presence and begins the first of many attempts to entrap them. It's only with the aid of kindly Sho, the woman's sick nephew who lives in the house, do they stand a chance at surviving.
It's instantly clear that, compared to much larger struggles seen in other Ghibli films, this conflict is relatively small-scale. Instead of focusing on an epic struggle between the Borrowers and Haru, "Arriety" simply comes across as a lighthearted cat-and-mouse game between the two parties, with Shaun serving as the mediator between the whole affair. Which isn't to say that's necessarily a bad thing. The last time Ghibli went big, we got "Earthsea", and I applaud them for being able to rein in this film into a tighter, more focused narrative. While there are deeper moments that shine through, such as Arriety's fear for the survival of her race, it's a very light affair compared to their other films, but it works overall.
There are a few components of the film, however, that feel particularly weak. My primary issue is with the character of Spiller, an uncivilized Borrower who lives off of the land and carries a bow and arrow. His role is very scant, and seems to only be there to give Arriety a love interest. Which doesn't really work, considering that he's probably only in the film for a combined time of five minutes. He comes across as forced, as if Miyazaki (who wrote, but not directed, this film) said, "Oh, darn, there needs to be a Borrower boy for Arriety to crush on!", and inserted him into the film. While he does serve as an interesting key into the larger world of surviving Borrowers, his purpose as even that feels a bit unnecessary.
It's hard to fault a single character for a problem that is prevalent throughout the screenplay, however, and thus this brings me to my only gripe about the movie: it's not fleshed out enough. Every aspect of the world, whether it be Sho's sickness, Arriety's history, or Haru's seemingly conniving nature, is never fully explained. Why did Sho's parents divorce? Why would his mother not be with him in his time of need? Why does Arriety's family have to leave once they're seen? Who came up with the established code that all Borrower's apparently live by? These and other questions are never really answered, nor is a key moment of the film where Sho conveniently knows where Haru has entrapped Arriety's mother, despite never finding any clue whatsoever to her place of captivity. This is not Ghibli's deepest work, by any means, nor is it trying to be. However, I do feel an extra 20 minutes of running time might have benefited this film to provide more back story.
This is more of a snapshot type of movie, one that captures a certain moment in time and fills every detail of that moment with rich and fulfilling description. In place of this description is top-notch animation from Ghibli, on par with their fantastic work in "Ponyo." The true scale of the real world through the eyes of the Borrowers is one of the strongest suits of "Arriety." Kitchens become mountains, and meadows become forests. In order to fill their tiny cups with a beverage, they drip in a single drop, which fills them to the brim. They mash crackers into wheat, and use postage stamps as ornamental paintings. Every aspect of this film's artistic vision is fully realized, and that alone makes up for the somewhat lacking plot. It's rare that a film possesses a convincing enough world that will let you drift away in it for a while, but "Arriety" has it down.
Another aid to making this world believable is the voice acting, which is some of the best I've ever seen in a Disney localization of a Ghibli film. Bridgit Mendler, who hails from the Disney Channel stable of young actors, is completely convincing as Arriety, giving her a childish sense of whimsy coupled with believable pathos and fears for her own kind's existence. Amy Poehler and Will Arnett, respectively playing Arriety's mother and father, are splendid as well. Poehler plays the role of Homily with the panicked urgency of the one of the worse worriers imaginable, while Arnett turns Pod into a gruff man with a dull voice and a consistent sense of seriousness. Both of these approaches are fantastic, making them two of the film's most memorable characters. However, my personal favorite voice had to be Haru's, who is voiced by the legendary Carol Burnett. She seems to be having the most fun out of all the actors, milking the aunt's every little tick and vocal outburst to create a character who is one nudge away from going truly and utterly insane. Even her smaller moments are hysterical, and you'd be hard-pressed to find a current celebrity who puts this much effort into making voice work come across as zany and enjoyable. However, other characters such as Sho and Spiller are a bit bland, especially the former, whose performance sounds chronically tired and bored. Disney should have reached outside of it's Disney Channel stable for these two roles, because they're certainly the weakest in the film.
Every complaint I have about Arriety, though, is far outweighed by the sheer elation I felt while watching it. It certainly doesn't reach the level of my personal favorite Ghibli work, "Castle in the Sky", but it's not necessarily trying to outdo any previous films. Instead, it take the simpler route of storytelling, focusing on a fully realized world and the bond between Sho and Arriety which is built throughout the movie. It's Miyazaki at his most accessible, and also at his most sincere and heartfelt. There's an air of sweetness and innocence that permeates through the whole experience, one that anybody watching it immediately catches wind of. By the ending credits, you will care about Arriety and Sho, even if they aren't the deepest characters in the world. You will feel something tugging at your heartstrings, a feeling of warmth that no other movie could give of. It is because of this feeling, coupled with the excellent scenery, music and voice acting, that I say that "The Secret World of Arriety" is more than worth seeing. Rarely does a movie leave you feeling completely fulfilled and happy, but this is one of those movies. Don't pass up the chance to be happy.
Plot: B
Animation: A+
Voice Acting (EN): A-
Music: A+
Overall: B+