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I got to see Isao Takahata's latest film on the big screen a week or so ago and wanted to get down some impressions before I forget.
On the surface, Kaguya Hime no Monogatari is a gorgeous film that carries on where My Neighbors The Yamadas left off, doing for ancient Japan what the previous movie did for modern Japan. But deep down, it's more of an enigma.
I've been immersed in Group Tac's Manga Nihon Mukashibanashi for weeks now, so it was inevitable for me to compare the two. This story has in fact been told not only in MNMB but elsewhere in movies and shorts. But the idea to make the movie isn't new. Takahata came up with the original idea for the film way back in the Toei Doga days, and in retrospect it does look like the kind of film that would not have been out of place beside Anju and Zushiomaru and Little Prince and the 8-Headed Dragon.
Kaguya Hime or The Tale of the Bamboo Cutter as it's alternately known is believed to be Japan's oldest story - it's even referenced in The Tale of Genji. It's known as "the ancestor of stories" in Japan. The story itself, like many folktales, is fantastical and obviously not realistic. Gisaburo Sugii's approach to the conundrums and non-sequiturs of Japan's folktales seemed to be to embrace them, not to try to bridge their logical gaps. The MNMB version of Kaguya Hime (watch), which is directed by Takao Kodama with animation by Masakazu Higuchi and art by Koji Abe, is a truly beautiful rendition of the story, but faithful to the bare-bones original and much more closely stylzed after scroll paintings.
Isao Takahata is a very different filmmaker. His entire ethos towards filmmaking is based on logic. Every element of his films is meticulously conceived to achieve a particular end within the whole. So it was intriguing to wonder how such a filmmaker would not only tackle a story as enigmatic and illogical as Kaguya Hime but turn its brief length into a 2+ hour movie.
Takahata's logical approach produces a curious beast - a folktale that attempts to make up for the inherent illogic of the original story by making its characters as believable as possible, and yet at every moment reminds of you that it is not real.
The uncomfortably weird, if beautifully animated, early segment depicting Kaguya Hime having literal 'growth spurts' is the product of Takahata visualizing what was only a vague sentence in the original story. Myths and folktales are full of stock situations and characters not meant to be taken at face value. MNMB features dozens of stories about childless elderly couples who find a child, or a pot of gold, or a child who turns into a pot of gold, by supernatural agency. By their very nature these stories seem meant to be taken metaphorically, which is at odds with the way this film pedantically fleshes everything out.
On the other hand, this tactic of blending unnatural moments seamlessly into the flow of things harkens back to Pompoko (1994) with its tanuki who switch forms between realistic raccoons, cartoon raccoons and humans, and even further back to Jarinko Chie (1981), with its cats that occasionally get up to walk on their hind legs like humans. If the secret to anime's success is in the blank faces of its static anime characters, which prompt viewers to read the appropriate emotion and hence experience the character's world vicariously, Takahata seems to deliberately push you out of the characters to force you to view them from an objective remove.
In the broad strokes, the movie is surprisingly faithful to the original story. It doesn't cheat by being "based on" the story. It basically just pads it out with a tremendous amount of padding in the form of incredibly beautiful character animation and scenes of natural beauty.
Certain elements of the original story didn't make sense, and the movie fills in the holes as best it can. The movie's key contribution is in explaining the reason why Kaguya Hime was banished to the earth in the first place, something the original story conveniently forgot to explain. It's not like she was sent to save us from our sins. Or maybe it is. The heavenly abode on the moon is interpreted with historical verisimilitude as a Buddhist paradise devoid of the suffering and color and emotion and pleasure. Kaguya Hime's sin was to wonder, an enlightened soul, what it was like on earth. Her punishment was to be sent there in order to experience life firsthand - and to become attached to the people she loved, only to be torn away from them. This simple tweak completely changes the meaning of the story, and turns it into a tragic affirmation the whole complicated mess of human experience, including, love, joy and beauty, but also pain and suffering.
The padding isn't just padding, then. It's the whole point of the movie, both thematically and technically. If the padding gives the ending the requisite weight, having an animator like Osamu Tanabe makes it possible to bring it to life. The whole point of this movie is basically to give Osamu Tanabe something to do. That something is what he does best: create realistic character animation in an unrealistic shell.
