The Japanese animation studio Production I.G. has been no stranger to critical hits over the past decade, with the likes of “Miss Hokusai” and “A Letter to Momo” both being well received. The studio returns in 2021 with the release of “The Deer King”, a fantasy epic adapted from the acclaimed novel series by Nahoko Uehashi. The film, helmed by directors Masashi Ando and Masayuki Miyaji, is an ambitious, grand, and timely endeavour that marks another success for the studio.
The Deer King is screening at Camera Japan
The Zols and Aquafans live together in relative peace after years of war, yet this harmony is threatened by the return of an Aquafan “curse”, the mittsual plague. The illness, which is spread by vicious dogs and only targets Zols, rips through a Zol-controlled mine that leaves only two survivors, the Aquafan warrior, Van, and a young orphan, Yuna. The two take refuge in the country but are soon hunted down by shady officials after word of their survival causes a stir on both sides of a brewing conflict.
The fantasy world of “The Deer King” is as rich with lore as that condensed plot introduction makes it seem. The politics and history of the Zol and Aquafan peoples are intricately woven into every aspect of the narrative running through the film. Learning about these different factions, as well as the seedy backstabbing and ulterior motives from those at the top, feeds into the wider story and brings an added element of intrigue to the movie.
With all of these moving parts, “The Deer King” is nothing if not ambitious. Production I.G has produced an anime feature that feels grander in scale than near anything similar that has received a major release over the past decade. Magnitude does not always reflect quality, though, and while “The Deer King” does have its fair share of explosive moments, the film can feel overstuffed in some areas. However, it's extremely refreshing to be presented with an anime that is indulgent in scope and aims high. At the very least, you'll appreciate the effort that has gone into bringing this colourful, functioning world to life.
Despite the breadth of the story, Taku Kishimoto's screenplay retains focus where it counts. The hook at the heart of the narrative is the relationship between Van and his would-be daughter Yuna. While similar films might take the route of explaining the importance and growth of this relationship, “The Deer King” does a lovely job of developing both this connection and Van's character through some moving visual storytelling. You don't need to be told how much the two care for one another; you just feel it. Such raw emotion is key come the touching finale, which should be followed all the way through the credits to be fully appreciated.
For a film that can be quite meditative, “The Deer King” boasts some fantastic scenes of action. Short, sharp bursts of conflict are thrilling in small doses, with the force of each piercing arrow and slashing sword being punctuated by the fluid animation. The film is also deceptively dark despite its inviting visuals. There are some graphic demises to behold here, most of which coming courtesy of the black-death-esque mittsual that covers victims in rashes as they cough up blood. Even the subject matter delves into real-world territory, with the current pandemic and subsequent finger-pointing between nations being echoed in the narrative.
As if the fantasy feel to this anime epic wasn't already intense enough, Harumi Fuuki's wondrous score is a marvellous addition. There's something rousing about the tunes that float through the air as Van and company journey across a country on the verge of breaking. Such a score compliments what is, overall, a top-notch production that holds no bounds on attention to detail. Distinct and meticulously designed character models give a recognisable face to each hero, while all environments, from the Renaissance-style cities to the tent-dominated countryside settlements, are wonderfully realised.
“The Deer King” is about the closest an anime film has come to making me feel the way “Princess Mononoke” did upon my first viewing. That may seem like a cheap comparison given some of the more obvious visual similarities between the two films, yet it's more the spirit of grand adventure that I'm alluding to. The fantasy world, while convolutedly presented on occasion, is engrossing, and I only wish there had been more time to explore it further. While Production I.G.'s film doesn't touch the heights of what is one of Studio Ghibli's finest, it's a stellar effort in its own right that offers up its fair share of thrills as part of a touching tale.
