The stage emulates life and compresses it, setting free skills learned over lifetimes in brief but
dazzling displays for the amusement and judgment of others. For the performers, it is the ultimate
risk, and some will rise while others must fall. Nowhere is this truer than at the Seisho Music
Academy, where music, dance and real weapons all come into play in the creation of the next great
Star. Karen and Hikari’s destinies have been linked since a childhood promise, but their journeys here
have taken very different paths. Now, after Hikari leaves, Karen must discover who she is without her
opposite, while Hikari must rediscover her own course.
(Source: Sentai Filmworks)
#####_Updated as of third rewatch._ I must warn you now that it is pretty much impossible to discuss this movie without getting deep into spoilers; this introduction and the first part of this review will be spoiler free, so you can decide whether you want to watch the movie based on those and the score - and if you do, watch it and come back for the rest of the review. Also, I must note that I'm obviously biased in making this review. Revue Starlight is not only my favorite anime but my favorite franchise of all time, so there was pretty much no way I _wasn't_ going to like this movie. That said, despite anticipation building for over a year, it ran past my expectations and delivered what might legitimately be my favorite movie of all time. However, if you're not already a fan of Revue Starlight... well this movie might not be for you. Or is it? In Japan, the movie (despite coming out on June 4th of this year) is still in theaters, meaning its been running for 31 weeks straight, being extended week after week due to its popularity. I doubt that that was simply because fans were watching it over and over and over again - there's a pretty high chance that this movie is legitimately appealing to all audiences, regardless of their previous attachment to the franchise. That said, I still think this is a movie **for fans**, so if you watched the original and _didn't_ like it, I'm not sure how much this movie will be able to change that. Last thing I want to say is that I've only seen the full movie once. It'll be a while before I can watch it again, and I had to get my thoughts out now, but I will be watching this over and over and over again. If my thoughts change or if I have more to say I'll come back and update this review, so stay tuned! Alright, with all that out of the way, let's move onto the review: --- # ~~~ Part 1: General Thoughts _(Spoiler Free)_ ~~~ --- This movie is really good. Really. Really. Really good. It's pretty much everything you'd expect of the people who brought us the original Revue Starlight - a visual masterpiece with unique and epic songs, beautiful metaphors, and an attention to detail that allows for endless analysis. This movie has all that in spades, cranking up the visual storytelling to 11 and making every line, every movement, every frame count. The revues in the movie surpass the original's by a mile; with the exception of the first, all the revues are around 10 minutes long, really diving deep into the characters relationships and their growth. It was cool seeing my multi-page analysis on the nuances of a certain character relationship basically get confirmed during their revue, all through visual storytelling. In fact, this movie does such an amazing job of staying consistent with the original's themes that I think every single piece of batshit analysis I've ever made - from the purpose of the weapons, to the choice to give X character Y colors, to the musical motifs that bind all the songs together - ALL OF THEM ARE CONFIRMED TO BE INTENTIONAL. It's not just an insane person rambling - this franchise is one of the deepest rabbit holes to jump into. It should go without saying that every element of the original is at its best here. The characters and their relationships are fully realized, and given proper endings that coincide with the overarching theme of graduation. The music - I don't even know how to begin describing the music. It doesn't sound like any other soundtrack I've ever heard, even the original's, and each song is an entire novel's worth of story telling in itself. The animation is stunning, the pacing is relentless, the storyline is tragic and heartbreaking but happy and hopeful all the same. By the end of the movie, it truly did feel like the series was over, much to my dismay. But it was the best ending it could've had. In terms of "flaws," there's really only a couple things. First, the action isn't the most creatively choreographed. For someone like me, this is made up for by how well the action is shot, and all the creative ways they present the action - you know what I mean if you watched the original. Basically, even though most of the action is basic swords clashing or arrows firing, it's the environments, the cinematography, the style that makes the action an exhilarating experience to behold. However, there are many people who don't care about all that... and that's fine. The action is still good here don't get me wrong - the first fight scene is amazing - it's just that the fight scenes are definitely defined by the visuals and emotion more than the action itself. The only other "flaw" I can really think of, if you even want to call it that, is that the movie spends a lot of time in flashbacks. I personally hate flashbacks, specifically when they're done poorly. I think it's done pretty well here, but if you're just coming for the revues, or if you don't care about Karen at all, it's not the most endearing. That said, I do like Karen - I love Karen in fact. So I loved all of this. With that, my ability to talk about the movie without spoilers is exhausted. I really hope that if you do end up watching this film, even if you weren't familiar with or a fan of the original franchise, that you can get at least _something_ from this film. It's overflowing with love and care from everyone involved - you can see and hear the passion that went into making this movie. It's clear why the movie wasn't given a special title like "Roadshow" or "Graduation" - this is Revue Starlight. It is not the sequel to the series - it is simply the last part. The series was never complete until the movie came out, and only now it may rest. --- # ~~~ Part 2: The Characters _(Spoilers)_~~~ --- Like I said in part 1, the characters are at their best here. I was somewhat worried that after the very satisfying ending the original series had, they wouldn't be able to justify the drastic shift into the storyline of the movie. Nana turning "evil again" could've invalidated one of my favorite scenes from the original, in which Junna shows Nana the value of moving forward instead of being stuck in the past. However, not only does the movie not undo any of those scenes - it basically just makes it clear that Nana turning again was an inevitability. They don't even really **justify** it because its played out as if this was always going to happen. Nana doesn't _feel_ like a different character because she isn't - with graduation approaching, it makes perfect sense that it would be Nana to give the final choices to her fellow stars: either let yourself die on the stage or watch everyone drift apart. She knows that if everyone decides to continue pursuing the stage, they're all be separated - but if they end their paths now, they can stay together forever. And the Revue of Annihilation is pretty much Nana putting that idea center stage - by showing that she is still strong enough to defeat six stage girls entirely on her own, she is showing the other characters their unified weakness: their lack of belief in the future. The movie begins with all the characters explaining their goals, and pretty much all of them have reservations about how far they can actually go. Nana isn't _really_ fighting to keep her replays anymore; rather, she's fighting to make sure that if her friends choose to pursue their starlight, they won't fail. And in the state they are at the beginning of that first Revue, that's exactly where they are. With the exception of Maya (who coincidentally is the only stage girl to not be defeated in the Revue of Annihilation), all are unsure of their future, unsure of their ability, and that lack of confidence will surely lead to their failures. Nana won't allow them to fail, and if that means defeating them and killing their stage, so be it. This is further explored in her relationship (and revue) with Junna. Junna is someone who has always looked at others when trying to achieve her goals. She's always taking notes on those she sees as more skilled than her, and she's constantly quoting great writers and philosophers. Junna is defined by others, and Nana wants to change that. Their revue probably has the single best piece of visual storytelling I've ever seen, which I'll dive more into in part 3 of this review, but for now we can just say that Junna proves to Nana (and to herself) that her method _isn't_ bad. That learning from the greats isn't stunting her own growth, and that she can still reach her goal with her reliance on others to make up for what she lacks. In the original series, the people she looked up to were Claudine and Maya, because to her they were on a whole other level - and in some ways, that remains true in the movie. Maya is pretty much untouchable, but as is explored in her revue, this has made her an oddball in the group. She cannot exist without the stage, and she knows this fact, so there isn't even a question about it - Maya won't let herself die on stage, that's not an option for her. Claudine on the other hand is caught between returning to France and staying to continue challenging Maya. Claudine has always been defined by "second place," and that fact is exemplified here. Her belief that she and Maya are rivals is seemingly the one thing keeping her afloat, and the question is just whether or not that is strong enough to keep her dreams of being a stage girl alive. Their revue