Studio Ghibli Thoughts: Only Yesterday

I always thought that Isao Takahata’s Only Yesterday is the least known of Studio Ghibli’s “Great” films. That it is the least well-known is inarguable; it was considered too intrinsically Japanese and so was only released in the English language in 2016 (25 years after its initial release). However, my opinion of it as one of Studio Ghibli’s greatest movies is probably not as widely shared, and I can understand why. On the surface, this is a typical slice-of-life story where a woman finds romance and fulfillment in country life outside the hectic city she always knew. The gimmick in Only Yesterday is the frequent flashback scenes where the woman, Taeko, remembers her childhood days.

Yet, it is not as simple as the basic synopsis might suggest, as is usual with Takahata’s work. In exploring two time periods, the movie uses distinctly different Animation styles. In the past, it showcased Taeko’s world in a classically soft Animation style, filled with exaggerated movements and Ghibli-esque animated faces. Also, the past scenes have unclear drawing boundaries, suggesting the memory-like nature of those scenes. 

In contrast, the present-day scenes of Taeko are super-realistic Animations, with an almost excessive eye for detail. It is an animation style, unlike anything we have seen before (or since). Here, we must consider the safflower processing scenes in which the film showcases how lipsticks are made from the result of its harvest. It is a brilliant scene that Takahata indulges in which has no plot purpose, but in my opinion, is pivotal to grounding the film in reality.

Still, this stylistic masterstroke by Takahata in using a dual art style is not the only reason I consider this a great film. It is strange to me that Studio Ghibli considered this film too Japanese when I actually think it has a universal appeal, which Takahata must have planned since he did not use traditional Japanese songs for the farming scenes, but opted for Hungarian folk songs; giving the film a place-less feeling. It then becomes not only a film about Taeko's past and present or nature vs. city life, but a movie about the grind of everyday life and the connections we have with our past and the present. I cannot but see myself in Taeko, looking for something worthwhile to harvest in my life, looking for something that justifies the promises and hopes of my youth.

Finally, the movie’s ending, which happens in the credits, can either be interpreted as a corny and unnecessary scene, or a masterpiece of direction. I happen to think that it is the latter, which is why I consider this a Top-Tier Studio Ghibli film. It is a juxtaposition of the two styles that could only work in an animated film, and it showcases how the power of our past can propel us to our future.