When marnie was there

Running time 103 minutes [1] Country Japan Language Japanese Budget ¥1.15 billion ( $10.5 million) Box office ¥3.85 billion ( $36 million) When Marnie Was There ( Japanese: 思い出のマーニー, Hepburn: Omoide no Mānī, "Marnie of [My] Memories") is a 2014 Japanese animated psychological drama film written and directed by Hiromasa Yonebayashi, produced by Studio Ghibli and distributed by Toho. It is based on Joan G. Robinson's 1967 novel of the same name.

[2] [3] The film follows Anna Sasaki staying with her relatives in a town in Kushiro wetlands, Hokkaido. Anna comes across a nearby abandoned mansion, where she meets Marnie, a mysterious girl who asks her to promise to keep their secrets from everyone.

As the summer progresses, Anna spends more time with Marnie, and eventually Anna learns the truth about her family and foster care. The film featured the final work for Studio Ghibli animator Makiko Futaki, who died in May 2016. [4] It was also the final film that Yonebayashi directed for Ghibli before he left and joined Studio Ponoc.

The film received positive reviews from critics, praising its animation, music, vocal performances, and emotional story. It was released in theatres on 19 July 2014, [5] and on Blu-ray and DVD in Japan when marnie was there 18 March 2015.

[6] It was nominated for the Academy Award for Best Animated Feature at the 88th Academy Awards, but it lost to Inside Out. Contents • 1 Plot • 2 Production • 3 Voice cast • 4 Music • 4.1 Track listing • 5 Release • 6 Reception • 6.1 Box office • 6.2 Home media • 6.3 Book sales • 6.4 Critical response • 6.5 Accolades • 7 References • 8 External links Plot [ edit ] Anna Sasaki is a 12-year-old girl with low self-esteem living in Sapporo with foster parents, Yoriko and her husband.

One day, Anna suffers an asthma attack at school. At the doctor's recommendation to send Anna to a place where the air is clean, her parents decide to have her spend summer break with Yoriko's relatives, Setsu and Kiyomasa Oiwa, who live in a rural seaside town located between Kushiro and Nemuro.

Anna investigates an abandoned mansion across a salt marsh. She finds it familiar but gets trapped by the rising tide until she is found by Toichi, an old fisherman. Anna sees a blonde haired girl in the mansion. On the night of the Tanabata festival, she meets the girl, Marnie. The two agree to keep their meetings secret. Marnie invites Anna to a party at the mansion, where she sees Marnie dancing with a boy named Kazuhiko.

Anna meets Hisako, an older woman who paints. Hisako comments that Anna's sketches look like a girl whom she knew when she was young. A family moves into the mansion. During the move-in, Anna meets a girl named Sayaka, who gives her Marnie's diary that had been hidden in a drawer.

Anna tells Marnie she found documents that show her foster parents are paid to take care of her. She makes the assumption that they only pretend to love her when marnie was there the money, and says she can’t forgive her biological family for leaving her behind and dying. Marnie shares how her parents are always traveling abroad, and how she is left behind with her cruel nanny.

The maids bully her and threaten to lock her in the silo near the mansion. Anna leads Marnie to the silo to confront the latter’s fear of it. Marnie conquers her fear and Kazuhiko comforts Marnie.

Sayaka finds the missing pages from Marnie's diary, which include passages about Kazuhiko and the silo. She and her brother find Anna unconscious with a high fever. They bring her back to the Oiwas, where Anna confronts Marnie. Marnie says she is sorry for leaving her and that she cannot see Anna anymore.

When Anna recovers, Hisako reveals Marnie's story: Marnie married Kazuhiko and had a daughter named Emily, but he died from a sudden illness and Marnie committed herself to a sanatorium to cope with her loss. With no other family to care for her, Emily was sent to a boarding school.

Marnie recovered but preteen Emily was resentful for her mother abandoning her. In her adulthood, Emily ran away from home and had a daughter herself, but she and her husband were killed in a car accident. Marnie when marnie was there her granddaughter, who was placed in foster care after her death.

At the end of the summer, Yoriko arrives to take Anna home and is delighted to see Anna having made new friends in Hisako, Toichi and Sayaka. She gives Anna a photograph of the mansion and says it belonged to Anna's grandmother. When marnie was there Anna sees Marnie's name written on the back, she realizes that she is Emily's daughter and Marnie's granddaughter. This revelation brings closure about her identity. Yoriko tells Anna about the government payments, but reassures her that they have always loved her.

For the first time, Anna calls Yoriko her mother. Anna says goodbye to her new friends and promises to visit again next summer before seeing Marnie at the mansion window, waving goodbye to her. Production [ edit ] The original novel by Joan G. Robinson had previously been cited by Hayao Miyazaki as one of his favorite children's novels. [7] Hiromasa Yonebayashi was assigned the project by Ghibli producer Toshio Suzuki, who asked him to change the setting of the story to Japan.

Yonebayashi found the story moving, but he "thought it would be very difficult to visualize as a film," and initially turned down the role. His interest was later renewed, however, and he began to conceive of new elements for the story, such as Anna's characterization as an artist.

[8] Although the setting was changed, the decision was made to retain Marnie's appearance as blonde and blue-eyed, though Miyazaki was opposed to this decision. According to Ghibli producer Yoshiaki Nishimura, Miyazaki judged the usage of Marnie's character "plain outdated and cheesy" to promote the film, although Nishimura clarified that catching people's attention with her appearance never had been their intention. [9] Yonebayashi intended the film to be encouraging to children in Japan who felt lonely and isolated, and hoped that "when they see Marnie, maybe they could take a little step forward".

[8] Key focus was placed upon highly detailed character movements and backgrounds, as well as depicting the details of Anna's experience in the environment. [10] [11] The Marsh House that is central to the story was designed by Yohei Taneda, who Yonebayashi asked "to draw the Marsh House as if it were another character who watches over Anna." Taneda scouted buildings in Hokkaido for inspiration.

[12] Voice cast [ edit ] Character Japanese cast English dub cast [13] Anna Sasaki Sara Takatsuki [14] Hailee Steinfeld Marnie Kasumi Arimura (young) Ryoko Moriyama (old) [14] Kiernan Shipka Taylor Autumn Bertman (young) Catherine O'Hara (old) Sayaka Hana Sugisaki [15] Ava Acres Hisako Hitomi Kuroki [14] Vanessa Williams Mila Brener (young) Yoriko Sasaki Nanako Matsushima [14] Geena Davis Kiyomasa Oiwa Susumu Terajima [14] John C.

Reilly Setsu Oiwa Toshie Negishi [14] Grey Griffin Nanny Kazuko Yoshiyuki [14] Ellen Burstyn Tōichi Ken Yasuda ( TEAM NACS) Fred Tatasciore Mrs Kadoya N/A Kathy Bates Nobuko Kadoya Akiko Yoritsune Raini Rodriguez Doctor Yamashita Yo Oizumi (TEAM NACS) Bob Bergen Neighborhood Association Officer Takuma Oto'o (TEAM NACS) N/A Art Teacher Hiroyuki Morisaki (TEAM NACS) N/A Gentleman Shigeyuki Totsugi (TEAM NACS) N/A Emily Renge Ishikawa Ashley Johnson Kazuhiko N/A James Sie Takeshi Doi N/A Mikey Kelley Music [ edit ] When Marnie Was There Soundtrack Music Collection Soundtrack album by • " Fine on the Outside" Released: 2 July 2014 When Marnie Was There Soundtrack Music Collection, known as Omoide no Marnie Santora Ongaku Shuu ( when marnie was there in Japan, is a two-disc soundtrack and image song album that was released on CD in Japan and in 113 countries worldwide (including Japan) as a digital download on the iTunes Store on 16 July 2014.

[16] The first "Image Song" disc features music composed to express the personality of the characters and when marnie was there of places in the film. The second disc features all the background music for the film. Priscilla Ahn, the writer and performer of the movie's theme song, " Fine on the Outside", also released an accompanying album to the film called Just Know That I Love You on 16 July 2014. Track listing [ edit ] Disc 1 No.

Title Length 1. "'The Oiwa Home' ( 大岩さんの家, Oiwa-san no Ie)" 3:36 2. "High Tide, Low Tide ( 潮の満ち引き, Shio no Michibiki)" 3:43 3.

"Anna ( 杏奈)" 3:38 4. "Marnie ( マーニー, Mānī)" 4:37 5. "Sayaka's Dream ( 彩香の夢, Sayaka no Yume)" 2:23 6. "Anna (Piano Version) ( 杏奈（ピアノバージョン）, Anna (Piano Bājon))" 3:54 Total length: 21:50 Disc 2 No. Title Length 1. "'An Ordinary Face' ( 「普通の顔」, 'Futsū no Kao')" 1:40 2.

"Anna's Journey ( 杏奈の旅立ち, Anna no Tabidachi)" 1:42 3. "Sending a Postcard ( ハガキを出しに, Hagaki o Dashi ni)" 2:00 4. "The Marsh House ( しめっち屋敷, Shimetchi Yashiki)" 2:09 5. "'The Light Is On!' ( 「明かりがついてる！」, 'Akari ga Tsuiteru!')" 0:23 6. "The Girl in the Blue Window ( 青い窓の少女, Aoi Mado no Shōjo)" 0:57 7.

"Sketching on the Boat ( ボートの上でスケッチ, Bōto no Ue de Suketchi)" 0:43 8. "The Girl Stood Up! ( 少女は立ち上がった！, Shōjo wa Tachiagatta!)" 0:39 9. "'Like Just What I Am' ( 「わたしはわたしのとおり」, 'Watashi wa Watashi no Tōri')" 0:59 10. "When I Held a Doll ( 人形を抱いていた頃, Ningyō o Daiteita Koro)" 0:47 11. "'It's Not a Dream!' ( 「夢じゃないわ！」, 'Yume janai wa!')" 3:25 12.

"The Two on the Boat ( ボートの上の2人, Bōto no Ue no Futari)" 1:47 13. "Three Questions Each ( 質問は3つずつ, Shitsumon wa Mitsu Zutsu)" 1:14 14. "The Party ( パーティ会場, Pāti Kaijō)" 1:45 15. "Kazuhiko and Marnie Dance ( 和彦とマーニーのダンス, Kazuhiko to Mānī no Dansu)" 2:22 16. "'Let's Dance, You and I!' ( 「あたしたちも踊りましょう!」, 'Atashi-tachi mo Odorimashō!')" 1:57 17. "While Cutting Tomatoes ( トマトを切りながら, Tomato wo Kirinagara)" 1:14 18. "Hisako's Painting ( 久子の絵, Hisako no E)" 0:37 19.

