The previous article on this blog, dedicated to Anne of Green Gables, contains a detailed discussion of Isao Takahata and Hayao Miyazaki’s respective artistic evolutions between 1976 and 1979. I originally planned to extend it with a digression on the wider differences between two men’s styles. But this would have gone slightly off-topic and made the article far too long (as if it weren’t already), so I decided to include it in a separate piece - this one. It contains some more remarks about Anne of Green Gables, but also about Takahata and Miyazaki’s work in Ghibli. It may be a bit messy, as I’ve taken the opportunity to write this in a more spontaneous way; I hope you don’t mind and still appreciate this piece.
Anne of Green Gables is one of the most popular works in the World Masterpiece Theater series, both in Japan and in the English-speaking sphere. According to many of those who have seen it, it may even qualify for the title of best anime of all time. It also represents a historical turning point: it is the first entry in the time slot that was now officially called “World Masterpiece Theater”, instead of “Calpis Children’s Theater” (1975-1977) or “Calpis Family Theater” (1978). And yet, it is perhaps the most imperfect among Isao Takahata’s three shows for Zuiyo Video/Nippon Animation, and by far one of the most difficult productions that the director, studio and all the artists involved had known. This latter, darker aspect of Anne appears to be at best underdiscussed, or at worst completely unknown, in English-speaking circles. While providing a detailed commentary and analysis of the show as well as its place in anime history and Isao Takahata’s career, this article also aims to raise awareness and shed light on those somber moments.