I wrote a post about Osamu Tanabe in 2007 in the period after Yamadas, when he was pumping out one wonderful short after the next. It certainly took a lot longer than I was hoping for his next project to appear.
Isao Takahata had apparently been struggling to get Osamu Tanabe excited about a theatrical project around that time. Yoshiyuki Momose had drawn lots of image boards for Grave of the Fireflies, as did Shinji Otuska for Ponpoko, in the pre-production stage, so Takahata was apparently expecting Tanabe to do the same. First he tried with a project based on a Ainu 'Yukar' folktale (Hols was originally conceived based on an Ainu Yukar, and was supposed to be an Ainu story, but Toei Doga didn't allow that, so this was obviously a follow-up), and then for a version of the Tale of the Heike, and then a story called The Birth of the Lullabye about babysitters in pre-war Japan, but to no avail. Only after another producer introduced Tanabe to a 1964 book by Shugoro Yamamoto entitled Yanagibashi Monogatari, a love story set among the lower classes in Edo-period Japan, did he begin drawing. Takahata essentially captured that creative momentum and veered it towards Kaguya Hime.
Even in the early stages of production on Kaguya Hime things didn't go smoothly, as apparently a pilot film was produced that was so avant-garde that they had to start all over and go in a new direction. Takahata has written books about scroll paintings, positing them as the ancestors of animation, so I would love to have seen what Takahata could have done with this story in short form, in a style more closely patterned after scroll paintings. For example this image just begs to be brought to life. Perhaps this pilot went in that direction. All this to say that the film had a protracted pre-production stage, even by the standards of the uncompromising Takahata.
One of the key technical details that helped define the film's visuals was devised by Tanabe: draw everything small and enlarge it. He did this for the characters, and art director Kazuo Oga followed suit with the art. What this did is to create lines whose grain is visible, and produce lots of white space. Kaguya Hime's realism captures the beauty of the natural world in a few quick strokes rather than through overwhelming detail.
Although known as a realistic director, Takahata's wisdom is knowing that merely adding more detail and trying for photorealism isn't the answer. Inspired partly by his encounter with Frederic Back, he has since at least Only Yesterday (1991) been working towards a kind of haiku realism, a realism of omission. This started with the flashback segments of Omohide Poroporo, with their white space that highlighted the superficiality of the moment rather than attempting to deceive the audience with overwhelming verisimilitude, and culminated with his actual haiku in Winter Days (2003). The defining trait of Takahata's work is that it is anti-fantasy, and the fascinating thing is that this comes through loud and clear in this film adaptation of Japan's oldest fantasy.
At the behest of Takahata, Tanabe played a particularly large part in defining the film's animation style as the lead animator, rather than merely as the sakkan there to correct animators' drawings. Animators were instructed to adapt to his style so it could seem like the whole film was animated by Tanabe. The beauty is that you can still identify certain animators' sections (Norio Matsumoto, Shinji Otsuka, Shinji Hashimoto, Hideki Hamasu) through the nature of their movement, but the film overall feels unified in its movement style despite featuring work by many different talented animators.
Shinji Hashimoto's powerful section of Kaguya Hime running was featured in the preview and is indeed the film's animation highlight. He also animated a few other shots of Kaguya Hime spinning around. A spattered brushstroke style was adopted for the running sequence that gives it its impact. This was actually a style originally devised for the climactic battle sequence of The Tale of the Heike, but when that project fell through Takahata adapted it here, indicating how determined he was to create this kind of animation. The brush stroke style not only expresses Kaguya Hime's emotions well, but is a match with the ancient setting, and the very visible grain of the strokes in the rest of the movie resulting from magnification.
Takahata's basic approach of keeping the audience at an objective remove can best be seen in the film's final moments. Kaguya Hime is being taken away to the moon, and her parents are bawling because the girl they raised from a child is being taken away. Kaguya Hime has become attached to life in the world, having experienced all the beauty and emotion that it offers, and doesn't want to leave. Precisely at the moment when the audience instinctively wants to feel emotional catharsis, Takahata wrenches us out of the false reality of film with the loudly joyous music of the heavens. The clash is discomfiting and captures the ironic tragedy of the situation, prompting us to think more than feel.