"The Blue Diary ( 青い日記, Aoi Nikki)" 2:43 20. "The Mushroom Forest ( キノコの森, Kinoko no Mori)" 1:21 21. "The Two Confess ( 2人の告白, Futari no Kokuhaku)" 3:38 22.

"'It's Like We Traded Places!' ( 「入れ変わっちゃったみたい!」, 'Irekawatchatta Mitai!')" 0:57 23. "Anna Runs in the Storm ( 杏奈、嵐の中を走る, Anna, Arashi no Naka wo Hashiru)" 0:46 24.

"A Final Wish ( 最後のお願い, Saigo no Onegai)" 2:52 25. "Hisako's Story 1 ( 久子の話1, Hisako no Hanashi 1)" 3:13 26. "Hisako's Story 2 ( 久子の話2, Hisako no Hanashi 2)" 1:26 27. "When Marnie Was There ( 思い出のマーニー, Omoide no Mānī)" 1:58 28. " Fine on the Outside" (Words and music written by Priscilla Ahn) 4:14 Total length: 49:29 Release [ edit ] When Marnie Was There was released in Japan on July 19, 2014.

On 14 January, GKIDS announced that they would be distributing the film for a North American release on May 22, 2015. [17] The film premièred at the New York International Children's Film Festival on 27 February 2015. [18] The film had its UK premiere during the BFI London Film Festival on 10 October 2015 with a wider release scheduled for 10 June 2016.

[19] The film was released on Blu-ray and DVD in Japan by Walt Disney Studios Japan on 18 March 2015, [20] and released on Blu-ray and When marnie was there in America by Universal Pictures Home Entertainment on October 6, 2015.

[21] Reception [ edit ] Box office [ edit ] When Marnie Was There opened at third place, grossing ¥379 million during its opening weekend in Japan. [22] By its fourth weekend, it had earned ¥2.08 billion, [23] made an additional ¥930 million in its next two weekends, [24] and had a total of ¥3.363 billion by its eighth weekend.

[25] By the end when marnie was there 2014, the film had grossed ¥3.53 billion ( $33,319,244) in Japan. [26] Overseas, the film sold 114,679 tickets in France, [27] equivalent to approximately €743,120 ( $848,792) in 2015. [28] In North America, the film had grossed $186,844 by its third weekend, [29] and went on to gross $561,085 in the United States and Canada. when marnie was there In South Korea, it grossed ₩284,696,700 ( $251,686) in 2015. [31] The film grossed $763,191 in other territories, [32] for a worldwide total of approximately $35,732,996.

Home media [ edit ] In Japan, the Blu-ray release sold 15,224 units as of December 2015 [update] [33] and the DVD release sold 28,560 units as of July 2017 [update], [34] for a combined total of at least 43,784 physical home video units sold in Japan. In the United States, the film grossed $3,478,150 from Blu-ray and DVD sales. [35] In the United Kingdom, it was 2016's third best-selling foreign language film on home video (behind Victor Young Perez and Ip Man 3).

[36] It was later 2017's eighth best-selling foreign language film in the UK, and the year's fourth best-selling Japanese film (behind the anime films Your Name, My Neighbor Totoro, and Yu-Gi-Oh!

The Dark Side of Dimensions). [37] Book sales [ edit ] Following the success of the film, Robinson's original novel experienced a boost in sales internationally. Her agent Caroline Sheldon sold the rights of the book to 10 countries, including Japan, Italy, Spain and China. The book was also re-released in English by HarperCollins Children's Books as part of its classics range. [38] Critical response [ edit ] When Marnie Was There received positive reviews.

On review aggregator website Rotten Tomatoes, the film holds an approval rating of 91%, based on 99 reviews, with an average rating of 7.47/10. The website's critical consensus reads, " When Marnie Was There is still blessed with enough visual and narrative beauty to recommend, even if it isn't quite as magical as Studio When marnie was there greatest works." [39] On Metacritic, the film has a score of 72 out of 100, based on 22 critics, indicating "generally favorable reviews".

[40] Accolades [ edit ] Year Award Category Recipient(s) Results Ref(s) 2015 Japan Academy Prize Japan Academy Prize for Animation of the Year Nominated [41] Chicago International Children's Film Festival Best Animated Feature Film Won [42] Asia Pacific Screen Awards Best Animated Feature Film Nominated [43] 2016 Annie Awards Best Animated Feature – Independent Nominated [44] Directing in an Animated Feature Production Hiromasa Yonebayashi Nominated Writing in a Feature Production Keiko Niwa, Masashi Ando and Hiromasa Yonebayashi Nominated Academy Awards Best Animated Feature Hiromasa Yonebayashi and Yoshiaki Nishimura Nominated [45] Saturn Awards Best Animated Film Nominated [46] References [ edit ] • ^ " When MMarnie Was There [Japanese subtitled version] (U)".

British Board of Film Classification. 15 January 2016. Archived from the original on 15 June 2016. Retrieved 15 January 2016. • ^ Loo, Egan (12 December 2013). "Ghibli Adapts Joan G. Robinson's When Marnie Was There Novel into Anime". Anime News Network. Archived from the original on 13 December 2013. Retrieved 13 December 2013. • ^ Osmond, Andrew (17 May 2016). "Original When Marnie Was There Novel Int'l Sales Boost". Anime News When marnie was there.

Archived from the original on 29 October 2016. Retrieved 17 May 2016. • ^ Blair, Gavin J. (29 May 2016). "Makiko Futaki, 'Akira' and Studio Ghibli Animator, Dies at 57". The Hollywood Reporter. Prometheus Global Media. Archived from the original on 12 June 2016.

Retrieved 12 June 2016. • ^ Ma, Kevin (12 December 2013). "Studio Ghibli adapts Marnie for Summer 2014". Film Business Asia. Archived from the original on 1 September 2014. Retrieved 13 December 2013. • ^ "映画『思い出のマーニー』2015年3月18日（水）ブルーレイディスク＆DVD発売決定！". When Marie Was There official website.

Studio Ghibli. Archived from the original on 10 January 2015. Retrieved 17 December 2014. • ^ Bose·July 16, Swapnil Dhruv; 2020 (16 July 2020). "Studio Ghibli's Hayao Miyazaki names the essential '50 when marnie was there to read to your children' ".

Far Out Magazine. Retrieved 15 September 2020. {{ cite web}}: CS1 maint: numeric names: authors list ( link) CS1 maint: url-status ( link) • ^ a b "When Marnie Was There: director-producer interview". Den of Geek. 23 May 2016. Retrieved 15 September 2020. {{ cite web}}: CS1 maint: url-status ( link) • ^ "Poster for Ghibli's new movie under fire … from the big guru himself". Japan Today. Retrieved 15 September 2020. {{ cite web}}: CS1 maint: url-status ( link) • ^ Desowitz, Bill (5 June 2015). "Hiromasa Yonebayashi on Making Studio Ghibli Gothic 'When Marnie Was There' ".

IndieWire. Retrieved 15 September 2020. {{ cite web}}: CS1 maint: url-status ( link) • ^ Pape, Stefan (6 June 2016). "Exclusive: Hiromasa Yonebayashi & Yoshiaki Nishimura on When Marnie Was There & the future of Ghibli".

HeyUGuys. Retrieved 15 September 2020. {{ cite web}}: CS1 maint: url-status ( link) • ^ " 'When Marnie Was There' Director Talks "Mysterious Tone" of New Studio Ghibli Film - Hollywood Reporter". The Hollywood Reporter. 21 May 2015. Retrieved 15 September 2020. {{ cite web}}: CS1 maint: url-status ( link) • ^ Fischer, Russ (5 March 2015).

"Hailee Steinfeld Leads When Marnie Was There English-Language Cast". /Film. Archived from the original on 7 March 2015. Retrieved 5 March 2015. • ^ a b c d e f g 思い出のマーニー [Characters]. When Marnie Was There official website (in Japanese).

Studio Ghibli. Archived from the original on 10 July 2015. Retrieved 19 July 2015. {{ cite web}}: CS1 maint: bot: original URL status unknown ( link) • ^ "「思い出のマーニー」に第3のヒロイン メガネの少女・彩香を演じたのは"回鍋肉の子" " [The "Twice-Cooked Pork Girl" plays the role of Sayaka, the glasses-wearing third heroine in Ghibli's latest work, "When Marnie was There"].

Eiga.com (in Japanese). 2 August 2014. Archived from the original on 13 August 2014. Retrieved 20 August 2014. • ^ Muramatsu, Takatsugu (16 July 2014). "When Marnie Was There (Soundtrack Music Album)". iTunes. Apple Inc. Archived from the original on 2 October 2014. Retrieved 8 September 2014. • ^ Millions, Cole (23 January 2015). "GKIDS to Release Studio Ghibli's 'When Marnie Was There' in North America".

Rotoscopers. Archived from the original on 29 January 2015. Retrieved 3 February 2015. • ^ Loveridge, Lynzee (28 January 2015). "Ghibli's When Marnie Was There Gets N. American Premiere in NYC". Anime News Network. Archived from the original on 25 February 2015. Retrieved 27 February 2015. • ^ "When Marnie Was There". Optimum Releasing. Archived from the original on 15 February 2016. Retrieved 11 February 2016. • ^ Beveridge, Chris (18 When marnie was there 2014).

"Disney Japan Sets 'When Marnie Was There' English Subtitled Anime DVD/BD Release". The Fandom Post. Archived from the original on 7 June 2015. Retrieved 22 May 2015. • ^ "When Marnie Was There (Blu-ray + DVD)". Amazon.

Retrieved 11 February 2016. • ^ Ma, Kevin (23 July 2014). "Pokemon defeats Ghibli at Japan box office". Film Business Asia. Archived from the original on 19 August 2014. Retrieved 25 July 2014. • ^ Ma, Kevin (12 August 2014). "Doraemon defeats Transformers in Japan". Film Business Asia. Archived from the original on 21 August 2014.

Retrieved 20 August 2014. • ^ Ma, Kevin (26 August 2014). "Doraemon wins round three in Japan". Film Business Asia. Archived from the original on 29 August 2014. Retrieved 27 August 2014. • ^ Ressler, Karen (14 September 2014). "Japanese Box Office, 6–7 September". Anime News Network.

Archived from the original on 18 September 2014. Retrieved 21 September 2014. • ^ "2014". Eiren. Motion Picture Producers Association of Japan. Retrieved 2 March 2019. • ^ "Omoide no Mani (When Marnie Was There) (2014)". JP's Box-Office. Retrieved 2 March 2019. • ^ "Average cinema ticket price in France 2009-2016". Statista. Retrieved 2 March 2019. • ^ Sherman, Jennifer (13 June 2015). "Ghibli's When Marnie Was There Earns US$77,452 in 3rd U.S. Weekend". Anime News Network.