together explores Claudine's role not only as a stage girl but also in defining what makes Maya a stage girl. They are nothing without the other, but both must evolve from that fact if they are to achieve their dreams after graduation. Much like Claudine, Kaoruko is caught between returning and moving forward. She was always the most... confusing character to me in the original series - I didn't quite understand her purpose outside of being a defining part of Futaba's character. Here, it's made clear - Kaoruko **is** acceptance. If it were up to Kaoruko, she'd gladly let her stage die, but she wants it to be on her terms. She's the most angry about losing the original Revues because its a red mark on her record, and she spends her time in the movie trying to prove that she's still worth something. Like in the past, this is mostly by making Futaba chase her... but this time is different. Futaba has grown, and she's become passionate about something. Before, Futaba was the weakest of the nine, but she was never angry about that - her life was defined by assisting Kaoruko, and by losing to her she likely felt she had done her job. But she has split off now, and if that means leaving Kaoruko behind... well Futaba will make that decision. She'll do it if it means that Kaoruko will have inspiration to meet her, and they can both find their dreams together - as equals, as friends, as a couple. That leaves the main trio - Mahiru, Hikari, and of course, Karen. Mahiru has always been an interesting character because she is someone defined by others. Not in the way Claudine needs to be Maya's rival or the way Kaoruko needs a Futaba to rely on - Mahiru isn't defined by a _single_ person. She initially joined Seisho inspired by her grandmother, and her time spent on stage was defined by her - until she meets Karen. Karen to Mahiru isn't just an object of affection - Karen is Mahiru's way of feeling useful. She's always felt that she didn't belong in Seisho, that she herself wasn't a particularly strong actor or singer or dancer, and the original series features her learning to _somewhat_ believe in herself. Mahiru is still defined by Karen this time around, but rather than it being out of an insistence to be useful, its out of pure love. Mahiru doesn't even share that many scene with Karen, rather, it's through her interactions with Hikari that she proves her loyalty. Mahiru knows Hikari is destined to meet with Karen, but in that even she wants to make sure that Hikari truly deserves to meet Karen at the top of the stage. That is because, to her, Hikari ran. Hikari was scared and she ran. Talking about Hikari and Karen is so complicated because their stories are so intertwined. Hikari ran because she feared that she wouldn't be good enough to meet everyone else on stage. But as the movie shows us, Karen only ever pursued the stage because of Hikari. But Karen's insistence on keeping her promise with Hikari, one that was made out of the fear of Karen relying too much on Hikari (and subsequently backfired), is the reason Hikari never knew how close their relationship was - or rather that Karen could never address it. It's really complex and I definitely think it is their relationship and these characters that I'll especially need a second watch through to fully understand. For now, I'll stick with the idea that Hikari is spending the movie realizing that she has doomed Karen, and trying to fix her mistake before its too late. But she is too late. I'll explore this more in part 4, but Karen dies. The stage girl Karen dies. Because the stage girl Karen relied on Hikari, looked up to Hikari, pursued the stage in hopes to meet Hikari. And in doing so, Karen stopped being defined by herself. There's even seemingly throwaway lines like "Karen doesn't seem like herself on stage" that really hammer this idea home. The stage girl Karen was a hollow vessel, built on fate, and only in her death could Karen evolve. The simple overarching truth is... all the characters had to evolve. Like Nana's replays, Seisho was a safe place, their friends were a safe place, but those safe places were where they would die if they didn't move on, if they didn't pursue their dreams, if they didn't graduate. --- # ~~~ Part 3: The Revues _(Spoilers)_ ~~~ --- Oh my god the revues. From the music to the visuals to the emotions, they are so good and I spent probably the next hour after the movie ended stunned by every single one. Each one is so unique, both from the other revues as well as in terms of anime as a whole. Revue of Annihilation (titled Revue of Killing Everyone in the subs I watched) came out of nowhere and took me by surprise. Historically, the revues were always one versus one, with the one exception that saw us seeing a two versus two revue. Here, we have a revue that is one versus six. Like I said before, this was all done to show how Nana knows the fear in the hearts of the other stage girls. That is why Karen and Hikari are absent - their goals are unclear - it isn't just a matter of fear, it's a matter of not knowing what comes next. Visually speaking the Revue of Annihilation is pretty tame, despite happening on a moving train stage and having insane cinematography to show the fight in full. This is a perfect decision as the revue pretty much comes out of nowhere and eases the audience back into the revue format without immediately overwhelming us visually. It's exciting, exhilarating, and a little bit terrifying. I was already at the edge of my seat and the movie had just gotten started. Oh and this moment? ~~~ img70%(https://c.tenor.com/z_q4_wr8C58AAAAC/daiba-nana-revue-starlight.gif) ~~~ Yeah this moment was raw as hell. And oh my, _wi(l)d-screen baroque_ is probably my favorite track from the movie, perhaps from the entire franchise. It's groovy, it incorporates so many strange elements, and it paints a picture of the battle without ever having to see it. The ending of the revue is jaw-dropping, as well. I don't think Revue Starlight fans will be too surprised to see that there's blood in this movie, but this amount, and out of nowhere - Junna and Kaoruko literally die. it's pretty insane. Revue of Annihilation makes it clear what the movie going to be, narratively, thematically, tonally, and visually, all in a short 5 minute segment. An absolute masterpiece of a revue. And it's not even my favorite one. Revue of Malice followed next, and it's the final chapter in the Futakao relationship. Kaoruko spends the revue trying to run away, but always being above Futaba. After an initial scene featuring a cameo from Claudine, Kaoruko and Futaba clash weapons as they rise on a staircase, with Kaoruko always a few steps above, leaving Futaba to chase her. Then, they have a conversation in what appears to be a fancy bar or casino, with Kaoruko leading with questions and revelations. This all escalates into the jeep battle (which is insanely cool), and Kaoruko falling just to be caught, like always, by Futaba. ~~~ img70%(https://cdn.discordapp.com/attachments/597912439857610819/925908225302343710/futakao_staircase.gif) ~~~ I explain it in full to show that Kaoruko is still someone that Futaba looks up to - Futaba doesn't really state this directly, because, and this is a common theme for the revues, the visuals do enough for the audience to tell us that. This revue in particular does a massive amount of heavy lifting with its visuals, because while Kaoruko is the one talking and doing, its seemingly Futaba that is in control of the stage. Futaba is no longer looking out for Kaoruko because she believes Kaourko can take her to her dreams - she's protecting Kaoruko because she loves her. Futaba isn't scared of her own ability - she's scared of Kaoruko failing without her. When Futaba gives Kaoruko her motorcycle and asks her to take care of it - she's asking Kaoruko to take care of herself. The visuals are a great mix of Kaoruko and Futaba's thematic designs, showing us power in a modern sense, not in a Kyoto castle like in the original series, but in the modern equivalent. The song takes this motif as well, moving from the traditional japanese stylings of the two original songs of the Futakao revue, and adding modern twists with new instruments and rhythmic structure. One of the most visually stunning revues in the franchise, and the perfect ending for the two characters whos lives were intertwined. After Revue of Malice is Revue of Competition, between Mahiru and Hikari. Mahiru and Hikari have always had such a unique relationship, bound by their connections to Karen. And unlike Revue of Malice and the revues to follow, this is not a joint production - Mahiru is running the show, and Hikari is nothing but a participant. ~~~ img70%(https://cdn.discordapp.com/attachments/597912439857610819/925910733844262922/mahikari_montage.gif) ~~~ Because Mahiru is in full control, it's strange to see that she's still competing with Hikari, but this brings us back to Mahriu's character: Mahiru is someone defined by others, so it doesn't matter how strong she is or how much she can shine on her own. Hikari can't fight back because she knows she'll lose, and she knows that Mahiru is right. Hikari can't fight because she's scared, and Mahiru wants to prove that. The horror sequence caught me off guard, but its there to show the fear in Hikari and Mahiru's need for Hikari to be her best for Karen's sake. It was extremely entertaining, and the revue song just added to the creepy tone of the entire sequence. The dissonance in the notes, in her voice, in the rhythm. Visually speaking, this revue has insane transitions and threw my emotions around all over the place. Mahiru has always been borderline unstable, and what's amazing is that this revue moves her psyche closer and closer to that line without ever surpassing it. Next was the Revue of Hunting... and man. This revue is absolutely insane. The revue is the full realization of all the themes surrounding Junna and Nana's relationship: Junna has always represented the possibilities of the future, and Nana