UlasanAnime.com – The IDOLM@STER Movie, subtitled “To the other side of the sparkle,” is fundamentally a narrative about the dichotomy between an idol’s dazzling public persona and their internal struggles. This theme echoes the sentiment of love letters exchanged between fans and creators, serving as the core concept of the film.
The movie delves into the well-established trope within the idol industry, dating back to the 80s and 90s, which highlights the significant gap between the glamorous on-stage performance and the private battles faced by idols. This inherent tension is what makes even seemingly minor events, like an AKB48 member shaving her head, a profound shock to the public.
Moviem@s, as it’s affectionately called, successfully captures this essence. While the film largely adheres to a traditional idol story structure, its critique is delivered with a gentle touch, befitting the IM@S franchise rather than a more critical take like WUG. The animated format also allows for the inclusion of characters like a “fat idol,” which is presented without issue.
A notable aspect of the Moviem@s home video release is its abundance of bonus content, both on-disc and included separately. This wealth of extras contributes to a significant package weight, making international shipping a costly endeavor for fans abroad. However, the sheer volume of goodies, including a re-release of Ogi Star Memories, does offer substantial value, though it might be considered a modest consolation for those who already own the Shiny Festa OVAs on Blu-ray.
Another point of discussion regarding the physical release is the Aniplex+ special edition, which boasts an exceptionally impressive presentation. The allure of its Starpiece Memories-themed box is so compelling that it almost makes one regret not opting for it over other editions, especially considering the relatively small price difference. The quality of the packaging concepts is a testament to Aniplex’s attention to detail.
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The desire for a Kido-chan cover of “Jibun Rest@rt” remains a personal wish, highlighting the enduring impact of specific characters and performances.
Reflecting on the Million Live (ML) girls, a significant part of their introduction and appeal stems from the theater greetings attended after viewing the movie. During these sessions, voice actresses actively promoted their characters, offering a deeper insight into their personalities. While Kana and Shiho are well-represented in the show, Moviem@s presents Shiho with a slightly different portrayal than her usual ML depiction. Anna, in particular, is noted for the contrast between her “on” mode, characterized by a super cute idol persona, and her more subdued normal self. The film primarily showcases her normal Anna persona, though her “on” mode can be glimpsed in Sora no Method, where the voice actress Nansu plays a character embodying the average of Anna’s two dispositions.
Nao is praised for her portrayal, with the voice actress Yuiton seemingly embodying a teenage version of herself. Mocho, conversely, embodies an idealized idol version of her seiyuu persona, a dynamic akin to Takane’s relationship with her voice actress Harami, where Takane represents an idealized Harami rather than a direct reflection. This analogy might be subtle, as Takane isn’t typically characterized by overt affection. Serika, on the other hand, is consistently described as incredibly cute, mirroring Mocho’s own cuteness to the extent that even fellow IM@S cast members refer to Serika as Mocho. Despite their apparent similarities, they maintain a distinct individuality, supporting each other in a unique and almost uncanny synergy.
The memory of other ML girls is somewhat hazy, with Nansu’s memorable yet ordinary introduction standing out. Zekki was cute but difficult to recall, and Mikku is primarily recognized as a Stylips member before her Million Stars affiliation. Her character, Yuriko, is only remembered when she speaks in a particular manner.
This personal connection to specific ML characters can be likened to how individual fans gravitate towards certain idols within a large group like AKB48, an observation that becomes amusing in retrospect.
The context of live performances, such as the epic “M@sterpiece” concert that served as the climax of a lengthy 2.5D lovefest, and the surrounding fan events, is largely absent from a standard viewing of Moviem@s. The promotion of the IM@S event at AFASG is acknowledged as a significant starting point for this broader engagement.
For many, anime serves as the initial entry point, but it can also be the culmination of their engagement. Moviem@s occupies this dual role. It is entirely valid to judge the film based on its surface appeal or to approach it with the typical expectations of an idol anime. However, such a perspective might be considered superficial. If one views a spectacular concert as a spiritual experience, then Moviem@s can be seen as the New Testament to the religion of live performances like “WE ARE M@STERPIECE” and “M@STERS OF IDOL WORLD.” This analogy does not diminish the validity of criticisms regarding its structural superficiality, even if it doesn’t engage with the work on a deeper, more comprehensive level.
The extensive nature of this review suggests that there is still much more to discuss about Moviem@s, indicating that this “memo” is far from complete.