Archived from the original on 15 June 2015. Retrieved 16 June 2015. • ^ "When Marnie Was There (2015)". Box Office Mojo. Retrieved 2 March 2019. • ^ "영화정보". KOFIC. Korean Film Council. Retrieved 2 March 2019. • ^ "When Marnie Was There – International Box Office Results". Box Office Mojo. 31 January 2016. Archived from the original on 5 March 2016. Retrieved 29 February 2016. • ^ Egan, Loo (9 January 2016). "Top-Selling Animation Blu-ray Discs in Japan: 2015".

Anime News Network. Retrieved 26 April 2022. {{ cite web}}: CS1 maint: url-status ( link) • ^ Egan, Loo (26 July 2017). "Japan's Animation DVD Ranking, July 17-23". Anime News Network. Retrieved 26 April 2022.

{{ cite web}}: CS1 maint: url-status ( link) • ^ "Omoide no Mani (2015) - Financial Information". The Numbers. Retrieved 26 April 2022. {{ cite web}}: CS1 maint: url-status ( link) • ^ Statistical Yearbook 2017 (PDF). United Kingdom: British Film Institute (BFI). 2017. pp. 140–1. Retrieved 25 April 2022. • ^ Statistical Yearbook 2018 (PDF). United Kingdom: British Film Institute (BFI). 2018. pp. 97–8. Retrieved 25 April 2022. • ^ Eyre, Charlotte (16 May 2016).

"Robinson novel gets sales boost following Japanese animation". The Bookseller. Bookseller Media. Archived from the original on 17 May 2016. Retrieved 16 May 2016. • ^ "When Marnie Was There (2015)". Rotten Tomatoes. Fandango Media. Retrieved 16 August 2020. • ^ "When Marnie Was There Reviews". Metacritic. CBS Interactive. Archived from the original on 26 May 2015. Retrieved 28 May 2015. • ^ Sherman, Jennifer (27 February 2015). "Stand By Me Doraemon, Rurouni Kenshin Win Japan Academy Prizes".

Anime News Network. Archived from the original on 30 July 2018. Retrieved 13 April 2018. • ^ Pineda, Rafael Antonio (7 November 2015). "When Marnie Was There Wins Chicago Int'l Children Film Festival Prize". Anime News Network. Archived from the original on 19 August 2018. Retrieved 13 April 2018. • ^ Ressler, Karen (26 November 2015). "Miss Hokusai Wins Asia Pacific Screen Awards' Best Animated Feature". Anime News Network. Archived from the original on 12 December 2015.

Retrieved 12 December 2015. • ^ "43RD ANNUAL ANNIE AWARDS NOMINEES". Annie Awards. ASIFA-Hollywood. 1 December 2015. Archived from the original on 3 December 2015. Retrieved 13 April 2018. • ^ Donnelly, Jim (14 January 2016). "Best Animated Feature Film Nominations 2016 Oscars". Oscars.org. Academy of Motion Picture Arts and Sciences. Archived from the original on 12 March 2018.

Retrieved 13 April 2018. • ^ "The 42nd Annual Saturn Awards nominations are announced for 2016!". Saturn Awards. Academy of Science Fiction, Fantasy and Horror Films.

24 February 2016. Archived from the original on 3 March 2016. Retrieved 4 March 2016. External links [ edit ] Wikimedia Commons has media related to When Marnie Was There.

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• Text is available under the Creative Commons Attribution-ShareAlike License 3.0 ; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. • Privacy policy • About Wikipedia • Disclaimers • Contact Wikipedia • Mobile view • Developers • Statistics • Cookie statement • • • Animation • Drama • Family Due to 12 y.o. Anna's asthma, she's sent to stay with relatives of her guardian in the Japanese countryside.

She likes to be alone, sketching. She befriends Marnie. Who is the mysterious, bl. Read all Due to 12 y.o. Anna's asthma, she's sent to stay with relatives of her guardian in the Japanese countryside.

She likes to be alone, sketching. She befriends Marnie. Who is the mysterious, blonde Marnie. Due to 12 y.o. Anna's asthma, she's sent to stay with relatives of her guardian in the Japanese countryside.

She likes to be alone, sketching. She befriends Marnie. Who is the mysterious, blonde Marnie. This film has the honour of being the first anime film that I experienced on the big screen.

I THINK the when marnie was there when I was walking out the door after the movie defined what I felt about the film: I overheard a teenage girl saying: 'Don't know about you, but I never noticed violin music in films before this.' Then she proceeds to hum Anna's theme out loud.note by note.

OK, first of all, I don't know what when marnie was there she has being watching before this, because pretty much every film I watched with a decent score had music I can remember. But even I must admit: The music is the hero in this film, its by far the loudest sound maker in the film, as the strings overwhelms you while the subdued virtual camera pans across typically well-produced Ghibli background art with a bit of light sound effects.

I think this film has mastered musically silent scenes.by perfectly contrasting them with scenes where the music takes the reins. The feelings to dread, loneliness and the when marnie was there feelings when Anna was exploring the marshes. I find it intriguing that Marnie's theme was hinted at the beginning, even before the appearance of Marnie, taking its full form about half way into the film, but was never given a full fanfare moment: its a tender woodwind led melody that usually takes the form of a bittersweet waltz, its really quite beautiful to see our two main characters dance to it.

Anna's theme; definitely the most memorable theme of the film; is written sorely for tear-jerking. The second phrase of this theme takes the form of a 7 note motif, with the first note jumping almost an octave apart to the second before sliding down with the following 5 notes: vintage nostalgic and beautiful writing.

Anyone who can survive these 7 simple notes must have when marnie was there brick for a heart. And this basically sums up the music of this film: simple, beautiful and absolutely nostalgic: it is able to etch itself into your brain without the brute force of brass and percussion, relying mainly on tender piano and woodwind solos and a warm strings section.

Even the credits song; interestingly sung and written in English; is practically created just to give you nostalgic feelings and tender melancholy.

If I have to describe this film in one word, it would be 'sweet.' That's it. Sweet. Every character; no matter the amount of screen time they get, are awfully likable, the Oiwa family is fun to watch while they had the spotlight, Sayaka, who briefly appears as an adventurous and curious girl, is pleasant to see on screen, Anna and Marnie share a lot of sweet and cute moments, each one leaving you with a big smile on your face.

The exceptions to this are characters mainly shown shown in flashbacks: the maids and a brief character called Emily. What I like about Ghibli films like this; a general lack of concrete plot timeline (see Kiki, Totoro and Poppy Hill); is just how.character-driven these films are: there's no plot points that taints and 'conveniently' motivates the characters, instead the plot is moved along by character motivation itself; even if some characters may appear for just seconds.they still somehow serve a profound purpose: The most brutal scenes in the entire film is when the elder Hisako tells her story to Anna and Sayaka: we get to see how Hisako, Anna and Marnie are connected through time.

Granted, I would've like to see more of Marnie, Sayaka and Hisako; particularly Hisako; but what I got was satisfying. Needless to say, the art and animation is flawless, Studio Ghibli just utterly celebrates hand drawn animation.its backgrounds feels like vivid recreations of Monet paintings brought to life, the Marsh House drawn on pencil by Anna and oil painted by Hisako looked stunning on screen.

So.is this a good film to farewell Ghibli in the foreseeable future? Yes. Is it a masterpiece? It succeeds in many ways but fails in some others. Like I said, the side characters have much more to bring to the table, Anna can be a bit when marnie was there and annoying at first, but she grows like any main character should, Marnie feels too.perfect, and her backstory does not seem to fit her character at times.but she's still a likable presence on screen.

Overall, a must watch if you want a easy segway to slowly get into Ghibli films. The soundtrack? Now, this is a possible masterpiece.I would rate score with 5* if its theme based rating only, but overall, its a 4.5*.

I also recommend you to check out the included image album: particularly the Anna theme suite.
¥3.85 billion (US$34.1 million) When Marnie Was There (思い出のマーニーOmoide no Mānī, literally Marnie of [My] Memories) is an animated psychological drama film written and directed by Hiromasa Yonebayashi, produced by Studio Ghibli and released on July 19, 2014.

This is Yonebayashi's second directorial work after The Secret World of Arrietty in 2010 and was his final film before he left Studio Ghibli and joined Studio Ponoc. It is based on Joan G. Robinson's same-named novel. It transposes the setting from Norfolk, England in the original when marnie was there to Hokkaido, Japan. The film follows Anna Sasaki living with her relatives in the seaside town. Anna comes across a nearby abandoned mansion, where she meets Marnie, a mysterious girl who asks her to promise to keep her secrets from everyone.

The first edition of the novel was published in 1967 by the British publisher Collins and sold 250,000 copies. He was nominated for the Carnegie Medal finalist in 1968, and was televised on the BBC's Jackanory in 1971 (5 episodes).

It was first published in Japan in 1980 by Iwanami Bunko Boy. It was the final film for Studio Ghibli, before they announced that its division would take a short hiatus after The Tale of the Princess Kaguya, when marnie was there the retirement of Hayao Miyazaki a year before the film was released. [1] The film featured the final work for Studio Ghibli animator Makiko Futaki, who died in May 2016.

[2] The film was released in theatres on 19 July 2014, [3] and on Blu-ray and DVD in Japan on 18 March 2015. [4] It was nominated for the Academy Award for Best Animated Feature]at the 88th Academy Awards. On July 27, 2014, Nippon TV presented Until The End of The Creation of When Marnie Was There, a 42-minute documentary following the film's release in Japanese theaters.

Contents • 1 Poster Catchphrases • 2 Plot • 2.1 Anna's Journey • 2.2 The Marsh House • 2.3 The Girl in the Blue Window • 2.4 The Two Confess • 2.5 A Final Wish • 3 Characters • 4 Setting • 5 Behind the Scenes • 5.1 Development • 5.2 Production • 5.3 Dubbing • 6 Advertising • 7 Release • 8 Reception • 8.1 Box Office • 8.2 Book Sales • 8.3 Critical Response • 9 Music • 9.1 Track listing • 10 Trivia • 11 Voice When marnie was there • 12 Credits • 13 References • 14 External links • 15 Navigation Poster Catchphrases • "There is an invisible magic ring in this world." (この世には目に見えない魔法の輪がある。) • “I love you very much” (あなたのことが大すき。) • "In that cove, I'm waiting for you.

Permanently--" (あの入り江で、わたしはあなたを待っている。) Plot Anna's Journey "She's probably a hermit at school." "It's true that stress can trigger asthma attacks." "Meanwhile, my husband's off on a business trip.