has always represented the safety of the past. Junna is someone defined by failure, by following others, by having to work for happiness - and Nana is someone defined by succeeding, by taking control, and taking what one has and finding the value in that. Nana's weapons, two swords, have always represented both the two sides of Nana's personality, and her insistence to spread herself thin in order to have more control. On the other hand, Junna's weapon, a bow, represents how she can always see her goal but never reach it - no matter how strong her aim, it will be her arrow that meets her dreams, not her. ~~~ img70%(https://media.discordapp.net/attachments/695008037852676199/925874376354693190/kys.gif) ~~~ This is why it's so impactful for Nana to break Junna's bow and give her one of her swords. Nana wants Junna to succeed on her own, to stop relying on others, and to Nana that is the only way Junna can survive - and to Nana, if Junna must rely on someone, it should be Nana and Nana alone. Nana walks away after passing Junna her sword, confident that Junna will either die now or pick up the sword and join Nana. But, to Nana's surprise, Junna makes the sword her own, stealing Nana's shine and once again proving that she will make us of others to strengthen herself. It is no longer Nana's sword - it is Junna's. And after so long of having to watch from the back as her arrow flew and met her target, she finally has the weapon to meet it herself. That's just one moment from this insane revue, one that finds both characters sobbing and eventually splitting off to find their own futures. I could probably talk for hours about this revue alone, since it _is_ Junna and Nana that I've studied the most from the original series, and I like I mentioned before this movie is just the characters being fully realized. But I'll spare you that since this review is already insanely long. The music and visuals of this revue are absolutely wild. The text saying "star," the way Moepii's voice cracks, the photographs and the way the one of the Nana and Junna _doesn't_ split apart. I'm confident that even without dialogue this revue would've broken my heart. The penultimate revue (if you want to call the final song a revue) is between Claudine and Maya, the Revue of Souls, a matchup fans of have waited for for years. These two, like I mentioned before, are defined by each other. Claudine must get better to challenge Maya, and Maya must get better to stay above Claudine. That's their dynamic, and it always has been. This revue is no different, but really deeply explores what that dynamic actually means. And what they've settled on... is wonderfully unexpected. The idea that Maya is God and Claudine is Satan is something I've never even considered, but that's pretty much all this revue is, and that part isn't subtle. Unlike everyone else, it appears there's no other options for these two except for pursuing the stage. Maya even goes as far to say that there is no _regular_ Maya - only the stage girl. ~~~ img70%(https://cdn.discordapp.com/attachments/597912439857610819/925902139069440000/mayakuro_stage.gif)~~~ What's probably most impressive about their revue is the visuals, showing them in a plethora of different stage plays and stories, showing that both will rise to any role thrown at them. There's so many sections that are just... amazing. Visual masterpieces. This is also the longest revue in the movie by a fair amount, showing just how stubborn both sides are - while Maya must continue to win, Claudine has made up her mind to not lose. This dynamic gives us a battle of gods one to remember. Musically speaking, this Revue obviously takes a lot from Pride and Arrogance, but never feels like its just a rehash of that original revue. In the original series, we never really got to see a true Claudine revue, so her taking control here to change what should be an easy victory for Maya - well, it's Claudine challenging fate itself. The last revue, which is less of a revue and more of a final scene, is titled simply: The Final Lines. It's the final confrontation between Hikari and Karen, and the follow-up to their confrontation at the beginning of the film. It is here that we get the fourth-wall break akin to the one from the original, where Karen and Hikari address the audience directly. And then Karen dies. And then she's reborn. The entire franchise has been leading up to this moment. In the original series, a common trope was for the characters to reveal their rebirths - from unambitious mannequins to stage girls. Here, that rebirth is visually shown to be the transition from students to adults, but nobody actually died. And that's because, for them, there was never a huge difference between their lives as stage girls now and in the future, other than how they themselves saw it. But for Karen... --- # ~~~ Part 4: Themes and the Ending _(Spoilers)_ ~~~ ... it's different. The inclusion of the scenes of Karen's backstory can be somewhat easy to forget, since it's very easy to focus on the visual feasts to be found in even just one of the revues. But it was equally important to show Karen's growth, because, despite not appearing in any of the five revues prior, this is Karen's movie. Kaoruko pursues the stage for her legacy. Futaba pursues the stage for her love. Mahiru pursues the stage for her kinship. Junna pursues the stage for her future. Nana pursues the stage for her happiness. Claudine pursues the stage for her strength. Maya pursues the stage for her life. HIkari pursues the stage because it is her fate. One she has roped Karen into. So Karen pursued her stage for Hikari. But that wasn't Karen. In their backstory, and shown in the series, Karen was seemingly always apathetic before meeting Hikari. But we see that, afterwards, even without HIkar,i Karen is capable of making friends (albeit with never as deep of a relationship). But she always had the promise, that fate, that causes her to change whilst performing. The Karen we see is not the real one, it is simply the Karen of the stage. But that doesn't mean there can't be a stage girl Karen. It just means that she needs to be reborn, to let her stage die, and to fly from the ashes to become the true Karen Aijo, the true stage girl that was sought out by the audience for the past 3 years. This movie really has no reason to exist; again, the original series was very complete in its own right. But one of the major themes of the original series was the audience played a role in the story, too, and we the audience have willed this film into existence. ~~~ img70%(https://cdn.discordapp.com/attachments/597912439857610819/925909808018763776/karen_dies_2.gif) ~~~ The themes of this movie likely span much further than that, but in terms of Karen's story, and perhaps the stories of all the stage girls, I think this movie has finally done it. This movie doesn't say anything directly, but its message is clear. So finally... I understand.
# This is less a review and more a commentary on the main themes and metaphors of the movie. As such, it will contain spoilers. >All the world’s a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts. When Revue Starlight aired and ended in 2018, it was common to see people criticize the show for having a frankly rather plain protagonist in the form of Karen. I too shared this opinion, but also understood why it was so: _Revue Starlight_ was first and foremost an allegorical story meant as a critique of the hyper-competitive nature of Takarazuka theatre and its self-destructive condition, as well as a «meta» commentary on the relationship between an audience who wishes to see a tragedy unfold and the lives of the characters that have to act it out. Karen and her story are therefore little more than a vehicle for these ideas and their execution: Karen eventually destroys the tragic competitive system and acts out Starlight with Hikari as she had dreamed, everyone is happy, and her story is over. So, how do you follow up on a finished story? img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h15m33s954.png?w=1024) Whilst watching the first revue of the film I was reminded of the words a professor of mine said: "A book is dead as long as it is just sitting on a shelf. It only becomes alive when it is read." A common metaphor when it comes to thinking about stories and texts, it is often used to refer to the way a text is only relevant when someone is interacting with it. The _Revue Starlight_ movie takes this to a literal extreme: The narrative finished with the TV show and Karen’s story has been told, but what about the others? Those who did not have a protagonist role, and whose lives still hold stories to tell? With the end of _Revue Starlight_, Nana sees their death, their fading into obscurity as the audience moves on. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h16m18s133.png?w=770) _The «corpses» are framed as packaged action figures, an extreme objectification: They are toys for the audience_ img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h16m00s096.png?w=1024) And so the girls take up their weapons once again, to become the top star, to become _the protagonist_ and have their lives, their stories, be told. The giraffe, representing the audience, is now food, the attention of the fans of the show fueling the creation of a sequel in order to quench their thirst, and giving the girls a new chance to exist. The second half of the movie is revue after revue, clash after clash. But these fights are not between the girls, but rather between _the presupositions each girl makes of the other_, which, in a meta sense, are the archetypes that the TV show had given to each of them: Maya is the ultimate elite, Claudine her eternal rival, Mahiru the jealous enamoured, etc. They are the roles that _Revue Starlight_ and, in a way, the audience, had given them. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h18m36s028.png?w=1024) And in the process of fighting, the girls lay bare their worst possessive feelings towards each other. Kaoruko will not accept a Futaba that pretends to continue her studies away from her, _because it does not conform to the way she believes Futaba must be,_ and neither will Nana accept a Junna who wishes to momentarily leave the stage, because that is not the Junna she fell in love with. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h18m12s961.png?w=1024) But relationships are not built on mutual unconditional devotion, they are built on the recognition of the _autonomy_, the agency, of the other. A relationship that is built in mutual subservience and codepence is destined to shatter. And the film understands this, with every revue culminating in both girls accepting each other, in all their faults and beliefs and emotions, in all their _humanity_, and learning that you must let go of your own ideas of how someone should act and exist in order to truly love them. And in learning to let go, the bonds they share become ironclad, in a way reminiscent to how _Liz and the Blue Bird_ did four years ago. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h59m51s885.png?w=1024) img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h59m22s809.png?w=1024) _Mahiru understands this from the very beginning, her acting as the «yandere» having been just an act. Even though she may love Karen, she has found both a passion for theatre that goes beyond her and a newfound love for her «rival», and is able to let her go with her blessing._ But what about Karen, our protagonist, the one whose story already ended? All the way throughout the movie, Karen searches for Hikari along the train tracks, and we are constantly regaled with scenes of her past, from her meeting Hikari as a little kid to her discovery of her passion for theatre and deciding to apply for Seisho. But when she finally finds Hikari, she dies. "I have nothing" she cries, as she collapses like a puppet whose strings have been cut, and the frame shifts towards an image of a tomato, _the audience’s attention_, exploding. Her story was over the second the TV series ended and, as she was only a vehicle for the thematic statement of the show, she has nothing else, not even the attention of an audience who found her shallow and even boring. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-06h22m25s682.png?w=1024) But Hikari won’t let her die, revealing that the reason she left her was because she was afraid of becoming her _fan_, of forcing her own ideas of how and what she should be in her as the other girls had done for their respective pairs. And through her wishes for rebirth, she lets her down into the forge once again. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h20m25s462.png?w=1024) Karen’s figure shifts into that of the T-sign representing the Position Zero of the stage, the top star, _because that’s all she was in respect to the TV show’s intention_. But this is not true, as the film has shown us: We have seen episodes of her entire life, what Hikari meant to her, what theatre meant to her, episodes of her life with unnamed friends, unnamed family members, the people that had been with her through her life. And now, we no longer know Karen the thematic vehicle, we know Karen the _person_, and we want her back. Little Karen holds the tomato. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h21m20s600.png?w=1024) img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h21m29s883.png?w=2000&h=) _"You are me, I am you/The past is the future, the future is now"_ And now the rocket that propels the train burns through all her past selves, her memories, her life. But these are not the flames of destruction, they are the flames of rebith, of passion. And that is what the movie claims we as humans are, our pasts, presents, and futures, the people we love and have spent our lives with, all our emotions, the passions, the loves and hates, the drive to go forward. Burning and condensing all that makes up Karen, the train propels forward until it comes to a stop, and Karen the _human_ is born. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-06h40m57s349.png?w=1024) And the new Karen _knows_, she knows that she is not someone who has nothing, because she is no longer a narrative device, but a true human with all that makes up her identity. She sees Hikari and is equally entranced and terrified by her, by the person who brought about all the passions and triumphs of her life. No longer beholden to the brutal laws of the revue, of _the audience_, her weapon shatters, and Hikari pierces her with her own in a final excisement of her existence as nothing but the Protagonist, the Top Star, as Position Zero icons fly away from her body as blood. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h26m14s888.png?w=1024) img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h26m58s163.png?w=1024) And the Tokyo Tower, the symbol of their promise, breaks in half and flies away, falling to the Position Zero, the _true_ Position Zero, the beginning of her life as a human, and not her identity as the Top Star. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h27m33s614.png?w=1024) And the girls cast away their capes, the symbols of their belonging to the system of the revue. For they too, having recognized each other as autonomous humans, in all their passions, have attained humanity, and are no longer beholden to the wishes of the audience. They are themselves. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h28m54s240.png?w=1024) Karen stands upon the broken train tracks that had brought her this far. "We’ve… acted it all out. Revue Starlight. Right now, I might be the emptiest in the world." Hikari hands her the audience’s tomato, "Then, go on and find it," she says, "Your next stage. Your next role." Karen is empty now, truly empty, but not in the negative sense. She’s a jar yet to be filled with quenching water, a flowerpot whose seeds have yet to flower, The Fool who will embark in a journey to The World. _Revue Starlight_ is over, but in having learned to love each other and all that makes up their identities, the girls of the 99th class will go on. So go on. img220(https://sparkslocker.files.wordpress.com/2022/01/shoujoe29886kageki-revue-starlight-movie_2022-01-01-05h29m42s721.png?w=1024) [link You may also find this article here](https://sparkslocker.wordpress.com/2022/01/01/aijou-karen-the-protagonist-aijou-karen-the-human/)
When I first heard there was gonna be a Revue Starlight sequel movie, my reaction was, “Why?” Here’s the thing: Revue Starlight is one of my favorite anime of all time. It’s a truly one-of-a-kind showstopper, melding symbolism-drenched storytelling, breathtaking battle sequences, and a beautifully realized cast of characters into the ultimate exploration of theater and what it means to be a drama kid. No anime so perfectly understands the struggle, the meaning, and the metatextual wonder of theater as Revue Starlight. But it’s also in large part about the fact that stories _shouldn’t_ go on forever. Trying to recapture the same glimmer over and over again is only going to lead to diminishing returns, stagnating your craft and life alike. In order for art and people to survive, we _must_ move forward; curtains must close on one play in order to make room for another. And in just twelve episodes, Revue Starlight closed its curtain expertly. It wrapped up all loose ends, fully explored all its themes, and ended its run with a complete thesis that said everything it needed to say. It was about as perfect as closure can possibly get. So what’s the point of doing a sequel? What’s there even to continue when it feels like everything’s been brought to a close with no room for elaboration? Why undo the ending for a story that was all about why stories need endings in the first place? There’s nothing to continue here, and even if there were, continuing at all would be contrary to the point this franchise was trying to make in the first place. Surely, even a _good_ sequel to Revue Starlight could only ever feel like a step back at best, and an outright betrayal at worst. Why bother trying at all when it seems doomed to be a losing prospect from its very premise? And then I actually watched it. And folks, I could not be happier to tell you I was completely wrong. The Revue Starlight movie is one of the most astounding things I’ve ever seen. The best way I can describe it is a cinematic crossroads where Adolescence of Utena, End of Evangelion, and Liz and the Blue Bird all crossed blades, spilling each other’s blood and painting the earth in its rainbow color. It’s at once a staggering deconstruction of itself and a reconstruction into something entirely the same, a study in the complexity and maturation of humanity and interpersonal relationships, a dizzying spectacle of sight and sound that would put most professional opera to shame, and a climactic battle cry that made all my doubts melt away like ice before a roaring inferno. It embraces its own seeming superfluity and turns that into its greatest weapon, burning itself, its characters, and its very franchise to the ground so that a new phoenix may burst forth from the ashes. Hours later, I’m still reeling from the sheer experience of watching it all unfold. I struggle to find the words to do it justice, to grasp my reeling thoughts and re-arrange them into something comprehensive that isn’t just screaming and flailing with a mixture of awe and delight. This. Movie. Fucking. OWNS. Sadly, to talk about why it owns so much, I can’t remain fully spoiler-free in this review. This movie is not something one can talk about without at least hinting at some of its biggest surprises and unexpected left turns. But I’ll do my best to avoid specifics wherever possible, and if anything I’ve said thus far has convinced you to give this movie a shot, then I suggest you turn back now. You deserve to experience it as unspoiled as possible. If you need a little more convincing, though... then read on. The smartest thing the Revue Starlight movie does is make the question of its existence the