Another defining trait of Takahata's approach to realistic directing is the emphasis on long shots of character acting to make the characters feel real, rather than necessarily trying to be realistic per se by drawing things photorealistically. This film is without doubt the summum opus of this aspect of Takahata's filmmaking language thanks to the synergy of Osamu Tanabe & co.'s remarkably rich character animation. Kaguya Hime's rapid aging is very odd to observe, but it is lovingly depicted by the animation. The original story is terse about why Kaguya Hime was exiled to earth, and almost entirely omits the every detail of her life on earth. All of a sudden, she's being taken away, and her parents are bawling. There's no weight there because we haven't followed her life closely enough to know what led to those feelings. Presented with this, Takahata made the decision to meticulously depict Kaguya Hime's life on earth as a way of giving weight to her and her adopted parents' unwillingness to part. Osamu Tanabe's animation bears the entire burden of this task and makes the character's plight believable.
Takahata has experience directing adaptations of stories about children growing up, most notably Heidi (1974), although Anne of Green Gables (1979) is perhaps the most obvious reference point for its actual depiction of Anne's physical maturation over the course of the series. Here that maturation is depicted on fast-forward in the span of a few minutes. Another reference point is 3000 Leagues in Search of Mother (1976), the intermediate step between these two, and the first place where Takahata took steps towards his mature style of objective realism. Heidi still depicted an idealized world, whereas 3000 Leagues in Search of Mother was a documentary in spirit.
It could be in a nod to this that Takahata quotes himself in Kaguya Hime. The scene where Sutemaru gets beaten up is lifted verbatim from episode 45 of 3000 Leagues in Search of Mother, in which Marco watches in silent horror from the train on which he has snuck as his friend Pablo runs out to divert the driver, and winds up getting beaten up and left stranded in the middle of the pampas. It's definitely the most powerful scene in an already powerful series, but the scene must have had special meaning to him beyond that for him to quote it in this way. Maybe it's that this scene, which forces the protagonist to become the observer of events beyond his or her control, is meant to remind us of our own position as spectators.
The beautiful art courtesy of Kazuo Oga and his team of background artists is another major draw of the film. Oga is a master of painting the natural world, and with Kaguya Hime he's created one of the most vivid depictions of the natural world yet in anime. He used watercolor to help create the feeling of a living picture scroll. Enlarging the paintings created white spaces that add to the impression by emphasizing the white base. This was his first time as art director for a major film since Pompoko in 1994. He now works mainly as an illustrator, also doing anime background art on a solo basis. The film is thus welcome for getting this great artist to do one more big job.
This approach of having one talented animator and one talented background artist spearhead their respective sections in a very individualistic way goes back at least to Gauche the Cellist (1982), in which animator Toshitsugu Saida drew all of the key animation and artist Takamura Mukuo drew all of the background art.
Although I found the movie somewhat less satisfying than previous Takahata outings, it is still a superbly beautiful film and I am eager to rewatch it again as soon as possible. It's sad that this may be the last major film by this genius, but it's a blessing we have it, as it was a long time coming. Good on Ghibli for being patient over its reported 7 years of production. I'm glad to find with this film that he stayed true to his guns to the last, continuing with his hand-crafted, lushly traditionally animated, anti-heroic, anti-epic brand of animated filmmaking. It's films like this that show that hand-drawn animation still has plenty of life left in it.
Animation subcontracting studio Oh Production is perhaps best remembered for their classic Gauche the Cellist (1982), although they were a prolific subcontractor who provided some great animation to many shows over the years while receiving little recognition for it. They later produced another in-house show called Little Twins (1992), which I wrote about before. Between these two there was one other major Oh Pro production that I only just recently had the chance to discover.
First adapted in 1972 by Toei (opening), Oh Pro re-made Go Nagai's classic manga Devilman into two high-quality OVAs released in 1987 and 1990. (Another Devilman OVA was released many years later, but it was made by Studio Live, not Oh Pro, and is in a completely different style.)
The most interesting and surprising thing about these OVAs is that the animation was in large part done by Ghibli animators, so it has a distinctly Ghibli inflection. Oh Pro had lent its animators to Miyazaki for years, and it seems he paid back the favor in this OVA.