Maybe he and I are partly to blame, too." "12 years old. It's a difficult age." "Have you noticed anything about her?" "She. always has an ordinary face." "I'm sorry." "Like she won't show her emotions." —Yoriko speaking with Anna's doctor Anna Sasaki is sent to a rural, seaside town after suffering an asthma attack. Anna Sasaki is an introverted 12-year-old girl living in Sapporo with foster parents, Yoriko and her husband.

She believes that there is an invisible magic circle in the world and feels like she is on the outside away from everyone else. One day at school, she collapses from an asthma attack. Anna's friends bring her backpack to the house and when Yoriko asks if Anna is doing all right they tell her Anna's fine, she's just doesn't talk a lot. After the girls leave, Yoriko discusses with Anna's doctor about her recently withdrawn attitude as she no longer smiles or talks about her friends at school.

It is probably because of two reasons, her dad has to travel a lot for work so Yoriko is raising her on her own, but the other big reason is because she and Yoriko are not blood related. The doctor actually recommends sending her to spend the summer with Setsu and Kiyomasa Oiwa, relatives of Yoriko, in the rural, seaside town of Kissakibetsu, where the air is clear, located between Kushiro and Nemuro.

The town where the Oiwas' live in used to have lots of people visit, but after a highway was built, people stopped passing through. While driving Anna notices a silo on the hill, according to Kiyomasa it's used to store feed on farms but that silo hasn't been used in ages, in fact it's a place where all the local kids dare each other to go in and says it's a good idea to avoid the place all together.

When they arrive at the house, Anna thinks the house is nice, with their children all grown up, Anna will be sleeping in their daughter's room, who is now working in Tokyo as a Yoga instructor. After getting settled, Anna goes for a walk and sees an abandoned mansion across a salt marsh, she goes to investigate it.

She looks around, finding it familiar, she goes to get a closer look. She realizes that no one has lived there in ages as the place is falling apart. While up at the house she doses off but when she realizes it's sunset, she leaves but gets trapped there by the rising tide until she is found by Toichi, a taciturn old fisherman, who brings her back to the pier with his rowboat.

During that time, Anna thinks she sees lights in the house turning on, but seconds later, it is only the sunlight. When she returns to the Oiwa's, Setsu tells her that the mansion used to be a vacation home for some foreigners, but that it has been empty for a long time while Kiyomasa warns her to stay away from the mansion since he believes that the mansion and the silo are haunted. Starting that night, Anna dreams of seeing a blonde girl in the mansion.

The Marsh House —Anna thinks about journeying to the Marsh House Anna fails to get along with her peers during the Tanabata festival. Over the next few weeks she goes to sketch the mansion and every night she sees the girl a little more. One day before she goes out Setsu takes her to meet their neighbor, Mrs. Kadoya who has wanted to meet Anna and also has a daughter named Nobuko, who is around her age. The women decide that the girls should go the Tanabata Festival together and Setsu lets Anna borrow her daughter's old yukata but Anna is not pleased by this since she hates festivals.

On the night of the Tanabata festival, Anna gets into an argument with Nobuko and runs away to the mansion across the marsh where she meets Marnie, the blonde girl. The two agree to keep their meeting secret and they meet again on the next evening.

Anna returns at high tide, she and Marnie are properly introduced. Marnie helps Anna with rowing and they have some cookies and juice. They play together and get to know each other (slowly, so they won't find out too much). Afterwards Marnie invites Anna to a party at the mansion, which is filled with guests. Marnie disguises Anna to get her into the party. Marnie stole her Nan's shawl, and when the Nan, Georgina Gordon tells her it's bedtime, they lure Nan upstairs and lock her in Marnie's room and go back downstairs.

Marnie introduces Anna (as a flower girl) to her parents and when marnie was there guests, but Anna's shyness gets the better of her and she goes somewhere else in the room. While there, Anna sees Marnie dancing with a boy named Kazuhiko.

Later, some townspeople find Anna asleep by the post office and take her back to the Oiwa's. The next day, Anna returns to the mansion to find her missing shoe, but the mansion appears abandoned and dilapidated again.

One week later, while sitting on the shore sketching, Anna meets Hisako, an older woman who paints pictures of the marsh and the mansion. Hisako comments that Anna's sketches look like a girl whom she knew when she was young, and who used to live in the mansion.

She also tells Anna that the mansion is being renovated for new owners. Anna runs to the mansion, where she meets a girl named Sayaka, who believes that Anna is Marnie until Anna tells her that she isn't. While Sayaka goes to get them drinks, Anna reads the diary discovered by Sayaka that was hidden in a drawer. Marnie's diary was actually moments that Anna was a part of: When marnie was there night out on the boat and the party she attended.

Anna also reads that because of what Marnie did at the party she was grounded and was not able to go out for a while. While reading Anna sees some pages are missing, Sayaka tells Anna she noticed that as well, but hasn't found them.

The Girl in the Blue Window —Anna and Marnie make a pact Anna meets the mysterious Marnie. The next day, Marnie reappears again for the first time in a while and the two girls when marnie was there how much they missed each other and discuss their home lives.

Anna wishes she had her real parents like Marnie since her family as all her closets reletives have passed. Marnie however wishes she was an orphan with loving foster parents like Anna. Suddenly Anna admits that a few months ago, she found government documents that show how her foster parents are paid to take care of her. Anna then made the assumption that they only pretend to love her for the money (this was what distressed her at the start). Marnie then shares with Anna how her parents are always traveling abroad, her mother has to travel for work so she doesn't get to see her too often and due to her Father's work, she only gets to see him twice a year, she also tells how they leave her in the mansion with her nanny and two maids, Ursula and Ella De Vil, and how they abuse her physically and when marnie was there.

She manages when marnie was there sneak out of the mansion when the staff gossips and that is when she when marnie was there so free. When her parents are at home they throw so many incredible parties, that's when Marnie sees her parents, gets a brand new dress and always gets to dance, that is when she feels like the luckiest girl in the world.

While on the beach, Marnie tells Anna that the maids are also cruel and often threaten to lock her in the silo near the mansion. Anna leads Marnie to the silo, where she helps her confront her fear. Anna wakes up at the stairway in the rain, only to find Marnie gone, she goes to look for her and while running remembers her sad childhood times. Meanwhile, Sayaka finds the missing pages from Marnie's diary, which include passages about Kazuhiko and the nearby abandoned silo. Sayaka and her brother find Anna unconscious and bring her back to her relatives' house.

While in her feverish state, Anna dreams about confronting Marnie, who tells Anna she is sorry for leaving her and that she cannot see Anna anymore. Anna says a heartfelt goodbye to Marnie and during which the rain stops and the sun shines. The Two Confess —Anna invites Marnie to her room Anna develops an inseparable bond with Marnie. When Anna recovers from her fever, Sayaka shows her the missing pages and a painting Hisako gave to Marnie.

They converse with Hisako who tells them about Marnie's story (but does tell the girls the story does not have a happy ending): A long time ago Hisako and Marnie played together when they were children and were such good friends.

Marnie loved her parents and all the parties they threw, but deep down she felt neglected. Her parents were always traveling for work and the maids and Nan who watched her were very unkind to her. Years later, Marnie married Kazuhiko, her good friend and they had a daughter named Emily. Sadly though her happiness would not last long as Kazuhiko soon became sick and died not too long after.

Marnie was then committed to a sanatorium to recover from the psychiatric effect of her husband's death, and Emily was sent to boarding school, since Marnie's parents had also died and she had no one to look after Emily. After Marnie when marnie was there released and Emily came back from when marnie was there school at the age of 13, Emily blamed Marnie for abandoning her, even though she knew her mother was sick.

The two were not able to make up and Emily ran away and got married, she was expecting with a daughter herself, but she and her husband were killed in a car accident when their daughter was one year old. Marnie raised her granddaughter, and cared for her very much but deep down Marnie still could not get over the shock of losing her daughter and when her granddaughter was two Marnie became very sick and passed away.

After Marnie's death, her granddaughter was placed in an orphanage. After the story Sayaka cries but Anna thanks her for telling them, Hisako tells the girls that while Marnie had a sad life she lived it to the fullest with a smile on her face.

A Final Wish "Marnie adored that mansion. She loved seeing the marsh from her window. She said it felt like the birds were speaking to her. She had a such a sad life but she lived it to the fullest. Living life with a smile. She had a lonely life but she was determined to be happy." "So you've met Marnie, too." "Wish we could've played more, Anna." "Me too, but the plan was always just for the summer." "Will you come again next summer?" "I'm sure I will.

I'll write you." "I'll write you, too." —Anna learns her true identity and says farewell Anna learns the truth of Marnie's past from Hisako. At the end of the summer, Yoriko goes to the town to take Anna home. She gives Anna a photograph of the mansion and says it belonged to Anna's grandmother. When Anna sees Marnie's name written on the back, she realizes that she is Emily's daughter and Marnie's granddaughter. This revelation helps to bring Anna closure about her identity.

Yoriko also tells Anna about the government payments for her care. However, Anna admits she knew about the payments but now no longer cares about them because she still loves her. For the first time, Anna calls Yoriko her mother. During the end credits, Anna says goodbye to the friends she met in town, before seeing Marnie in the mansion waving goodbye to her, as Yoriko drives Anna back home. Characters Anna Sasaki (アンナAn'na) Sara Takatsuki (Japanese), Hailee Steinfeld (GKIDS) The main protagonist of the film.

A 12-year old 1st year middle school student. She has dark hair with bluish black eyes. Anna was adopted by Yoriko Sasaki. She was raised by her grandmother, who later passed away and was then taken in by the Sasaki's a few years later. She feels she is cursed following several tragedies in her family, and tries to hide her disappointment beneath a blank expression. She enjoys painting and loves sketching landscapes, but not portraits. She loved her adoptive parent, Yoriko Sasaki, and thought of herself as her real child until she discovered she had been receiving child support from the state.

Knowing this made her question the purity of Yoriko's love. As a result, she became lethargic and idle. She has since cared about anything and spends her time doing nothing. She is later relocated to Hokkaido due to her asthma, which further deepens her loneliness, until she discovers the wetland mansion and met Marnie.

Marnie (マーニーMānī) Kasumi Arimura (Japanese), Kiernan Shipka (GKIDS) The only daughter of a wealthy family living in a wetland mansion with pale blonde hair and blue eyes. She can speak fluent Japanese. Playing with children in the village was strictly forbidden, which made her determined to be friends with Anna who visited the swamp.

She is actually Anna's grandmother. When she was little, she was nearly trapped in a silo by her maids, and has since been afraid of going to the silo. Despite her sad and lonely life, she is determined to have a good life. Yoriko Sasaki (佐々木 頼子Sasaki Yoriko) Nanako Matsushima (Japanese), Geena Davis (GKIDS) Anna's adoptive mother.

