Mononoke the Movie: The Phantom in the Rain Is a Must See

If there is anything negative to say about Mononoke the Movie: The Phantom in the Rain right at the start, it is that the lack of a theatrical release for a film as beautiful as this should be criminal. Even a limited run – as limited as a single day, even – would have been grand, because very few films and even fewer anime – save for the original Mononoke – look anything like this.

Kenji Nakamura hasn’t been spotted in the director’s chair since 2015’s Gatchaman Crowds Insight, the intervening time after which may as well be considered “cooking time”. Nakamura returned to helm a theatrical trilogy – a return to the supernatural horror story that he created in 2006; the story that began as part of an anthology only to spin off into a full series. The story of a traveling “Medicine Seller” whose real trade is that of an exorcist.

A Phantom Dwells Within the Ōoku

The film opens on its singular setting – the Ōoku, a palace for the harem of Lord Tenshi, where men are forbidden to enter. People gather excitedly at its gates to give offerings for an upcoming ceremony celebrating the Lord’s newborn child – a ceremony that was suspiciously delayed some months prior. Among the crowd, two young women arrive, not to give offerings, but for their first day of work as maidservants of the Ōoku.

Asa and Kame might have met at the front gates, but they become fast friends, both of them honored to become a part of the Lord’s harem. But their arrival comes at a time of great intrigue. Tensions are high and two men have been granted entry to the Ōoku to investigate the delay of the Birth Celebratory Ceremony. Meanwhile, the Medicine Seller prowls outside under the watchful eye of the guard, waiting for signs of… something… lurking within.

Putting Mononoke in Context

In many ways – narratively and aesthetically – Mononoke the Movie is exactly like the TV series. The Medicine Seller and a new cast of characters encounter a unique and horrifying spirit, but to exorcise it, the Medicine Seller cannot merely kill it. He must discern the form, truth, and reason behind the spirit, often learning its story in the process and the great suffering it endured in life to turn into a “Mononoke” in death.

However, in just as many ways that are just as important, The Phantom in the Rain feels different, yet rarely in any way that struck me as out of place. This could be due to the change in medium. What works best for TV is not always the same as what creates a compelling film. What indescribable qualities the film shares with its parent series are no doubt the result of Nakamura as director, but not every change works.

Mononoke Makes Haste At Some Cost

Mononoke has never struggled to build suspense, but rarely has it done so with such brevity. While the original was a slow burn where the viewer is encouraged to drink in the atmosphere, the same can’t be said of the film. This could be a blessing to some and it doesn’t inherently betray the intrigue. If anything, Nakamura’s storytelling proves itself under a stress test, wherein visual storytelling conveys character wonderfully.

But therein lies one of the film’s biggest hurdles. The cast is larger than ever and despite how gorgeous Yuuichi Takahashi’s designs are, you will only get to know a fraction of them by the time the credits roll. What is crucial to note, though, is that this is the kind of flaw that may prove insubstantial with time. This is the first of a trilogy, after all, and the trailer for Part 2 confirms that the Medicine Seller’s work in the Ōoku is far from finished.

Regardless, the pacing is not always perfect, even concerning the characters who are central to Part 1’s narrative. A film that demands to be rewatched is a quality I often charitably attribute to depth – which this film possesses in spades. Unfortunately, I also feel it needs to be rewatched because its climax moves a tad too quickly. Right when the whole picture should come into focus, it instead felt like there was more puzzle left to be solved.

A Mesmeric Tale About Sacrifice

The above point may vary from viewer to viewer depending on how closely one looks, and rest assured there’s plenty of detail to be discovered. Mononoke has one of the most unique and inspired art styles ever put into animation. There’s a particular suggestion of texture added to the picture, like creases and folds along the surface of parchment. It grants the film’s already impressive art the look of a painting come alive.

And then there’s the color. Barely a single hue perceivable by the eye is spared its time in the spotlight, yet the color design never felt overwhelming or cluttered without some sense of purpose. It’s some of the best color design in anime that I’ve ever seen, and not because of the sheer quantity of color, but the way it is used thoughtfully. This world is painted so larger than life, yet its inhabitants couldn’t be more human, in ways both lovable and despicable.

How Mononoke Explores Its Themes

Among Mononoke’s most fundamental qualities, its exploration of the injustices against women is especially integral. This was the most pertinent reason why Takahiro Sakurai, the original voice of the Medicine Seller, was recast following an infidelity scandal. Even if the series hadn’t made such a theme standard, his casting would feel in terribly poor taste for a film set in a harem. As for his replacement, Hiroshi Kamiya (Monogatari) takes on the role as if it was always his.

When Asa and Kame arrive, the first thing asked of them is that they discard an item that is precious to them. They are expected to erase the person they were, for the sake of their duty to the Ōoku, and as property of their lord. It’s a sacrifice every woman before them has made – a void that becomes filled with a resentment that wells up until it overflows, and then the Mononoke strikes.

Closing the Book on Part 1

The script is sharp and thought-provoking in its exploration of these ideas, and Asa and Kame’s relationship is the heart of the film. Asa is bright, confident, capable, and manages to excel in her duties while rarely losing the part of her that the Ōoku was built to strip her of. Kame is kind and bursting with energy, but she’s not as strong as Asa nor as diligent a worker, which makes her easy prey for the other women who wish to ascend as she aspires. They are interesting leads, although Kame could be a bit irritating at points.

Mononoke the Movie: The Phantom in the Rain is a remarkable spectacle that audiences outside are unfortunate enough not to see in theaters. It deserves to be seen, at least once, on the largest screen possible, and don’t neglect the sound either, for Taku Iwasaki’s score is as vibrant as the colors. Lovers of the supernatural, the horrifying, or even the romantic will find plenty to love in this film.

Mononoke the Movie: The Phantom in the Rain is available to stream on Netflix.

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8/10

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Mononoke the Movie: The Phantom in the Rain

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Director

Kenji Nakamura

Runtime

91 Minutes

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