central question of its story: where do we go from here? The characters have passed the auditions intact, performed their new and improved version of Starlight, and come into their own as young actors. So what happens now? Where do Karen, Hikari, Mahiru, Nana, and all the rest continue their journey on the stage, now that external forces are no longer prompting their forward motion? Life, after all, continues ever on past past the end of a play; the auditions may be over, but with graduation around the corner, a new chapter in their lives will soon begin. And none of them are quite sure what new stage they’re going to stand on when that time comes. Hikari’s even gone back to London to continue training at her old school, leaving Karen once again unsure how to move forward without her own shining star to guide her. It’s a beautiful way to weave that metatextual uncertainty into the fabric of the movie itself, something this franchise has always been masterful at. The curtain has fallen on one show, but a curtain is about to rise, whether the girls are ready for it or not. And indeed, it’s only a matter of time before this existential concern becomes the bedrock for a new series of battle revues. Only these aren’t auditions for Top Star like they were in the show; no, they’re something much more complex, much more intense, and much more challenging to the very core of who these people are. I’ll avoid spoiling the specifics of how and why these new revues come about, but suffice to say, this is no longer a tournament for some far-off prize that only one lucky main actor can win. This new stage is a stage for all nine girls to sweat, bleed and die upon, fully coming to terms with themselves, and their relationships with each other, so they can grow past their doubts and become fully actualized, fully self-confident young women. Karen was the protagonist of the show, and she still technically is here, but more than anything, this movie is a story of each and every girl becoming the protagonist of their own life, finding what drives them forward, discovering what path they wish to take, and embracing the way forward with all the drama, exertion, and over-the-top zeal that comes with the territory of being a theater kid. In other words, this movie is about breaking free of the confines of who you were and charging headfirst into the person you wish to become, fears be damned. And in true Revue Starlight fashion, the metatext of breaking free of the story itself is part and parcel of that same layered metaphor. Just as Nana once trapped the girls in an eternal rerun of their golden years, just as the play of Starlight was a prison that had to be rewritten for the characters to move forward, the stasis that Revue Starlight must now overcome is the stasis of its own perpetuation. As long as this franchise continues, the movie seems to argue, these girls will forever be caught in cycles of torment and struggle, forever performing bloody plays for an audience drunk on the spectacle of it all. It’s a feature-length expansion of that chilling moment where the giraffe turns to the audience in the final episode, condemning us as complicit in the continued suffering of its characters and world. For the characters of Revue Starlight to truly escape the death knell of stasis, then Revue Starlight itself must be destroyed, freeing them from this cyclical story and delivering fate into their own hands. Only then, at long last, can the curtain rise on the next act. What we have on our hands here, then, is nothing more or less than Revue Starlight enacting its own apocalypse. It’s a two-hour cinematic self-sacrifice that seeks to send itself out with as beautiful a blaze of glory as it can possibly muster, confident in the knowledge that what made it so valuable will survive long after the curtains come down and the stage is swept clean of broken glass. Characters clash and fall apart, but promise to never truly leave each other. Iconic symbols from the show crumble and shatter, remixing in an endless array of new possibility. It destroys the fabric of its very existence, only to pull something even more precious from the wreckage it leaves behind. Even the in-universe world feels bigger than ever, with more focus on background characters, more locations outside the school, and flashbacks that flesh out Karen and Hikari’s childhood friendship, back when they were still just ordinary kids outside the pressure cooker of the world of theatre. Watching this movie is like watching the foundations of Revue Starlight itself come undone, revealing everything beyond its narrow stage and encouraging us to leave the audience at last. To call it breathtaking would be an understatement; I still don’t know if I’ve fully remembered how to breathe. And the revues themselves! God, the fucking revues! Free of the tournament bracket, the musical battles that dominate this movie’s second half are able to break free of their formulas and deliver this franchise’s most stupefying spectacles of all time. Characters you’ve never seen fight before! Characters you’ve wanted to see fight for ages! Interpersonal conflict that builds off what the show established and strips it down to its core! The raw emotions of each match-up, the way previously established relationships are tested and laid bare with both participants’ worst qualities fully unleashed... it’s like you’re meeting everyone for the first time all over again, understanding them more deeply than you even did over those past twelve episodes. And that’s not even taking into account just how fucking gorgeous they all are. The show’s uneven production schedule lead to some of its later duels lacking the polish they needed to truly shine, but here? Every battle is a feast of sakuga and symbolism. Every fight bursts with jaw-dropping imagery. I could spend hours poring over all the best moments from each fight, the moments that made me screech and howl and gasp and cheer. And if you were as disappointed as I was that Claudine and Maya’s revue in the show was too compromised by production issues to really do them justice as the queens of their class, then hooooooooly fucking shit, you need to watch this movie as soon as possible. That’s all I’ll say to avoid spoiling any more, but trust me: you will not be disappointed. Believe it or not, I could keep going. I could discuss how masterfully the flashbacks are integrated into the overall structure, the brilliant way the giraffe is thematically repurposed, the absolutely mind-blowing final act. But I think it’s best I take this franchise’s advice and let the curtain fall before things drag on past their natural stopping point. Revue Starlight is truly over now; this movie is as definitive a finale as that last Evangelion movie, a stopping point that ensures no possible continuation. It’s a swan song for a franchise I didn’t think needed one, but now I can’t imagine without. It’s as stunning a finale as I could possibly hope for, bringing itself to an irreversible end and celebrating its demise with the performance of a lifetime. It is, without question, one of the single most incredible movies I’ve ever experienced. Take a bow, Revue Starlight. Thank you for one of the greatest curtain calls in cinematic history.
_This review will __not__ be spoiler-free, unlike my review on the TV series._ I was initially supposed to write this the day after my review on the TV series and aimed to then follow it up with a post I was planning to create on my Instagram account. I got caught up with some personal stuff I had to deal with, so I had to put it off. My thoughts are gathered now... so I want to finally deliver my thoughts on this godsend of a film. It may still be a little messy, but I'll try. In my review on the TV series, I mentioned that it was the first time in a while that I'd fallen in love with an anime. Ranging from the love and care shown in character writing, to the beautiful shot direction, the thought-provoking imagery, the amazing OST from Fujisawa and Kato, the passionate acting and singing from all of the VAs... there truly was nothing I didn't love about it. I didn't think it could get any better. # __I had another thing coming.__ It's no exaggeration to say that, despite how perfectly laid out I thought everything was from the get-go, this movie improved on _literally everything_ the TV series had to offer. _Revue Starlight's_ theatrical interpretation sets out on it's 2 hour runtime continuing directly from the series. It's not the kind of movie sequel that wastes time reintroducing the characters or pointlessly introducing new ones into the main cast, it assumes that you're going into this knowing all of the characters, their stories, their personalities, their connections... as you should. It sets out to conclude everybody's character arcs, and that's where the idea of "assumed knowledge" shines; it doesn't waste screen time recapping character arcs from the show, it picks up from what remains following the conclusions we got in the anime. Delving deeper and deeper, pulling out the characters' innermost desires... seeking to give closure to their deepest wishes. All of this is put on the backdrop of Class 99 coming to terms with their graduation, their... inevitable parting. Their own Starlight. Karen and Hikari's promise. Mahiru's acceptance of Hikari's connection with Karen. The growing rift between Futaba and Kaoruko. Junna's shifting place in Nana's heart and mind. Maya and Claudine's rivalry. The shackles the auditions have placed around the 99th Class. img(https://i.imgur.com/kSW3ZjG.png) # __The film takes advantage of it's runtime to give everybody the closure they need, not missing a mark.