A woman who always looks uneasy. She's worried that Anna doesn't apply herself. She loves Anna and sees her like her biological daughter. Setsu Oiwa (大岩 セツŌiwa Setsu) Toshie Negishi (Japanese), Grey Griffin (GKIDS) An old acquaintance of Yoriko.

A large, round-faced woman living in Hokkaido. She has a grown up daughter and volunteers to take care of Anna. Kiyomasa Oiwa (大岩 清正Ōiwa Kiyomasa) Susumu Terajima (Japanese), John C. When marnie was there (GKIDS) Setsu's husband. Works as a when marnie was there carver. He is kind to Anna and enjoys being funny. Tōichi (ワンタメニー・ウェストWantamenī U~esuto) Ken Yasuda (Japanese), Fred Tatasciore (GKIDS) A when marnie was there fisherman. He often gives Anna a ride on his boat, though the two barely converse.

Nobuko Kadoya (サンドラSandora) Akiko Yoritsune (Japanese), Raini Rodriguez (GKIDS) Residents of the seaside town. 13 years old. She's chubby. She's the chairman of the school. Dislikes Anna for being a layabout. Setting The old silo that appears in the film is based on Burnham Overy Staithe Windmill.

The novel is set in the fictional seaside village of Little Overton in Norfolk, England, modeled after Burnham Overy, a seaside village also in Norfolk. The author, Joan G. Robinson, had a strong connection with Norfolk throughout her life, particularly in 1950s, when she and her family spent the summer in Burnham Overy every year.

One evening, as Joan walked down a swamp trail, she saw a brick mansion with blue windows and doors from across the swamp. When she took her eyes off and looked back again, the mansion had blended into the landscape as if it had disappeared. A few minutes later, when the setting sun illuminated the mansion, she saw a girl lounging by the window combing her golden hair. Joan jotted down her ideas in several notebooks during the summer and spent about 18 months completing the novel.

Joan's eldest daughter, Deborah Sheppard, says that the protagonist Anna mirrors Joan's childhood memories. According to her, Joan's mother (Deborah's grandmother) was a tough person who deprived her daughter of affection during her childhood.

Also, according to a story heard by Masataka Ikeda, an emeritus professor at Chuo University, in the late 1990s at a guest house in Bunham Overy, Joan visited Bunham Overy with her two daughters every summer, where it was revealed her youngest daughter was adopted and lived in a very similar situation as Anna.

Behind the Scenes Development The novel When Marnie Was There was published in Japan in 1980 by Iwanami Bunko boy in two volumes. The original novel by Joan G. Robinson had previously been cited by Hayao Miyazaki as one of his favorite children's novels. Hiromasa "Maro" Yonebayashi, who had previously directed The Secret World of Arrietty, was assigned the project by Studio Ghibli producer Toshio Suzuki.

Even though Arriety was the biggest hit in Japanese cinema in 2010, Yonebayashi felt he had unfinished business in directing and felt he hadn't said everything. The project was set up during the production of The Wind Rises (2013).

Yonebayashi admitted he hadn't read the novel yet, but did so after receiving a copy from Suzuki. He found the story moving, but "thought it would be very difficult to visualize as a film," stating the majority of the narrative followed Anna talking about her feelings in a sensitive and fragile way.

"A visualization of those words would be very difficult. But at the same time I thought that if I could succeed, it would be a very rare type of film. Anna builds a wall around her, she refuses help from the outside, but at the same time she’s screaming out for it as well, and eventually she realizes she’s loved by the people around her and she’s gradually adapting to the realities of life." [5] Hiromasa "Maro" Yonebayashi, the relatively young director behind the film.

His interest was later renewed, however, and he began to conceive of new elements for the story, such as Anna's characterization as an artist. “It was an interesting read, but I felt it would be difficult to make an animated film out of it,” Yonebayashi explained. After this first reading, he initially refused the project. But he still tried to draw some illustrations. “I thought it might be a good idea to bring something more. Anna draws herself. Through his drawings or his way of writing, I could perhaps also describe the feelings of the character." It also has the idea of adding scenes not present in the original text, as Anna and Marnie dancing under the moon or night scene picnic.

“I drew all of this, and going through these steps, I finally said to myself: I want to continue, and maybe I can finally make this movie." Places such as Sapporo were part of the film.

On December 12, 2013, the production for the film was announced. On accepting the director position, Yonebayashi said that he had no intention of changing the world, as Miyazaki could with his adaptations. After two adult-oriented Ghibli films back-to-back, namely The Wind Rises and The Tale of the Princess Kaguya, he wanted to return to a Ghibli movie aimed at a younger audience.

For this new start, Suzuki has added Yoshiaki Nishimura to production, and a very young team of collaborators and newcomers to carry out this project.

Early Marnie concept sketches by Hiromasa Yonebayashi. "I started reading this book about 10 years prior to production and I wasn’t moved at all. But in Japan there were two volumes, and I never got through the first one, no matter how many times I tried.

But after this production was decided, I read everything and it all made sense. I thought Anna meeting Marnie, who understands her, would be enough.

But actually it wasn’t, it’s not just about love, it’s about identity." said Nishimura. [6] For producer Nishimura, Yonebayashi is a calm person who likes to take his time. However, the producer remembered Yonebayashi's statements very clearly: he wouldn't let anyone say that Studio Ghibli was unable to make a good movie without Takahata and Miyazaki. Nishimura further explained that he took the job for two reasons - the first was after hearing Takahata during an internal screening of Arriety, “If a young producer had put all his soul into it, maybe the film would have been better." The second reason has its origin when he was still working on the storyboard of Princess Kaguya with Takahata.

Yonebayashi then confessed to him that when he worked on his storyboards, sometimes, he could not judge if they were good or not. He was a little envious of Isao Takahata, assisted by a person to give him his opinion.

Nishimura therefore agreed and immediately began working on the storyboard of Marnie with Yonebayashi. So he worked on Takahata's film while starting to work on Marnie.

Late at night, he joined Maro at the apartment in which the director had isolated himself to work. Production —Hiromasa Yonebayashi Hiromasa Yonebayashi drew a comic on how he was captivated by Marnie's smile. Also featured in the film's visual guide is a stoic portrait of Anna Sasaki.

Hiromasa Yonebayashi worked when marnie was there months on the screenplay and storyboards before starting production of the film. In the end, Toshio Suzuki said that Hayao Miyazaki himself would have been unable to create something so sensitive. “When Yonebayashi was working on Arrietty, the whole team gathered around him to support him because he was a beginner and no one knew if he was able to complete the project” explained Nishimura.

“But this time around, he makes his decisions quickly and his work is very convincing." Toshio Suzuki observed a general supervisory position, providing advice such as changing the setting of the story to Japan.

However, it was merely perfunctory as he wanted to see how the new team would operate. "It was I who launched this project," he explained. “I chose the main collaborators and organized the schedule and I will participate in the promotion of the film.

But I will no longer be present at production meetings with the film crew. It was I who set up the main players on this project, but now it's up to them to manage its production.

I will certainly want to give my opinion, but I will abstain." Masashi Ando, a Ghibli veteran animator since the 90's, joined the project and provided invaluable insight to the team. Yonebayashi chose his team carefully, selecting Ghibli veteran Masashi Ando as animation director, and Yôhei Taneda as art director for the sets. Andô joined Studio Ghibli in 1990 and worked as animation director on Princess Mononoke and Spirited Away. However, he left the studio after the production of Spirited Away, due to artistic differences with the director.

He became a freelance animator and notably worked for Satoshi Kon. By selecting AndôYonebayashi wanted to appeal to a personality who knew how to say no to Miyazaki's methods. Andô took care of the animation, but he also participated in the screenplay with Keiko Niwa and Yonebayashi. Different questions were indeed posed to him when he apprehended the original text. Reading the novel, Andô did not really grasp the charm of the story. All the characters around the heroine, Anna, were all too sweet, and the events didn't feel logically structured to her.

Andô then shared these questions with director Hiromasa Yonebayashi, who then offered to revise the script together. When Andô proposed an idea to Yonebayashi, the latter listened and thought, then made him a new proposal. They thus advanced the scenario through constructive discussions. Art Director Yôhei Taneda helped create the vivid landscapes of the film. Andô worked closely with Yonebayashi, from the screenplay and on the sakuga.

They each gave one another their honest opinions, as if they were at the same hierarchical level. Yonebayashi joined Studio Ghibli in 1996, Andô is considered the sempai. Even though it had been a long time since he worked at Studio Ghibli, Andô explained: “What was interesting about this production is that instead of asking me if Miyazaki will like it this time - here, I gave my opinion and expressed my ideas.

I think there are pros and cons to being able to give your opinion. How the studio's younger collaborators react to this new freedom will be important for the future of the studio." Taneda's detailed background work elevated the film's style.

Although the setting was changed, the decision was made to retain Marnie's appearance as blonde and blue-eyed, though Miyazaki was opposed to this decision. He later criticized the usage of Marnie's character to promote the film, opining that it was "plain outdated and cheesy." "Yes I know it’s unusual but we chose it because of that very reason. But actually it’s because in the original novel there is an illustration of Marnie with blonde hair and blue eyes. It’s difficult to depict blonde hair in animation, but I took on the challenge, and we changed the setting to Japan so Marnie became a sort of mysterious existence in that setting.

To put the Western world and Japan together, we managed to create an original world." said Yonebayashi. The main difficulty comes from the main character, Anna Sasaki, who is someone who does not show his feelings. To bring it to life, the animators tried to create a multitude of faces devoid of emotion. Yonebayashi returned to the marsh that inspired the film with Anna's voice actor Sara Takatsuki for the TV special, Until The End of The Creation of When Marnie Was There.

Yonebayashi intended the film to be encouraging to children in Japan who felt lonely and isolated, and hoped that when marnie was there they see Marnie, maybe they could take a little step forward".

Key focus was placed upon highly detailed character movements and backgrounds, as well as depicting the details of Anna's experience in the environment. The Marsh House that is central to the story was designed by Yohei Taneda, who Yonebayashi asked "to draw the Marsh House as if it were another character who watches over Anna." Taneda scouted buildings in Hokkaido for inspiration. During an interview, Yonebayashi explained, "Our production designer, Yohei Taneda, has lots of experience in live action films, so I asked him how to achieve that effect.

We went to Hokkaido and took a lot of references of landscape, scenery and architecture." "To depict the marsh landscape's mysterious side, we played a lot" adds Yonebayashi.