These are well made OVAs with very nice animation and lush visuals. Especially the first volume features some of the most impressive sequences of animation of any production in that era, OVA or movie. The visuals are clean and refined and the directing measured and controlled in a way I wouldn't have expected for this material. It feels different from your typical OVA, in both directing and animation. It feels more cinematic. I don't even like Go Nagai that much, but I enjoyed these OVAs because of the good production quality.
The basic premise of Devilman is that demons inhabited the world in prehistoric times, but they were vanquished by the angels. Fast-forward to modern Tokyo, where the demons are trying to find their way back into our world. (Since when Tokyo isn't busy being blown up in anime, it's being taken over by demons.) The protagonist is enlisted to fight the demons by an old friend whose father was a demon researcher. He does so by channeling an old demon called Amon and becoming Devilman.
Most of the first episode is devoted to the buildup, as the protagonist learns about this secret history of the world, in the end finally becoming Devilman and killing a room full of demons who possess the body of a club full of revelers. But sprinkled between these basically realistic sequences are two sequences that depict the prehistoric monster world. These sequences are my favorite part of these OVAs. The monster world was a place where dinosaurs and demons inhabited the same hellish plane of reality, playing out an endless sequence of bloody battles, each more bizarrely horrific than the next. The sequences are masterfully animated and packed full of ideas. Rather than your typical goblins and ghouls, the monsters are horrible yet somehow believable mish-mashes of animals and insects living, ancient and imaginary, and their battles play out like a grotesque nature channel program.
The rest of the OVA apart from these sequences is nice, too, although I came away wishing the entire OVA had looked like those two sequences. The visuals are sleek and clean, and the scenes are carefully directed. The only problem is that the story structure is somewhat odd, with a huge proportion of episode 1 being devoted to buildup, and the second episode completely abandoning any kind of theme or story and going with long, drawn-out monster battles.
The first episode is more satisfying than the second in part because the animation feels a little better, but also because of the material. The first episode has a dramatic arc that builds to a surprise ending. The protagonist starts as a regular boy, and with the arrival of his mysterious friend, the tension builds and builds until the climax, which explodes into an orgy of violence as the protagonist transforms into Devilman. By the second episode, the premise has been established, and all that remains is for Devilman to battle one opponent after another. Episode 2 is split evenly in half between two opponent battles, and other than this doesn't really feature any dramatic tension.
I wouldn't say that I think this is the most faithful adaptation of Go Nagai in style and spirit, though I'm not exactly an expert on his work. I would think something with a more rough and graphic touch would be needed to do him justice. But this OVA works in its own way, and Go Nagai was apparently supervising the project, so he obviously approved.
Even though the material here is inherently gory, the tasteful drawings and understated directing make it seem less gratuitously so than it might have been in the hands of a lesser director. Even at its most violent, this OVA remains somehow restrained and polite. It's an interesting contrast with the contemporary Go Nagai OVA adaptations of Violence Jack, which felt much more authentically exploitative.
These OVAs are impressive perhaps because they are strong as pieces of visual directing. The opening sequence of episode 1 is a good example. The first few minutes are entirely wordless, depicting the early struggle between the demons and the angels. This sequence is epic in tone and quite lovely. It reminds of the opening of Nausicaa. Even the music, by a young Kenji Kawai, sounds like it was influenced by Joe Hisaishi's score for Nausicaa. (By the time of episode 2 in 1990, his score had acquired that patented Kenji Kawai sound.) Episode 2, meanwhile, features a long battle in the air that is almost entirely wordless - pure visual directing.
I also like that the battles are actual physical battles, not just two Super Saiyans blasting each other with psychic beams. Usually this kind of monster battling in anime is boring because when someone is finally cornered, they just power up and make up some new, even stronger psychic power to blast away the opponent. At least here, there's no powering up or other cheap tricks: it's just straight physical battling, with the same set of powers they started out with.
Oh Pro's Devilman was , who later changed his name to Umanosuke Iida. Devilman benefits from the attention to detail that helped make his later Space Miners (1994) such a delight. The pacing is quite slow, even sluggish, yet it holds your interest because every shot feels clean and deliberately presented. The pacing is slow because it's grounded in reality, and that gives it more impact when supernatural things occur in this otherwise realistically paced story. There are no shots that feel like throwaway shots between important scenes. What the film lacks in dynamism it makes up for in unflagging tension and assiduously pleasing drawings.
