To give a summary of the story, Minato’s mother, a single mom, Saori Mugino, starts worrying about him when his behavior starts to change and it only gets worse by the moment. When she finds out that her son Meeno’s schoolteacher Michitoshi Hori, takes care of his moods, Saori goes to meet him and the school principal to question them. But in a steady way, she is able to learn the answers, which are in fact from Minato and the teacher herself and the whole truth is in the middle of all this, between, them all.
The script of the movie ‘Monster’ is amazing. There’s plenty to discuss, even the story itself, an interaction resembling that in the movie ‘Rashomon’ by Akira Kurosawa. The fundamental difference is that the film depicts different versions of the same event. Here, the audience witnesses more of which when the story unfolds with an ever-present element of intrigue there is always more to be watched and learned from the Mystery. Hirokazu Koreeda’s techniques flourish in this layer of endless surprise and richness in theme.
Both ethical dilemmas and pure humanity are included in the film’s Emersonian morality which the audience can critique as well. The contrast between the adults and children in the movie allows the viewer to contemplate how children and adults possess that moralism. In addition, there is also the idea of how we see things and how we reach conclusions about things including about who or what a monster is. It is possible to argue that in the film, perception itself is the “monster”: how a person pre-conceives ideas can end up breeding more prejudices to cover other truths. Along with this, great emphasis is placed on the consequences of keeping secrets in relations to others but, more importantly, to oneself as well. However, “Monster” is more than just a portrayal of good and evil; it explains how such interactions occur and how humans perceive them in context with their other interactions.
There’s no denying the fact that Monster is an impressive film. This anime challenges sexual norms through the rich characterization and powerful storytelling. Similar to Grave on the Fireflies, this film takes a deep dive into complex LGBTQ+ issues, offering a perspective that many cannot even begin to fathom. The most impressive aspect of this film is how it shows rather than tells: throughout the movie, the characters convey their feelings in an artistic manner. This makes the viewing experience more immersive, particularly with the treatment of traditional love triangles.
In Monster, identity and mental transformation intertwine. Rezazadeh contrasted romance and identity change in Yooshi, who, when facing an existential crisis, shifts his perception of how love can heal him, and in return, it strengthens the bond’s fire. Mating, incorporating elements of self-reflection, firstly passed through Psyche character Yuuto, who believed that “one day I’ll be the twin conscience for the first and only passionate love.” Finally learning Yuuto’s twin realized what he was meant for. The fusion of male and female, which Brother Evil and Gundalu admittedly wanted to feel, was hidden behind the blend of deep voicing.
The theme of the movie can be effectively communicated through the mesmerizing performances and it is quite apparent how the movie revolves around gradual revelations. Sakura Ando brings such authenticity to the role Saori Mugino, by being a single mother that is especially asked to be the primary advocate for her child, still manages to keep her emotions intact. In the contrary, Eita Nagayama has a tough school teacher role of Michitoshi Hori. At first, he comes off as an aloof and contemptible person when hit with allegations, but when the story is unfolded, it never fails to amaze the audience, and the credit to that goes to Nagayama. Another character that is full of surprises is the school principal Makiko Fushimi, brought to life by the formidable Yuko Tanaka. Apart from the two however, both the child actors also deliver some of the most interesting parts of the film. Soya Kurokawa and Hinata Hiiragi embody Minato Mugino and Yori Hoshikawa respectively, with captivating realism as they navigate through the awkward phases of childhood. Their bond that is gentle in characterization is beautifully brought to life with the gradual exposure of their intimate secrets.
It would be fairly remiss to disregard the technical wizardry that “Monster” is. The wonderful work of Ryuto Kondo in all aspects of cinematography perfectly delivers the easygoing, enveloping feeling Koreeda is noted for. He makes sure to constantly demonstrate his skill in the inclusion of the setting and weather as characters of the film. Moreover, editing has been done tremendously well, as the pacing of the film feels so organic and easy to follow, allowing for the gentle details to be picked up and understood. Ryuichi Sakamoto’s original score for the film is rather sweet and slightly sad, but it serves as a wonderful last hurrah as well.
A masterpiece of a film “Monster” is equal parts heartbreaking equal parts beautiful. Hirokazu Koreeda adeptly constructs a story, that is, at hand, deceptively simple yet emotionally taxing. A great mystery is set up, and, using excellent narrative, it gradually uncovers its mystery, as seen from the multiple characters’ points of view, along with ideas which slowly grow more and more complicated while also being respectful to the underlying issue. Its mysteries are not the only entertaining aspects of this masterpiece, as even its themes are multi-faceted and rich, making it so alluring.
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