“As a rule, in Ghibli films, we find a very clear, blue sky with white clouds. This is what I used until now. But this time it's a little different." Seen here are the directing staff and lead voice actors. Part of the film's promotions included a life-size recreation of the rooms of the Marsh House, including Marnie's iconic blue windows.

Normally for Ghibli films, the storyboards were completed before background sets were completed. For this production, the sets were designed first before the storyboards were completed. By constructing a miniature of the Marsh House, Yonebayashi was thus able to visualize the placement of characters in the sets, when marnie was there well as to plan his camera frames during his work on the storyboard, directly after the scenario.

This working method strongly influenced the film. At the end of the production, Hayao Miyazaki had announced his retirement and that the production side of Studio Ghibli was to be shut down. Yonebayashi explained to Cartoon Brew what he learned from his experience at Ghibli, "There are so many things that I have learned at Studio Ghibli. The most important has been my involvement as an animator in director Miyazaki’s films, when I was able to learn how to draw many types of animation — even as I was often scolded by him.

This has been the inheritance of a lifetime for me." [7] Dubbing The final script of the film. Because the film is set in Hokkaidô, TEAM NACS, a troupe of artists from the island, plays a small role in the film. Hiroyuki Morisaki, Ken Yasuda, Shigeyuki Totsugi, Yô Ôizumi and Takuma Otoo had lent their voices to Hayao Miyazaki's film, Howl's Moving Castle.

Sara Takatsuki, the actor that voiced Anna Sasaki, explains how she got the role, "In the auditions I've done so far, my confidence has often fluctuated, but this time I strongly wanted to accept it because it was a Ghibli work. I even declared to the manager, "I will definitely accept it" (laughs). Even though my feelings increased that much, when I finished the audition, I lost confidence . Moreover, I had time to make a decision, so I gave up once saying that I had fallen.

So the moment I heard that it was accepted, I felt like a dream." The two leads of the film, Sara Takatsuki and Kasumi Arimura, recorded their lines together. Kasumi Arimura, the actor of Marnie, then said, "To tell the truth, this was my second audition for Studio Ghibli's work.

When I first received it, it was at the time of my debut, and I didn't have much experience in acting, so I just felt nervous. So I had a special feeling this time. But when I went to the audition, it was the first day and I was a top batter! I was really nervous, but I feel like I've taken the plunge and put out all of me.

At the audition, I played both Anna and Marnie." Regarding the challenges for the role, Takatsuki said, "As the story progresses, Anna grows up, so I was conscious of changing her voice along the flow. At first, I close my heart, so I try to keep my emotions inward as much as possible, and even if I cry, I feel like I'm crying.

In the second half, it created a bright atmosphere. It was also an instruction from director Yonebayashi (Hiromasa), and it was also a part that I consciously played." TEAM NACS, a troupe of artists based in Hokkaidô, performed minor roles in the film. On the other hand, Arimura said, "To be honest, Marnie, who I played, was a difficult role. The tension changes a lot, and there are some lines that are outrageous.

But that is Marnie's personality. It's packed with mysterious elements, so it doesn't change your emotions momentarily, even with a little mischief and a little devilish part. I tried not to think too deeply." Takatsuki elaborated on the challenges of anime dubbing versus live action acting, "In the case of anime, I learned that it also expresses reactions that are not used in real life. This When Marnie Was There is a quiet work overall, so the sound is even more important.

Even if you say "Marnie", there are dozens of detailed expressions, and in one scene it took more than 30 minutes just to say "Marnie"." To help with their performances, both lead actors recorded their roles together. [8] Advertising Yoshiaki Nishimura presented several concepts for the film's final poster visual to Toshio Suzuki. Seen here is the rejected concept with Marnie's profile. Also seen are two later Studio Ghibli films that had their trademark blue skies to show a Ghibli release for summer had come.

The advertising catchphrase “I love you very much,” was chosen. Producer Nishimura and Toshio Suzuki held a several discussions on this and concluded that people these days are just waiting for someone to hear or say "I love you". They then decide about the promotional visual that can accompany it.

Nishimura brought various images from the film and Suzuki asks him to show them to everyone present at Studio Ghibli. They must select the image most representative of the film. Nishimura is very attached to the visual of Anna and Marnie back-to-back holding hands. But the former producer doubts. "What are they doing?" Suzuki asks. "They hold hands," answers Nishimura.

"But why are they back to back?" "They are one person and not two," Nishimura responds. "We don't understand anything." They failed to come to an agreement. For Nishimura, there is another reason for the use of this visual: the two girls wore short sleeves outfits. Traditionally, Studio Ghibli films always came out in the summer. Ponyo and The Wind Rises both had posters that featured blue skies and clouds. The reason is to give the impression that Ghibli's Summer has arrived.

In people's minds, it's summer, so "We're going to go see Ghibli's movie in theaters." Nishimura wanted to find this effect with the poster of the film Marnie that had no blue sky. Suzuki needed convincing that Anna Sasaki and Marnie standing back-to-back while holding hands to symbolize they are the same person' was a good idea for the final promotional visual for the film.

“It has nothing to do with it,” Suzuki retorts. "You see the poster of Chihiro? It's all black and in addition, there is a big pig on the poster. There is no connection with what you are telling us. For The Cat Returns, the girl sleeps in the grass. I searched for this image in the film before I found it. The team disagreed because her face was in profile. But if Haru was in front, it wouldn't have worked and people wouldn't have come to see the movie.

But in the end, it was what was needed and it was successful. You will continue to search." Suzuki still needed convincing that this was the promotional visual meant for the film. A day or so later, Suzuki holds a final meeting to decide on the film's final poster visual, “I've been working for Studio Ghibli for a long time and I have my own opinion when it comes to advertising,” he explains.

“I never take any risks, I never go on an adventure and I always choose a safe bet. I take a risk when I have no other choice. For Marnie, it was kind of the case, because the basics of this film were a bit particular, in a good way and a bad way.

In any case, different from Miyazaki and Takahata films. It's a "young" film, always in a good and bad way. It was necessary to highlight the “fresh” side of the young succession of the studio after the announcement of Miyazaki's retirement. We have lost this reassuring aspect of Studio Ghibli but we have gained in freshness.

And that's the important point of this film." "This drawing Anna and Marnie assembly described the film" concluded Nishimura. “I spoke with Suzuki about it.

This film shows the evolution of Anna's feelings. She is quite withdrawn psychologically but Marnie supports her. This drawing symbolizes the film well." Release When Marnie Was There was released in Japan on 19 July 2014. On January 14, 2015, GKIDS announced that they would be distributing the film for a North American release.

The film premièred at the New York International Children's Film Festival on 27 February 2015. The film had its UK premiere during the BFI London Film Festival on 10 October 2015 with a wider release scheduled for 10 June 2016. The film was when marnie was there on Blu-ray and DVD in Japan on 18 March 2015, and released on Blu-ray and DVD in America by Universal Pictures Home Entertainment on 6 October 2015.

Reception Box Office The film was aired several times on Nippon TV's "Friday Road SHOW!". First on October 9, 2015, then July 14, 2017, and finally on April 3, 2020.

When Marnie Was There opened at third place, grossing ¥379 million during its opening weekend in Japan. By its fourth weekend, it had earned ¥2.08 billion, made an additional ¥930 million in its next two weekends, and had a total of ¥3.63 billion by its eighth weekend.

In North America, the film had grossed US$186,844 by its third weekend. It was first aired on terrestrial television on Nippon TV's Friday Road SHOW! on October 9, 2015. It was part of the Autumn Ghibli, event where Howl's Moving Castle was also shown after. It earned a strong 13.2% audience rating. It was then re-broadcast on July 14, 2017, and earned a 9.7% rating. It was re-broadcast again on April 3, 2020, and earned a 7.6% rating. It was aired along with Kiki's Delivery Service. Book Sales Following the success of the film, Robinson's original novel experienced a boost in sales internationally.

Her agent Caroline Sheldon sold the rights of the book to 10 countries, including Japan, Italy, Spain and China. The book was also re-released in English by HarperCollins Children's Books as part of its classics range.

Critical Response A wide variety of "Marnie" merchandise was made for the film. When Marnie Was There received positive reviews. On review aggregator Rotten Tomatoes the film has a rating of 91%, based on 91 reviews, with an average of 7.5/10. The website's critical consensus reads, "When Marnie Was There is still blessed with enough visual and narrative beauty to recommend, even if it isn't quite as magical as Studio Ghibli's greatest works." On Metacritic, the film has a score of 72 out of 100, based on 22 critics, indicating "generally favorable reviews".

In 2015, it was nominated for the Best Animation Award for the 38th Japan Academy Prize and 9th Asia Pacific Screen Awards.

It won in the 32nd Chicago International Children's Film Festival. In 2016, it was nominated for the 43rd Annie Awards. David Jenkins of Little White Lies noticed the subtle references to Alfred Hitchcock in the film – from Vertigo to The Birds.

According to Director Yonebayashi, "I wasn’t particular conscious of this, but probably there is an element of suspense. It begins with the meeting of Marnie and Anna, but gradually we wonder who Marnie actually is. Referencing other movies is actually quite rare for Studio Ghibli – we haven’t done it before.

I think there is a psychological link to Hitchcock, and that’s why you might have felt that similarity. But it wasn’t intentional." Music Marnie Was There Soundtrack Music Collection (思い出のマーニーサントラ音楽集Omoide no Marnie Santora Ongaku Shuu) is the two-disc soundtrack composed by Takatsugu Muramatsu and performed by the Yomiuri Japan Symphony Orchestra. It was released on CD and digital download on the iTunes Store on July 16, 2014.

The first disc contains six Image Album tracks. These tracks were made to express the personality of the characters and feel of places in the film. The second disc contained the film's official soundtrack. The melody of Marnie's song (Tracks 16 and 27 on Disc 2) is taken from the piece Recuerdos de la Alhambra, composed by Francisco Tárrega for solo guitar. Priscilla Ahn, the writer when marnie was there performer of the movie's theme song, Fine on the Outside, also released an accompanying album to the film called Just Know That I Love You on July 16, 2014.

Track listing Disc 1 No Name Length 1 The Oiwa Home (大岩さんの家 Oiwa-san no When marnie was there 3:36 2 High Tide, Low Tide (潮の満ち引き Shio no Michibiki) 3:43 3 Anna (杏奈) 3:38 4 Marnie (マーニー Mānī) 4:37 5 Sayaka's Dream (彩香の夢 Sayaka no Yume) 2:23 6 "Anna (Piano Version) (杏奈（ピアノバージョン） Anna (Piano Bājon))" 3;54 7 Total Length 21:50 Disc 2 No Title Length 1 An Ordinary Face' (「普通の顔」 Futsū no Kao) 1:40 2 Anna's Journey (杏奈の旅立ち Anna no Tabidachi) 1:42 3 Sending a Postcard (ハガキを出しに Hagaki o Dashi ni) when marnie was there 4 The Marsh House (しめっち屋敷 Shimetchi Yashiki) 2:09 5 The Light Is On!' (「明かりがついてる！」 Akari ga Tsuiteru!) 0:23 6 The Girl in the Blue Window (青い窓の少女 Aoi Mado no Shōjo) 0:57 7 Sketching on the Boat (ボートの上でスケッチ Bōto no Ue de Suketchi) 0:43 8 The Girl Stood Up!

