So when it comes time for Kensuke’s Kingdom to show memories from the perspective of either, it is done by animating their drawings. This is how we see Michael’s sea voyage, through a paper boat hat with his family drawn on it, along with pictures he drew in the ship’s log along the way. When we see Kensuke’s drawings move, the floor drops out into flat-out majesty. The simple approach of using longtime mistakes that can occur while drawing creates what is the most poetic representation of Nagasaki I have ever seen. It is brave yet so amazingly appropriate, much more effective than what we got in the overrated Oppenheimer.
The technical achievements of the fulm will certainly attract attention in the animation category of the Oscars this year, but there is so much more to this than just fine craftsmanship. Boyce’s screenplay will, at the very least, be considered the best adaptation, as the movie grabs your heart and runs away with it. In fact, this is what I imagine an animated best picture feels like.
“…the most poetic representation of Nagasaki I have ever seen.”
Kensuke’s Kingdom makes some masterful moves to solidly get you completely riveted for whatever comes next. It delivers that amazing inner burst to suddenly be taken emotionally over from “don’t give a fig” to “press that pause button, and I will break your finger.” The emotional immersion does have some tolls to pay, especially if you have small children along for the ride.
The dangers that threaten Michael are very real and do not pull punches in how they are presented, just like family movies of old. Also, there are more than one *Bambi’s mom* incidents, so be prepared for well-earned waterworks. There is one moment in particular that is still causing me to well up. It is the kind of emotional involvement that you relish when you find it and miss it from nearly everything else you watch elsewhere. Kensuke’s Kingdom is a breathing painting you can walk into and dance in. Utterly magnificent.
"…a masterpiece of hand drawn animation..."
