UlasanAnime.com – To make up for an inability to fully grasp the Japanese language, watching the same film five times (or rather, four and a bit, as the fifth viewing was cut short due to a prior engagement) is hoped to mitigate some of the comprehension gaps. In truth, numerous themes and plot points would be more immediately illuminated with a stronger command of the language. However, there’s a certain value in a film that generally aligns with modern understandings of complexities found in TV anime.
This is the spoiler-free overview of the movie. It’s also a version diluted by a considerable amount of distance; writing it when the memories were fresh proved incredibly difficult. The emotional impact of the material was so profound that it hindered any useful observations beyond mere descriptions of what was happening internally. This, however, is the trade-off. When recently asked about the sequence of certain scenes, I could only confirm what I remembered, not fill in the forgotten gaps. Such is the nature of the process.
Yet, even today, the essence of IM@S permeates everything I encounter, suggesting that this distance or a more objective perspective might be of little consequence in the long run. It simply facilitates a more manageable approach to writing, allowing me to begin with a less overwhelming perspective and build from there. [Don’t be surprised if a second post on this topic follows.]
Regardless, the Idolm@ster feature film serves as a meaningful celebration of the series. For those who genuinely embrace the “IM@S LIFE,” it will undoubtedly elevate their emotional response from a mild appreciation to a full hankie. The perennial message of overcoming self-doubt, finding strength in companionship, and conquering life’s obstacles together is consistently moving when conveyed effectively. These are the kinds of stories that resonate with us, the otaku. The depth of our access to this wellspring of unending FEELS is directly proportional to how deeply immersed we are in the IM@S fandom, in this particular instance.
I will delve into those aspects later, although they seem to be the elements that consistently capture people’s interest…
Visually, the IM@S movie presents a diverse range of aesthetics. This is meant in a fundamental sense; it offers a multitude of distinct visual styles, which at times can be jarring enough to disrupt a viewer’s suspension of disbelief. Whether this is a desirable trait or not depends on one’s personal preference for animated content. However, from a “visuals per content” ratio, there is a substantial amount to appreciate, offering good value for the viewer.
There are also two specific shots where Haruka and Kana are animated in a distinctly different style, reminiscent of Bahi JD. The circumstances behind this stylistic choice remain unclear, but it stands out as a prime example of visuals that are aesthetically pleasing yet jarringly out of place. This is distinct from my tendency to nitpick the composition of 3D animated backgrounds beneath 2D character animation, which can make the final concert scene appear somewhat unpolished. However, that level of scrutiny ventures beyond a legitimate concern and is merely another perspective.
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Regarding other visual elements, I particularly appreciate many of the design choices within the movie. This includes the promotional poster for the in-show live performance (which was sold separately at the theaters) and the prominent placement of various Sony products throughout the film. It feels like an enhanced version of everything I admire about the TV anime. I could elaborate further, but it would be less engaging without visual references.
My primary critique of the IM@S movie, perhaps tinged with a slight bias, is that it is excessively long. The film could have been effectively condensed to approximately one hour and forty-five minutes with more rigorous editing. While the middle section does exhibit some pacing issues, the core problem lies in the transition between the beginning of the middle section and the segments following the resolution, prior to the main climax.
Indeed, this aspect of the movie presents a challenge in discussion. In a sense, the film feels “all over the place” because it is effectively two distinct narratives interwoven. On one hand, you have the “sparkling” facet, initiated by the Nemurihime trailer – a piece I will likely mention incessantly if you engage in conversation with me about the movie. On the other side of this narrative spectrum lies the concert scene. There are certainly exciting moments within the film that would command my full attention every time.
Conversely, there is a thoughtful, contemplative story centered on Haruka and Kana. To maintain a spoiler-free approach, I will simply state that during my third viewing, I began to draw parallels with the Bible, specifically the concept of the true turning point of the Crucifixion story occurring in the Garden of Gethsemane. The IM@S movie makes the underlying narrative quite apparent, though its full significance might not be immediately obvious until one watches it with a comprehensive understanding of Anim@s. Admittedly, this is partly a limitation on my end due to the language processing challenges I encountered. However, once all the pieces fell into place, it resulted in my identifying a definitive favorite scene from the film.
In that regard, allow me to share a piece of meta-commentary. Many of the popular Second Vision songs are featured in the movie. If you have yet to see the film, I propose a game: try to identify the song Jibun Res@art. This song is widely considered a top favorite among fans (or second, depending on how one counts The IDOLM@STER). A notable aspect of IM@S music is that many of the songs are thematically related to the game itself. Thus, this particular song occupies a significant position within the film, while others simply… Well, I hope we can discuss the film further once it receives its home video release.
In essence, the movie explores the front-end and back-end of the idol concept, as it relates to the video game framework of IM@S. (The prevalence of idol-themed songs in IM@S is a meta-commentary in itself.) This question was posed in the first episode of Anim@s, and now we have an answer from the Million Live version, viewed from the other side of the glamour.
[And that constitutes approximately 5-10% of my thoughts on the movie! You can see the extent of my engagement with it… ]