__ The movie spends a bit of time between different Revue scenes deconstructing Karen and Hikari's promise, showing the background we never saw in the TV series, but knew; Karen's side of her separation from Hikari before Seisho. In the TV series, we saw Hikari's side in episode 8. It showcases the blossoming of their connection, their separation, and then... unfiltered, pulling no punches, every single step of the way: the hard work Karen put in to get to this point. Those who supported her. The determination she had to get into Seisho. The emotions she felt. It's not my favourite part of the movie, but the whole combination of scenes is... beautiful. This all spirals and leads up to the emotional, impactful final Revue at the end of the film. I will say more about that later. _Wagamama Highway_, the revue featuring Futaba and Kaoruko, is where it became clearest to me that the film was seeking to pick up the character relationships from the conclusion of each revue in the TV series. Along with the movie's opening where we see an additional rift that drives Futaba and Kaoruko's relationship further apart, their revue continues the idea of their relationship being at an impasse due to conflicting interest. The imagery during _Wagamama Highway's_ imagery is great, along with the insertion of Claudine due to her involvement in the TV series' initial rift between the two. Outfits depicting the drastic differences in personality and interest between Futaba and Kaoruko, the graffiti on the trucks (part of the aesthetic portrayed by Futaba's outfit, also alluding to the "Highway" metaphor) also tells the story of their thoughts; the desires they have for eachother but can't quite put into words. The revue ends with a spectacular scene of Futaba and Kaoruko coming to terms with the impasse in their relationship, and Kaoruko realising that her co-dependency on Futaba is the core of it all. The realisation, shown through the movie's ending, that they need independence from each other; that Futaba was right to decide to have a separate future from what Kaoruko sought. They don't need constant dependency just to maintain any connection at all; Kaoruko's __greed__ for Futaba... wasn't the only way. img(https://i.imgur.com/utmkVJK.png) This is not the only revue that makes use of the message the film is trying to send about greed. While _Wagamama Highway_ is great, _MEDAL SUZDAL PANIC◎〇○_, the revue featuring Hikari and Mahiru, makes even better use of the greed message, in a genius twist constructed to show Mahiru's development. _MEDAL SUZDAL PANIC◎〇○_, to me, is a story of Mahiru's growth _out_ of greed, letting go of her desire to want Karen all to herself... despite the way the song's beginning tries to throw you off into thinking the opposite. The song's lyrics initially start with the tone to give the impression of Mahiru's growing resentment of Hikari for "stealing Karen from her" similar to tones seen in _Koi no Makyuu_ in the TV series. This is combined with blatant horror style imagery to further sell that idea and throw the viewer off. I was hooked, I was convinced from the start that this was going to be them simply re-exploring that desire to have Karen to herself and then having Hikari try to comfort her and assure her that she wasn't "stealing" Karen from her... but this is Revue Starlight, so I should have realised the reality would be quite different. In the end... It was an act. And due to it's place as an act, it ended in the exact opposite way I expected; it wasn't Hikari reassuring Mahiru, it was Mahiru showing Hikari that she wanted to stand on the same stage as her, that she realised her faults regarding Karen and wanted to act it out to demonstrate that she was aware of everything. This established a new bond between Mahiru and Hikari, and showed that Mahiru had _already_ grown out of her negative feelings. _MEDAL SUZDAL PANIC◎〇○_ stands as a testament to Mahiru's strength as a character. _Also, what the hell is a Suzdal Cat, Haruki?_ img(https://i.imgur.com/sWneq33.png) >"No matter how many times I die, I will revive!" -Saijou Claudine This one line encompasses a large portion of what I'll be discussing regarding Maya and Claudine's revue, _Utsukushiki Hito Aruiwa Sorewa_, and it's relevance to the film's message on the emotion of envy. _Envy_. It's an emotion describing desire; an uncontrollable longing for what those around you possess. The drive to improve yourself, to be like the ones you look up to, the ones you chase. Tendou Maya and Saijou Claudine. Natural rivals, furiously competing to be the top, both in the 99th class and in the revue auditions. Maya is consistently seen as the victorious one in this uphill battle, as Claudine struggles to close this gap throughout the TV series. Again and again, in so many regards, Claudine failed to close this gap; to exceed Maya. But... she kept coming back. She worked hard, and kept trying to exceed Maya again and again. No matter how many times she failed, she kept her strength and continued to fight to match her rival... no matter how many times she "died", she revived. _Utsukushiki Hito Aruiwa Sorewa_ is the moment where Claudine finally closes the gap. She finally catches up to Maya and exceeds her. The uphill battle finally ends in Claudine's victory. In Maya's memory that she was never the only one truly determined to be the best there is. In their shared realisation that... they love the stage. They love their rivalry. Not treating their envy of each other as a weakness, but their drive for strength. It's exactly how I wanted their joint character arcs to conclude. img(https://i.imgur.com/Rv0EFcC.png) img(https://i.imgur.com/xXmOfHW.png) # __My favourite part of the film.__ Despite taking place before _Utsukushiki Hito Aruiwa Sorewa_, I decided to save Junna and Nana's revue, _Pen : Chikara : Katana_, for last before talking about the final revue from Karen and Hikari at the end. Junna being my favourite character in the series, this revue really shines to me. It still does. I've already gone back and found myself watching it again, just... mesmerised by everything about it. The message, the dialogue, the performance from Hinata and Moeka (voices of Junna and Nana), the animation... the conclusions of their character arcs. From Nana's side, _Pen : Chikara : Katana_ is about her realisation that Junna isn't the same as the Junna she knew in all of her past loops, due to her change in motivation after being defeated by Karen in the TV series; that she wants to take a different direction to improve and close the gap between her and those she envies. For the sake of the protection Nana wanted to give, she had hoped that at least Junna, due to their relationship, would at least stay the same and give in to Nana wanted. While still caring about Nana and the rest of the 99th class, Junna wants to take a different path. She wants to improve, she's tired of being complacent with not living up to everything she wants, and wants to chase her own star; to follow her own path. I could go on and on explaining this, but instead, I want to share the scene that keeps me coming back. It... says more than my words could ever hope to. webm(https://i.imgur.com/A4lhGHw.mp4) Even just grabbing that file again and uploading it, which resulted in me watching it again... the feeling is still the same. Satou Hinata, your acting sent a chill down my spine, shaking me to my core and giving me a reason to resonate with your character in an even stronger sense than I already did... not a lot of other actors have impacted me that way. __Well done, truly.__ She's not the only one I owe this to. This whole scene is on a very high level in terms of writing and direction. Adding on those same elements to the passionate animation that comes in the battle that comes after... this whole revue is a masterclass. Junna and Nana's character arc concludes with their bittersweet separation, but with the promise that they will meet again as lead roles on the stage one day, allowing Junna to chase her envy of those she wants to exceed and improve to the point where, one day, she can seize the main role she wants... she can reach her star. Nana can finally come to terms with the fact that she doesn't need to protect her classmates anymore. img(https://i.imgur.com/mTJAv4w.png) # __Position Zero: The final stretch.__ The final revue between Karen and Hikari, _Super Star Spectacle_. It's still very difficult to explain everything I felt during this whole final stretch of the film. It is truly one of the most _batshit crazy_ things I've ever experienced in an anime... in the best way possible. Dramatic, emotional, while still keeping in touch with what makes _Revue Starlight_ such a fun series to watch. img(https://i.imgur.com/gXtLT7e.png) _Super Star Spectacle_ does a lot right, much like the rest of the revue sequences in the film, but what really stuck out to me in particular was it's utilisation of unique song structure and ranges of tone in different parts of the song to further enhance how drastically the tone shifts during this revue, from seemingly no hope to the epic climax at the end of the film. _MEDAL SUZDAL PANIC◎〇○_ also did an excellent job with this quality, but _Super Star Spectacle_ is where it shines the most to me. This is just one quality from other revues that _Super Star Spectacle_ has in common, as impact and message-wise, it really seems to be a combination of everything great about the other revue sequences throughout the film; bearing similarly colourful and clever imagery to that of _Wagamama Highway_, a similar deconstruction of Karen and Hikari's connection to that of Maya and Claudine's in _Utsukushiki Hito Aruiwa Sorewa_, a similarly emotional portrayal of the inevitable separation between the two to that of Junna and Nana in _Pen : Chikara : Katana_... most importantly, it takes the emotional impact of every revue, both in the film and TV series, and packs all of those emotions into one final song. As the song comes to a conclusion, we see the symbolic capes that have been a hallmark of the revue auditions come flying off, fluttering into the wind like birds leaving their nest for the first time. The shackles that bound them to the endless cycle of misery have come loose... the girls of the 99th class are free to chase their own stars. _Position zero._ img(https://i.imgur.com/CIUohOP.png) Thank you.