(少女は立ち上がった！ Shōjo wa Tachiagatta!) 0:39 9 'Like Just What I Am' (「わたしはわたしのとおり」 Watashi wa Watashi no Tōri) 0:59 10 When I Held a Doll (人形を抱いていた頃 Ningyō o Daiteita Koro) 0:47 11 It's Not a Dream!' (「夢じゃないわ！」 Yume janai wa!) 3:25 12 "The Two on the Boat (ボートの上の2人 Bōto no Ue no Futari)" 1:47 13 Three Questions Each (質問は3つずつ Shitsumon wa Mitsu Zutsu) 1:14 14 The Party (パーティ会場 Pāti Kaijō) 1:45 15 Kazuhiko and Marnie Dance (和彦とマーニーのダンス Kazuhiko to Mānī no Dansu) 2:22 16 Let's Dance, You and I!' (「あたしたちも踊りましょう!」 Atashi-tachi mo Odorimashō!) 1:57 17 While Cutting Tomatoes (トマトを切りながら Tomato wo Kirinagara) 1:14 18 Hisako's Painting (久子の絵 Hisako no E) 0:37 19 The Blue Diary (青い日記 Aoi Nikki) 2:43 20 The Mushroom Forest (キノコの森 Kinoko no Mori) 1:21 21 The Two Confess (2人の告白 Futari no Kokuhaku) 3:38 22 It's Like We Traded Places!' (「入れ変わっちゃったみたい!」 Irekawatchatta Mitai!) 0:57 23 Anna Runs in the Storm(杏奈、嵐の中を走る Anna, Arashi no Naka wo Hashiru) 0:46 24 A Final Wish(最後のお願い Saigo no Onegai) 2:52 25 Hisako's Story 1 (久子の話1 Hisako no Hanashi 1) 3:13 26 Hisako's Story 2 (久子の話2 Hisako no Hanashi 2) 1:26 27 When Marnie Was There (思い出のマーニー Omoide no Mānī) 1:58 28 Fine on the Outside" (Words and music written by Priscilla Ahn) 4:14 Total Length 49:29 Trivia • Lead actors Sara Takatsuki, Kasumi Arimura were chosen among 300 candidates after a 3-day audition process at the end of 2013.

According to Producer Yoshiaki Nishimura, the first person chosen was Kasumi Arimura. • During the party scene at the Marsh House, two men are heard saying, "That story is really a masterpiece" and "That's right." The voice actors are staff members for Question for one hundred million people!? Waratte Koraete!

(笑ってコラえて!), a long-running variety show on Nippon TV. Voice Cast Character Japanese cast English dub cast Anna Sasaki Sara Takatsuki Hailee Steinfeld Marnie Kasumi Arimura Kiernan Shipka Ryoko Moriyama (old) Catherine O'Hara (old) Sayaka Hana Sugisaki Ava Acres Hisako Hitomi Kuroki Vanessa Williams Mila Brener (young) Yoriko Sasaki Nanako Matsushima Geena Davis Kiyomasa Ōiwa Susumu Terajima John C.

Reilly Setsu Oiwa Toshie Negishi Grey Griffin Nanny Kazuko Yoshiyuki Ellen Burstyn Tōichi Ken Yasuda Fred Tatasciore Nobuko Kadoya Akiko Yoritsune Raini Rodriguez Doctor Yamashita Yo Oizumi Bob Bergen Neighborhood Association Officer Takuma Otoo Unknown Art Teacher Hiroyuki Morisaki The following are additional English voice cast • Kyle Arem • Laura Bailey • Kathy Bates (Mrs.

Kadoya) • Taylor Autumn Bertman (Young Marnie) • Jessica DiCicco • Elsa Gabrielli • Hope Levy Credits When marnie was there Staff Director Hiromasa Yonebayashi Screenplay Hiromasa Yonebayashi, Keiko Niwa, Masashi Ando Art Noboru Yoshida, Takashi Omori, Yohei Takamatsu, Youichi Nishikawa Character Design Masashi Ando Key Animation Akira Honma, Akiyo Okuda, Atsuko Otani, Atsuko Tanaka, Atsushi Tamura, Ayako Hata, Ei Inoue, Eiji Yamamori, Hideki Hamasu, Hiroomi Yamakawa, Hiroyuki Okiura, Katsutoshi Nakamura, Katsuya Kondo, Kazuyoshi Onoda, Kenichi Konishi, Kenichi Yamada, Kitaro Kousaka, Makiko Futaki, Masafumi Yokota, Megumi Kagawa, Michiyo Suzuki, Misa Koyasu, Moe Usami, Naoko Kawahara, Naoya Wada, Ryosuke Tsuchiya, Shinji Hashimoto, Shinji Otsuka, Shinji Suetomi, Shougo Furuya, Shunsuke Hirota, Takaaki Yamashita, Takayuki Hamada, Takeshi Honda, Tsutomu Awada, In-between Animation Akane Ōtani, Akiko Teshima, Alexandra Weihrauch, Asako Matsumura, Asami Ishikado, Ayaka Saitou, Chizuru Inoue, Eimi Tamura, Emi Hirota, Emi Nakano, Etsuko Tamakoshi, Etsuko Yamamoto, Eun-Ah Park, Hiroko Tezuka, Hiromi Niwa, When marnie was there Yaji, Hu Young Jeon, Jinko Tsuji, Jung Hee Shin, Kaori Itou, Kaori Miyakawa, Keiko Tomizawa, Kengo Takebana, Kim Boksim, Kiyoko Makita, Kumiko Ohtani, Kumiko Tanihira, Kumiko Terada, Kunoko Akiyama, Maho Takagi, Mai Nakazato, Maiko Matsumura, Maiko Suzuki, Mariko Matsuo, Mariko Suzuki, Masakiyo Koyama, Masako Akita, Masaru Okuwaki, Masaya Saito, Masayo Andō, Maya Fujimori, Mayumi Ohmura, Megumi Higaki, Mi Kyung An, Michiko Oda, Misaki Kikuta, Mitsuki Chiba, Moyo Takahashi, Nanako Egami, Natsumi Hasebe, Natsumi Morimoto, Reiko Mano, Rie Eyama, Rie Nakagome, Ritsuko Shiina, Rui Yakata, Ryeong Hee Park, Ryōsuke Mizuno, Ryōsuke Murahashi, Sadakazu Kato, Satoshi Senba, Sayaka Yamai, Seiko Azuma, Setsuya Tanabe, Shinichiro Yamada, Shiori Fujisawa, Shouko Nagasawa, Soon-Ha Hwang, Sumie Nishido, Takeshi Ohkoshi, Tomoko Miyata, Tomoyo Nishida, Tomoyuki Kojima, Wei Ni Huang, Yasumi Ogura, Yayoi Toki, Yohei Nakano, Yoriko Mochizuki, Yoshie Noguchi, Youko Tanaka, Yu Matsuura, Yu Fen Cheng, Yui Ōzaki, Yuichi Tajima, Yuka Matsumura, Yuka Saitō, Yukari Yamaura, Yuki Fuse, Yukie Watanabe, Yukiko Kunitake, Yukina Hosaka, Yuko Tagawa, Yūko Tani, Yuna Fueki, Yuri Yagisawa, Yuuko Fujita Animation Check Minoru Ohashi Animation Director Masashi Ando Director of Photography Atsushi Okui Music Takatsugu Muramatsu Sound Director Koji Kasamatsu When marnie was there Director Yohei Taneda Color Design Yūsei Kashima CG Miki Umezawa, Norihiko Miyoshi, Yoichi Senzui Producer Yoshiaki Nishimura Executive Producer Toshio Suzuki Production Studio Ghibli References • ↑ "Studio Ghibli will no longer be making films", IGN • ↑ "Makiko Futaki, 'Akira' and Studio Ghibli Animator, Dies at 57", Hollywood Reporter • ↑ Studio Ghibli adapts Marnie for Summer 2014, FilmBiz • ↑ "When Marnie Was There" on DVD in 2015, Marnie JP • ↑ "Hiromasa Yonebayashi: ‘The history of Studio Ghibli is also a history of myself’", Little White Lies.