Attention to detail is one of the things that makes it feel cinematic. The protagonist's father's house is a stately and high-class estate with expensive furniture and paintings on the wall. In one shot, in the middle of all the opulence, a corner of the wall bears the scar of a shotgun blast, testament to the father's descent into madness. It's nice because it's totally understated. No mention is actually made of it. It's a higher level of storytelling than the usual OVA when they put little touches like this in the background as a subtle way of augmenting the narrative.
I appreciated the little innocuous details like the way each of the bikes was individuated in the following shot of an ordinary sidewalk in the city (in front of the suspiciously named Iida Bookstore). It's not flamboyant and passes by unnoticed while watching, but it helps make the film feel more authentic and believable. Everyday nuance like this is something you associate with the Ghibli films. This OVA has many examples of nice details like this.
The lighting is another aspect showing the unusual level of attention to detail that Iida brought to his work. There's one particular shot that impressed me for its stylish and creative presentation. While the protagonists are driving in a car, at one point they stop at a red light. The camera is positioned as if it was facing the driver of the car, just above the hood. The windshield of protagonists' car is bathed in the red light of the taillights of the truck in front of them, obscuring the driver. After a few seconds, the truck driver steps off the brake pedal, turning the taillights off, and the red cloak disappears and the protagonist becomes visible.
In a later shot, we see the facade of the protagonist's father's home shown at an oblique angle. After a few seconds, headlights appear behind the bushes in the distance. We can't see the car, only the mansion and the big tree in the courtyard, but we know the car is moving off screen because the shadows of the tree's branches run across the face of the mansion in a believably rendered play of black shapes. Only after the shapes stop moving does the camera slowly pan right towards the driveway, where the car has stopped in front of the gate. It's an innocuous and unimportant shot, but it's so satisfying and interesting to watch.
The staging of the shots also feels cinematic. Shots are positioned in such a way that the action moves through the shot in a creative and unexpected way, the way it does in Miyazaki's films. It's quite possible that Iida was in fact directly influenced by Miyazaki's style in this regard, because just after his involvement in the Oh Pro episodes of Lupin III Part 3 (1984-1985), he served as assistant director on Laputa (1986).
The animation fully backs up Tsutomu Iida's cinematic directing, and it's no surprise why: the animators almost all just came from Laputa. It seems that having worked as the assistant director of Laputa gave Iida the leverage to be able to invite many of the animators who worked on Laputa to work on Devilman. That, and Oh Pro's long history of having worked with Takahata and Miyazaki, ever since the days of Heidi. Miyazaki's previous film, Nausicaa (1984), featured Oh Pro animators Tadashi Fukuda, Kitaro Kosaka and Toshitsugu Saida. Tsutomu Iida's very first job in animation was as an inbetweener on Nausicaa. Before that, Future Boy Conan (1978) featured Oh Pro animators Koichi Murata, Toshitsugu Saida, Joji Manabe, and Toshio Yamauchi.
The character designer/animation director of Devilman is Oh Pro co-founder Kazuo Komatsubara. Komatsubara himself had of course been animation director of Nausicaa, as well as having been the planner of Gauche, so there are many ties between Oh Pro and Ghibli. At a deeper level, Komatsubara had started out at Toei Doga in 1964, just one year after Miyazaki, although the two never wound up working together on the same projects there. After Komatsubara left Toei, he worked on the famous Go Nagai productions of the 1970s for Toei, most notably Devilman, which is presumably what led Go Nagai to choose Komatsubara and Oh Pro for this remake.
There is no other OVA that features an animator list like this: Katsuya Kondo, Shinji Otsuka, Makiko Futaki, Yoshinori Kanada, Toshio Kawaguchi, Masaaki Endo. And that's just the first episode. This is probably the reason why many of the drawings have a distinctly Miyazaki-esque feeling.