I decided to copy-paste one of my Letterboxd reviews to here cuz why not. I’ve watched this movie many times, and I keep trying to attack this movie. I keep trying to find an opening in its defense. But I just can’t. It’s ridiculously solid. This isn’t just what animation was made for, it’s what movies as a whole were made for. They fixed everything wrong with the show, not just from the character dynamics, but, well, everything. There’s so much about this movie to just geek out about. Everything, every part of the production is treated with care and is in such amazing coordination, the blocking is perfect, the film score is perfect, both composers and storyboarders made a distinct effort to work together on it and it’s just genius. The story is a perfect mix of both melancholic and spectacular, emphasized by just the right amount of different styles of abstraction from Ikuhara-esque, to Yamada-esque, to Takeshi Kitano, to golden age Nikkatsu, to imitation of actual Takarazuka stage play productions, f*ck man he even has a scene homaging Chariots of Fire, a 10-minute sequence that is legitimately just him geeking out over Mishima and Lawrence of Arabia, and a scene directly pasted from Mad Max Fury Road; to say Furukawa is just Ikuhara 2, and to say Revue Starlight is just about Takarazuka, these are both massive understatements. Furukawa is a nerd about movies and this movie turns people into nerds. He knows exactly how to use each element because he knows how to factor out scenes and reuse techniques appropriately. It works perfectly with the theme of the movie, that we don’t let go of the past and instead constantly borrow from it, and what it means to just be someone’s fan. And yet, Furukawa puts the aesthetic rather than story on the foreground, adhering strongly to an experience-centric philosophy, in which the trick is to make the core material simple, but the presentation wildly abstract and fun. The movie is drastically overflowing with repeating motifs, leitmotifs and rearrangements, and fun, interesting imagery. And for as unconventional as the movie gets with its format, the story still secretly follows rules of repetition and even a three-act structure. It’s a god-damn masterpiece. This movie did NOT need to be this raw- it’s the most speechless I’ve been coming out of a movie, and it’s the most fun I’ve had, and keep having- because every time I watch it, I enjoy it more, and I’m still studying everything Furukawa and the Starlight team put into this. I don’t get enough of it and this movie keeps remaking my passion for movies every time I see it. This movie isn’t just 5 stars, it’s overwhelming starlight. ----- “I think if a person can find a dream worthy of a lifelong commitment, that person is lucky. If one can find friends with which to spend one’s life, that person is also lucky. But also, a ‘lifelong friendship’ is not so weak a thing that it must be surrendered to one’s ‘lifelong dream.’ I believe that those who have the strength of spirit to commit their lives to a dream should also be able to make room for lifelong friends.” - Kunihiko Ikuhara (Revolutionary Girl Utena) ----- __[More thoughts from an earlier rewatch (be warned, 80 pages)](https://docs.google.com/document/d/1-1G8ZOEE6nRxtlXNxT9v1-cyR6mk6Ro7MngvgiZraWU/edit?usp=sharing)__
**This is a review for both the main anime and the movie. Your first impression of Revue Starlight may be that of a generic Shoujo or Idol-ish show, however prepare to have every one of your expectations subverted in a magnificent fashion. ~~~img440(https://tenor.com/view/shojo-kageki-revue-starlight-gif-18049756.gif)~~~ This series is a beautifully complex, coming of age fever dream that doesn't hesitate to throw out every scrap of logic that exists out of the window. Telepathic giraffes? Life-size replicas of Tokyo Tower flying all over the place? The viewer is constantly kept on their toes, with these maddening images often serving as extremely powerful metaphors and symbols. Due to this Avant Garde-like trait, every watcher can extract a different personal message from this anime, enabling the themes to be much more engaging and relevant to each person, along with exponentially increasing RS's replay value. Admittedly, on first watch, the first 4 or so episodes are bland. The characters are flat, the plot is basic and the themes are weak. However, once the world and the character dynamics are established, this show instantly begins dissecting them; characters are broken down, motives are questioned, relationships are strained; with all this serving as a stage for all of RS's brilliantly woven themes. ~~~img440(https://tenor.com/view/karen-aijo-aijo-karen-revue-starlight-shoujo-kageki-revue-starlight-kalenchan-gif-24915817.gif)~~~ Using a music/theater school as the backdrop is simply a genius decision; not only allowing the director to capture the energy and naivete of youth, but also enabling the stage to act as a metaphor for life itself. This is setting is further utilized by the sequel movie; whose melancholier beginning about graduation and moving forward in life perfectly sets the tone for all of the subsequent themes explored within this 2 hour master piece. The movie is exceedingly aware of its place as a continuation of the end, and uses this knowledge to its advantage in order to enhance the viewing experience as a whole. Not only does it serve as a coming of age story about personal growth and evolution, it also acts as a meta commentary on the entertainment industry as a whole, where we learn about these characters, not as meagre actors, but as humans, that will never stop evolving, even without an audience. ~~~img440(https://tenor.com/view/shojo-kageki-revue-starlight-gif-18061419.gif)~~~ The main cast of Revue Starlight consists of 9 high school girls, all with unique ambitions and goals to work towards. I can't say I was a fan of any individual character, but the cast's internal dynamics were what kept me engaged. Through this fever dream of an anime, all their inner thoughts, insecurities and hidden secrets are all materialized into this insane world, allowing the plot to break down these aspects into their core components. Is it justified to sacrifice others for your own victory? Is it okay to remain entrapped by a single glimmer in a sky filled with so many more stars? This anime presents the audience with many such dilemmas, where the answer is never shown as black or white, but rather as yet another small act on the grand scheme of life's play. In the end, Revue Starlight is a series with virtually no parallels. It is not only one of the most unique shows I have watched, but also one of the best. It is the ultimate story about moving forward conveyed through some of the most bright and masterful direction this medium has ever seen. It is a star of an anime that will shine forever. Thanks for reading.
img450(https://cdn.discordapp.com/attachments/865233000328593408/1173379634042257408/image.png?ex=6563bdf1&is=655148f1&hm=fd7f1cfce22814d162f6c553bb7d8d665de7f6585de6e35a2c025a65fa9c6f63&) img450(https://cdn.discordapp.com/attachments/865233000328593408/1173379634528792657/image.png?ex=6563bdf1&is=655148f1&hm=4d3d5e890d7a579e212864830e371f46afd74d0c1ac374eaed465900f92afbc9&) "For heroes there are trials, for saints there are temptations, for me there is you" has to be one the most powerful wedding vow lines of all time. Anyways, very good film that I have some reservations for and disconnections from, but that has already grown on me since it ended and with revisits to clips and such, and that will likely to continue to do so and may need a rewatch. Like other good sequel franchise films (K-On), while it semi-struggles to work with a finished story, it re-contextualises and reframes things very cleverly to work brilliantly despite that possible and still slight barrier (and some issues with pacing for me). Arguably it's added context makes it even better in that regard. Firstly, there is the meta angle with Mr Wakarimasu. This film only exists because the audience willed it into existence. We've forced these girls to redo it, to do the revues again, provided the food for them, the fuel to light the stage on fire. We lit the passion to make it but also took away something in the process. The girls have lost some carefree adolescence in what they've committed. Secondly, there is the shift in perspective from mainly focussing on becoming a hypothetical top star, to now add on top of that anxiety over the future, differing paths, and ending adolescence. Now onto the revues. First, the pairing of Junna and Banana. Instead of wanting to retain the set revue as she did in the show, to relive that experience, now she is stuck trying to retain Junna, and retain her set image of her. Junna, however, is her own person. She spent a lot of the show trying to be that, to move passed her mannequins, her parroting of words that are not her own, and now she has achieved that. Next, the revue of Kaoruko and Futaba. It is effectively a breakup revue, and Kaoroku even says she might not wait, but the hope is still there. She is riding the motorcycle in the ending, and the key to it is wrapped around her ring finger at the end of revue, laying in a bed of sakura petals. It's a very beautiful revue that naturally extends on from the show, whereby Futaba was still trying to push Kaoruko while starting to come into her own too. Thirdly, there is the revue of Hikari and Mahiru. At first it seems like another jealous bout from Mahiru, and over protectiveness with her identity still wrapped up in Karen. However, it is ultimately revealed that she was acting, and enjoying her time on stage not with Karen but with Hikari. She has grown to be her own person wonderfully, and it's beautiful to see. Fourth, the revue between Claudine and Tendou Maya. I've already quoted it's main crux at the start, but rather than necessarily a reframing or non-linear progression from the show, it is more of an exact escalation from it, and it works wonderfully for that. It's perfect as a choice for those characters, and uses rich choreography and imagery to really pull off that increased scale. As in the show, they love each other and are rivals, pushing each other constantly to higher and higher heights, revealing each others' true selves. They're married. They married in this. Finally, the main event of sorts. Karen and Hikari. This is post Starlight, so their goals have been achieved, they have both been the top star at the same time. From now on though, they have to be their own people, their stories don't end there. Karen needs to forge an identity outside of Hikari, as Mahiru did with her, and Hikari wants to see that happen. Both have and will continue to love and push each other to more. That may be apart at times, it may still be together at times, the future will tell. One could argue this pushing of Karen to be her own top star undermines the two-star finale of the show, but I'm not sure that's true. They are all top stars, and all not stars (throwing away their coats together), and all have the future to come, and the fact not all of it will be together won't undermine when it was or when, if this is the case, it will be. This film is the Revue of Annihilation and Revue of Rebirth in and of itself.
~~~The train doesn't wait for you, you need to catch it before it's too late. But where is our train? And when will we find it?~~~ ~~~✰✰✰~~~ ~~~Spending your whole life with the same person. Doing the same things. But are those really what you want? Or do you follow that person just because you are lonely without their guidance? Then what will happen when you decide it's time to try something new? Will you abandon them with tons of worthless excuses? Or will you explain yourself to them properly, so you can get back together in the future?~~~ ~~~~~_✰✰I'm not waiting, even if you leave this with me✰✰_~~ ___✰✰(until you return, I'll) always be waiting✰✰___~~~ ~~~✰✰✰~~~ ~~~Seeing a brilliance that is brighter than yours. If it's from a faraway star you don't know, it might be dazzling to look at. But if it's from the star closest to you how will you react? What will you do when it's hurt to look at its brightness? Will you run to a distant place and turn your closest star into a distant one? Or will you bare your heart and face it courageously?~~~ ~~~___✰✰It's scary, right? How dazzling it is. But this isn't a solo performance✰✰___~~~ ~~~✰✰✰~~~ ~~~Who is this person you are looking at? Just a shadow of her past self? Or something you can't conceive since you are blinded by your own ignorance? Maybe you are just afraid to face her current self since you want her to stay as same as ever, as same as the version of her you loved. But fear not. Even if she turns into a completely different person in your eyes, she is still her and her alone. In the future, in a different place, you two will meet again.~~~ ~~~___✰✰I will step over the limits and zero. What have you been looking at all this time?✰✰___~~~ ~~~✰✰✰~~~ ~~~Others placing expectations on you just because of your family. Realizing nobody even tries to see your true self. What will you do in a situation like that? Will you shatter all of their expectations and claim your own individuality? Or will you wear the mask of expectations and become a hollow vessel? Even if you choose the latter, don't become sorrowful. Because there will be a devil for you who will see the person behind the mask, even when you forgot there was one. That devil will challenge you, push you, and eventually beat you. However, it's not an end. It's the place where your true self finally being set free. Forever and ever, you will keep challenging the devil, and the devil will challenge you.~~~ ~~~___✰✰I want to show you my feelings becoming dyed in black✰✰___~~~ ~~~✰✰✰~~~ ~~~Do you hear the sound of the train? Were you able to find the one you are searching for? Or do you even not able to realize which train is the one you want to ride? You might be lost, but don't give up. In the search for your next stage, forget about your current self and be remade.~~~ ~~~__✨✨Welcome, myself; to Position Zero✨✨__~~~
#__~~~ !! Spoilers for both Revue Starlight and Revue Starlight: The Movie !!__~~~ `` ______________ ~~~img550(https://i.imgur.com/pHBOtVF.png)~~~ If you're familiar with the seasonal (and you should be before watching this movie), then you'll remember its incredibly bizarre and unique presentation, how it blends symbolism, action, and story to explore the world of theatrics and the feelings of passion, envy, sorrow, and triumph well-associated with it, showcased through its cast of blossoming stage girls. The show, seemingly at the time, brought everything to a close. It wrapped up its loose ends and provided us, the audience, with a conclusive ending that brought together the themes the series was representing. Therefore, what could any sort of sequel hope to accomplish, when everything had already been set in stone? Insert Revue Starlight: The Movie, an absolute feast for the eyes and the ears that goes well beyond anything I could've ever imagined. For me, this movie not only builds upon the seasonal but also completely elevates it. It's an utterly dazzling spectacle of pure awe that repurposes the themes presented in the seasonal, staying consistent with the elements of the original while also weaving a message of self-actualization and growth through Karen Aijo and the other stage girls. If Revue Starlight was about the world of theatrics and the sacrifices the stage girls have made for their goals and ambitions, then Revue Starlight: The Movie is about the unseen side of these stage girls, how beyond all the dreams they pursue, they are human and have feelings of worry and regret just like anyone else. While the seasonal itself felt conclusive in its own right, the movie provided us with really great closure to the cast of characters, their arcs, and their interpersonal relationships with one another. ~~~img600(https://i.imgur.com/HkD2mKC.jpeg)~~~ The revues, in my opinion, completely surpass the seasonal's. Every single one felt unique from one another. Zero complaints from me, all them felt very stunning at an audiovisual level. The flashy and unpredictable nature that defined the revues of the seasonal was only exemplified in the revues of the movie, and paired with the remarkable soundtrack, it just makes for a really great watch experience. But featured with these revues, as we all know, are the representations of the characters' arcs and their drama, and it continues to fantastically deliver on that front. I won't go into detail on every single revue (there are other reviews that do that very well), but it does a phenomenal job in not only further contextualizing the stage girls' arcs and interpersonal relationships, but also providing a fully-realized conclusion to these aforementioned arcs. But even beyond that is an idea that permeates not only the revues but also the whole movie: the idea that life marches forward no matter what. After performing Starlight for the last time, what's next in line for these girls? What will they do now as they approach their next chapter in life? Indeed, it's these kinds of existential concerns that form the foundation of what this movie represents. To us, these girls are merely stage girls performing a role in a stage play, but to them they are the protagonists of their own, individual stories, facing the uncertainty of life. And beyond all the metaphors and symbolism that make up the bulk of the movie, the main message is clear for us to see. More than anything, holding onto their blazing passion for acting that still continues to burn, they've grown into self-actualized people that recognize and evolve past their doubts, showcased brilliantly through the aforementioned revues. It's a simple "break free of your shackles and become who you truly want to be" kind of message, but presented in such a creatively breathtaking manner that only Revue Starlight could really do. ~~~img700(https://i.imgur.com/XMi7Tfe.gif)~~~ Admittedly, I was not super sold on Karen's character in the seasonal, but the movie proved to me otherwise. I've seen a few people list Karen's flashback sequences throughout the movie's runtime as an element that somewhat detracts from the movie, but I would argue the complete opposite. To me it serves to not only humanize Karen more, building on the idea that these stage girls are ultimately just humans like us, but also further emphasize the bond between Karen and Hikari. Karen's main motivator for performing was to pursue Hikari and the promise they made to one another so long ago drove Karen to so passionately perform on the stage. So when they finally finish their performance together, Karen "dies". The stage girl Karen completely depended on Hikari, so when that purpose became void, that essentially became the same as her life being void. But as mentioned previously, the main purpose of the movie is about breaking your self-imposed shackles and becoming the person that you want to be. The stage girl Karen may have died, but as we see later, the new, self-defining Karen has been born anew, ready to face the stage for herself. And that exactly is the idea that the movie is trying to convey. Whether it be Karen's complete dependence on Hikari, Nana's replays and her preoccupation with the past, or Claudine and Maya's rivalry, these are limiters that the stage girls must evolve beyond in order to discover themselves and their new paths in life. And in true Revue Starlight fashion, Karen and the other stage girls' developments are marked by the demolition of the Tokyo Tower, the symbol that initially defined Karen and her motivations, at the end of the movie. Discarding the capes that defined the revues, the girls have grown free of their old confines, ready to tackle the uncertainties of life and pave a new path for themselves, whether that be as stage girls or something else entirely. ~~~img700(https://i.imgur.com/OEWWa36.gif)~~~ ___ The stage girls' stories as we the audience see it are complete, but for them, it is but a natural step in life. Revue Starlight: The Movie may not be a movie that is everyone's cup of tea, but for me personally, I absolutely love this movie and it stands as one of the best movies I've ever seen. Going into this movie, I had no idea what to expect from it, but now I believe that the franchise would be incomplete without it. It is a truly dazzling encore to an already-great series, beyond anything I could've ever expected, and as such I will remember it as one of the greatest cinematic experiences I've ever had. # _Position Zero._