The second episode came several years later in 1990, and features many of the animators who worked on the intervening two Ghibli films, Totoro (1988) and Kiki (1989) - Yoshiharu Sato, Shinji Otsuka, Masaaki Endo, Toshio Kawaguchi, Yoshinori Kanada, Katsuya Kondo, Makiko Futaki, Hiroomi Yamakawa, Sachiko Sugino, Hiroshi Watanabe. Oh Pro animator Hiroshi Shimizu, who worked on episode 2, became a regular in Ghibli films starting the year after with Only Yesterday (1991). The second episode features a few other impressive outside names: Yasuomi Umetsu, Hiroyuki Okiura, Norimoto Tokura.
Apart from the animation, there are other Ghibli connections that help account for the Ghibli feeling. The color designer of the first episode is Michiyo Yasuda, who has been the color designer of every Miyazaki film since Nausicaa. I think this is one of the few non-Miyazaki films she's worked on. The art director of the first episode is Takamura Mukuo, a veteran art director from the early days of anime who was the art director of Gauche the Cellist. He was art director of many a classic anime, from Galaxy Express 999 to Harmageddon, to say nothing of the classic Takahata/Miyazaki TV series Heidi and 3000 Leagues in Search of Mother. Anido released a retrospective book of his art.
There's something about the drawings in this OVA that I really love. Just as every age has its distinguishing style of drawing that eventually disappears, the drawings in these OVAs have a certain quality that you don't find in anime anymore. Komatsubara's drawings are graceful and clean, the girls cute without going overboard with the cuteness like people do today. Even when the animation isn't particularly interesting, the drawings maintain your interest because they're consistently pleasing to the eye.
The most impressive scene in terms of the animation is the 4-minute segment in episode 1 after the protagonist puts on the monster mask, where he sees a vision of world of the demons, pictured above. This segment is a beautiful standalone piece of animation, obviously done by one person, depicting a slyly humorous sequence of monsters eating one another. One monster devours another, only to be devoured by another bigger monster, only for that one to be devoured by an even bigger monster, etc, etc, ad infinitum - the demon version of what happens in the natural world.
The designs in this segment are beautiful and well drawn. The animation isn't impressive in an obvious way, but it's incredibly nuanced and well executed. The only equivalent I've seen is animation in the Ghibli films, so it's obvious this segment was done by one of the Ghibli animators - I'm guessing either Katsuya Kondo, Shinji Otsuka or Makiko Futaki.
Episode 1 features plenty of other very nice segments. Yoshinori Kanada obviously animated the delectable disco scene at the end of the first episode, with its riotous rainbow colors and wild dancing by nubile bacchantes in leotards and panties. The drawings in this scene look like they came straight out of Birth. There are some nice Kanada-school effects where the protagonists are attacked by the car monster, perhaps by Kanada associate Osamu Nabeshima. The scattered shots of the monsters in the mansion early on are each quite well done.
Episode 2 is less impressive in terms of the animation, but is still quite solidly animated. The episode is capped by a tour-de-force 15-minute-long extended aerial combat sequence. It's consistently well drawn and creatively choreographed, although the only disappointment is that it is somewhat lacking in dynamism and is a little boring. What is impressive is how consistently well drawn the characters are from various angles as they grapple with one another mid-air. It's also nice how the sequence evolves naturally according to the surroundings, first in the city, flying around and bouncing off buildings, then zooming over a river past a bridge out to the forest on the outskirts of the city, then using the trees in the forest to attack the opponent either as projectiles or camouflage.
The animation highlight in episode 2 is the segment in the house where the protagonist saves the nude girl from the monster. This sequence was obviously drawn by Hiroyuki Okiura. It's easily identifiable by comparing it with the great segment he animated in episode 1 of The Hakkenden the same year, which is one of my favorite sequences ever. Okiura's animation changed a lot in later years, becoming much more impressively nuanced, but there's something about the raw power and excitement of his early work at this period that I find I miss. I prefer the more dynamic and expressive early Okiura at the tail end of his Anime R period, and this scene is a great example of his work from this period.
Sadly, Tsutomu Iida passed away two years ago from lung cancer. It cut short a career that I was always hoping would take off. After Devilman, he was involved in a number of projects, but none of them seemed to me to quite provide him with the opportunity to show just how great a director he was. Space Miners is perhaps the best showcase of his talent. I think he was one of the few people out there with the instincts of a director. He was detail-oriented, able to create fun and engaging stories and characters, good at world-building. I wanted to see him get the chance to do that in a feature context. He was directing the Towa no Quon (2011) movie series for Bones when death interrupted him, but I haven't seen these yet. Ironic that when he finally got to direct a movie, he should die in the middle of it.
It seems to me like he got side-tracked with fluff projects after Devilman. First there was the Chibi Go Nagai World OVAs. He directed 3 45-minute OVAs for this series. Apparently it all came about when Go Nagai saw his chibi drawings for the Devilman characters during production of Devilman and Go Nagai so loved them that he asked for an anime version to be produced. The anime is certainly entertaining and well made, with animation from Oh Pro animators, helmed again by character designer/animation director Kazuo Komatsubara. But it feels like nothing so much as a waste of his talent. He later did a similar side-show for the main event of Giant Robo in the Gin-Rei OVA.
Iida also directed one of the episodes of Oh Pro's Little Twins, which I mentioned above, as well as one of the short segments in a two-volume OVA series made by Oh Pro adapting traditional Japanese horror stories, in the more cartoony style of Manga Nihon Mukashibanashi. His major projects of later years Gundam: The 08th MS Team (1996-1999), Hellsing (2001-2002), Tide-Line Blue (2005) and Towa no Quon (2011).
Finally, Iida directed a pilot for a movie called Spirit that obviously never got beyond the pilot stage. I haven't been able to find any information about this. Hopefully some day this can be released so we can see everything this talented director left us. Alongside Mahiro Maeda's R20 Galactic Airport, this is another pilot for a feature-length film that I wish would have gotten off the ground.
Devilman: Birth (Oh Pro, 1987, OVA, 50min)
|Director:||飯田つとむ Tsutomu Iida|
|Script:||永井豪 Go Nagai|
|飯田つとむ Tsutomu Iida|
|Character Design:||小松原一男 Kazuo Komatsubara|
|Animation Director:||安藤正浩 Masahiro Ando|
|Art Director:||椋尾篁 Takamura Mukuo|
|Music:||川井憲次 Kenji Kawai|
|Color Design:||保田道世 Michiyo Yasuda|
|Key Animation:||安藤正浩 Masahiro Ando|
|金田伊功 Yoshinori Kanada|
|鍋島修 Osamu Nabeshima|
|松原京子 Kyoko Matsubara|
|森友典子 Noriko Moritomo|
|矢吹勉 Tsutomu Yabuki|
|川崎博嗣 Hirotsugu Kawasaki|
|東京モモンガ Tokyo Momonga|
|二木真希子 Makiko Futaki|
|遠藤正明 Masaaki Endo|
|近藤勝也 Katsuya Kondo|
|河口俊夫 Toshio Kawaguchi|
|大塚伸治 Shinji Otsuka|
|小松原一男 Kazuo Komatsubara|
|Director:||飯田つとむ Tsutomu Iida|
|Character Design & A.D.:||小松原一男 Kazuo Komatsubara|
|Animation Director:||安藤正浩 Masahiro Ando|
|Art Director:||宮前光春 Mitsuharu Miyamae|
|海老沢一男 Kazuo Ebisawa|
|Music:||川井憲次 Kenji Kawai|
|Key Animation:||清水洋 Hiroshi Shimizu|
|遠藤正明 Masaaki Endo|
|沖浦啓之 Hiroyuki Okiura|
|佐藤雄三 Yuzo Sato|
|梅津泰臣 Yasuomi Umetsu|
|河口俊夫 Toshio Kawaguchi|
|鍋島修 Osamu Nabeshima|
|松原京子 Kyoko Matsubara|
|金田伊功 Yoshinori Kanada|
|近藤勝也 Katsuya Kondo|
|杉野左秩子 Sachiko Sugino|
|練木正宏 Masahiro Neriki|
|諸橋伸司 Shinji Morohashi|
|渡辺浩 Hiroshi Watanabe|
|宮本英子 Eiko Miyamoto|
|大竹紀子 Noriko Otake|
|加藤茂 Shigeru Kato|
|佐藤好春 Yoshiharu Sato|
|黒沢守 Mamoru Kurosawa|
|山川浩臣 Hiroomi Yamakawa|
|戸倉紀元 Norimoto Tokura|