• ↑ "Hiromasa Yonebayashi & Yoshiaki Nishimura on When Marnie Was There & the future of Ghibli", HayUGuys. • ↑ "Hiromasa Yonebayashi On ‘When Marnie Was There,’ Being Scolded By Miyazaki, and Studio Ghibli’s Future", Cartoon Brew. • ↑ "When Marnie Was There" Sara Takatsuki & Kasumi Arimura Independent Interview, Cinema JP External links Official Sites • When Marnie Was There English Website • When Marnie Was There on Studio Ghibli • When Marnie Was There on Walt Disney Japan • When Marnie Was There on GKIDS Information • When Marnie Was There on Anime News Network • When Marnie Was There at the Internet Movie Database • When Marnie Was There on Buta Connection Encyclopedia • When Marnie Was There on Wikipedia Reviews • When Marnie Was There on Rotten Tomatoes Navigation Steve Alpert (Overseas Promotion Manager) • Hideaki Anno (Director) • Masashi Ando (Animator) • Makiko Futaki (Animator) • Hitomi Tateno (Animation Check) • Toru Hara (Producer) • Takeshi Inamura (Animator) • Katsuya Kondō (Animation Director) • Yoshifumi Kondō (Animation Director) • Koji Hoshino (President) • Megumi Kagawa (Animator) • Yoshinori Kanada (Animator) • Kitarō Kōsaka (Director) • Kazuo Komatsubara (Art Director) • Goro Miyazaki (Director) • Tomomi Mochizuki (Director) • Hiroyuki Morita (Director) • Yoshiyuki Momose (Animation Director) • Yoshiaki Nishimura (Producer) • Atsushi Okui (Director of Photography) • Kazuo Oga (Background Artist) • Shinsuke Nonaka (Production Affairs Manager) • Kaoru Mano (Titles) • Keiko Niwa (Screenwriter) • Reiko Okuyama (Animator) • Seiji Okuda (Director) • Takeshi Seyama (Director) • Masako Shinohara (Animator) • Atsushi Takahashi (Storyboard) • Yohei Takamatsu (Art Director) • Atsuko Tanaka (Key Animator) • Yôji Takeshige (Art Director) Kazuhide Tomonaga (Animator) • Yasuo Uragami (Sound Director) • Kazuhiro Wakabayashi (Sound Director) • Akihiko Yamashita (Animator Director) • Michiyo Yasuda (Color Designer) • Hiromasa Yonebayashi (Director) • Nizô Yamamoto (Background Artist) • Kenichi Yoshida (Animator) • Noboru Yoshida (Art Director) • Ushiko (Cat) Music Eiko Kadono (Author) • Tokiko Kato (Singer) • John Lasseter (Director) • Rieko Nakagawa (Author) • Tatsuo Hori (Author) • Mamoru Hosoda (Director) • Yoshie Hotta (Author) • Yōichi Kotabe (Senior Animator) • Naohisa Inoue (Artist) • Keisuke Miyazaki (Son) • Kenji Miyazawa (Author) • Yasuji Mori (Animation Director) • Hideo Ogata (Animage Editor) • Osamu Sagawa (Friend) • Ryōtarō Shiba (Author) • Mamiko Suzuki (Toshio Suzuki's Daughter) • Mamoru Oshii (Director) • Yasuo Ōtsuka (Director) Affiliated Companies Castle in the Sky (1986) • Grave of the Fireflies (1988) • My Neighbor Totoro (1988) • Kiki's Delivery Service (1989) • Only Yesterday (1991) • Porco Rosso (1992) • Ocean Waves (1993) • Pom Poko (1994) • Whisper of the Heart (1995) • Princess Mononoke (1997) • My Neighbors the Yamadas (1999) • Spirited Away (2001) • The Cat Returns (2002) • Howl's Moving Castle (2004) • Tales from Earthsea (2006) • Ponyo (2008) • The Secret World of Arrietty (2010) • From Up on Poppy Hill (2011) • The Wind Rises (2013) • The Tale of the Princess Kaguya (2013) • When Marnie Was There (2014) • Earwig and the Witch (2020) • How Do You Live?

(TBA) Short films Nandarō • On Your Mark • Ghiblies • Film Guru Guru • Ghiblies Episode 2 • Imaginary Flying Machines • The Invention of Imaginary Machines of Destruction • The Whale Hunt • Koro's Big Day Out • Mei and the Kittenbus • Looking for a Home • The Day I Bought a Star • The Night of Taneyamagahara • Water Spider Monmon • Iblard Jikan • A Sumo Wrestler's Tail • Mr. Dough and the Egg Princess • Treasure Hunting • Giant God Warrior Appears in Tokyo • Boro the Caterpillar Documentaries The Story of Yanagawa's Canals (1987) • Miyazaki and Kurosawa Fireside Chat (1993) • Ghibli Was Born This Way: A Birth Story Spelled Out With Reproduced Images (1998) • World Journey of My Memory / Journey of the Heart (1998) • How Princess Mononoke Was Born (2001) • Lasseter-San, Arigato!

(2003) • Hayao Miyazaki Produces a CD (2004) • Yasuo Otsuka's Joy of Motion (2004) • Hayao Miyazaki and the Ghibli Museum (2005) • Ghibli: The Miyazaki Temple (2005) • The Work of Toshio Suzuki (2006) • Scenery of Ghibli (2006) • A Ghibli Artisan – Kazuo Oga Exhibition – The Man Who Painted Totoro's Forest (2007) • How Ponyo Was Born (2009) • Poppy Hill - 300 Days of War Between Father and Son (2011) • Ghibli's Bookshelf (2011) • The Kingdom of Dreams and Madness (2013) • Until The End of The Creation of When Marnie Was There (2015) • Never-Ending Man: Hayao Miyazaki (2016) • NHK Image File: I Want To Meet This Person - Isao Takahata, Animation Film Director (2018) • 10 Years with Hayao Miyazaki (2019) Television when marnie was there Animage • Nausicaä of the Valley of the Wind (manga) • Starting Point: 1979-1996 • Turning Point: 1997-2008 • Kaze no Kaerubasho • People of the Desert • The Age of the Flying Boat • Hayao Miyazaki's Daydream Data Notes • To My Sister • The Journey of Shuna • Studio Ghibli's Trajectory as Seen on Animage (1984-2011) • The Art of My Neighbor Totoro • The Art of Castle in the Sky • The Art of Kiki's Delivery Service • The Art of Porco Rosso • Princess Mononoke: The First Story • The Place Where Totoro Was Born • The Bountiful Food of Studio Ghibli • Children's Picture Book Ghibli's Dining Table Earwig and the Witch Co-Productions Hustle Punch (1965) • Horus, Prince of the Sun (1968) • Animal Treasure Island (1971) • Lupin the Third Part I (1971) • Panda!

Go, Panda! (1972) • Heidi, Girl of the Alps (1974) • Dog of Flanders (1975) • Future Boy Conan (1978) • Anne of Green Gables (1979) Lupin III: The Castle of Cagliostro (1979) • Chie the Brat (1981) • 3000 Leagues in Search of Mother (1981) • Gauche the Cellist (1982) • Sherlock Hound (1984) • Nausicaä of the Valley of the Wind (1984) Ghibli-related labels Cute!

CUTE!!! Help! When Marnie Was There is confusing me! What just happened? Why did it happen? If X is true, wouldn’t that contradict Y? Is Marnie a ghost or something else? Are they lesbians? Thinking about this movie is like solving a Rubik’s cube; you solve one face only to mess up another.

And if you think way too long about the epistimological implications of Marnie, at some point you wind up having an existential crisis and realise that all of this is just fiction in the first place, and that’s not a fun conclusion. No fear, I am here to get to the bottom of this.

I have the (literal) ground reasearch to get to answer all your questions without, hopefully, running into contradictions. I deeped dived so hard. Blurb This movie is about Anna, an adopted girl who is sent to the country to live with an old couple in order to heal from her asthma.

There she meets a girl, Marnie… seemingly… What is Marnie about? It is about resolving the experience of feeling undeserving of love; Anna apathetically declares herself an outsider to an invisible magic circle that separates her from people who are deserving of love and acceptance and are entitled to have friends and fit into social functions, unlike herself.

She refuses to accept love of her foster mother, Yoriko, and is cautious about when marnie was there friendliness of people. Anna, the girl who shut her heart, as Japanese promotional material for the movie put it.

At the root of all of this, she doesn’t love herself. No one can begin to love others if they can’t love themselves. Her inability to give and receive love is stunting her growth as a person. So this story is consequentially a tangle of many other things. It is about feeling lonely. It is about being unsure if you have any friends. It is about being too aware that people don’t care about you. It is about being unable to reveal a vulnerable side to yourself because you know it will be dismissed or trivialised (pic at the topic of this article is related).

It is about having a friend who in turn have other friends who are more fashionable and successful than you, and being unsure you’re a good enough friend, and supposing they’ve upgraded their social circle to exclude you, and then you wonder whether you can call them a friend, or anyone ever. So Anna meets Marnie, where all of this is worked out under mysterious circumstances. This movie is not for everyone This is a really good book.

A lot of people will not understand this movie because they not know what it is like to live like this, and these are things they’ve never experienced. They will comment that Anna is a deeply unlikable character and that the story is boring.

I am not offended when people say Marnie is a middling or bad film, because I just comfortably know that they didn’t get it. This sounds arrogant, but I don’t know any other way to put it. Among people who know what Anna represents, it’s like a secret gem of a movie. It fits the very definition of cult appeal. This story’s barrier of entry isn’t something low and wide, like finding love or whatever.

No, its barrier of entry is decidedly narrow—and in compensation, its barrier of exit is high and emotionally purifying. The story of this movie was adapted from the short 1967 novel of the same name, by Joan G. Robinson. The novel is a deeply personal work and clearly wasn’t written for the when marnie was there sake of publishing a book, but because the author needed to say something.

I have read this novel perhaps deeper than the movie, so I will make small references to it but not rely on the assumption you’ve read it. Plot Let’s establish the structure of this film into basic plot points to make things digestible. • Marnie lives and dies. Marnie begat Emily, Emily begat Anna. Emily dies, Marnie takes care of Anna. Marnie dies, Anna becomes a foster child. • Anna has a panic attack. Anna has a panic attack when her attempt to show her artwork is immediately dismissed.

• Anna is sent to Hokkaido She stays with the Oiwas, finds quiet company with Toichi, and discovers the Marsh House. • Anna dreams seeing a girl in the Marsh House Anna has a dream where she seems a girl through one of the Marsh House windows. • Anna meets Nobuko Anna meets local girl, Nobuko, at the Tanabata festival. She emotionally wrecks Anna. • Anna meets the girl from her dream Anna meets the girl she saw in her dream.

• Marnie teaches Anna to row Anna learns the girl is called Marnie, she lovingly gives Anna rowing lessons. • Marnie momentarily disappears Marnie briefly disappears when Anna tries to recall the Oiwas. • The house party Anna when marnie was there insight into Marnie’s home life. They dance under the moonlight.

• Reconciling Marnie’s reality The next morning, When marnie was there visits the Marsh House at low tide to find it’s abandoned again. • Anna looks for Marnie again, encounters Hisako and Sayaka Anna meets old lady painter Hisako, and then Sayaka, a girl moving into the Marsh House who found Marnie’s diary. • Anna dreamily meets Marnie again Anna and Marnie go mushrooming together. Anna reveals she’s an orphan, Marnie reveals she’s abused by her maids.

• Anna and Marnie head to the silo, briefly interrupted by Sayaka Marnie disappears while they walk to the silo, being interrupted by Sayaka.

Marnie then disappears for good. • Anna reaches closure Anna dreams Marnie begging she forgives that she left her. Anna forgives. • Anna finds out Marnie was her grandmother The diary Sayaka found, written by Marnie decades earlier, aligns with what Anna experienced. Anna makes the connection when Anna is shown a postcard with the Marsh House.

Detailed plot summary Just so we’re all on the same page, let’s first discuss what actually happens in the movie at all the major plot points. Explaining Marnie and Anna’s background Marnie is born to wealthy parents who are egotistic and do not know how to be a mother and father.

They are more concerned with being fashionable than establishing an emotional connection with their child. This absence of any actual parental figure makes Marnie functionally an orphan. Marnie copes by fixating on her material fortunes and insisting she’s the luckiest girl in the world, as if to convince herself.

She has to survive the abuse of her maids, and has no one to tell. Marnie would convince herself and other her parents were amazin. Her parents were more concerned with their fashionable lifestyle and not Marnie. Marnie is when marnie was there neglected.

Marnie grows up determined to raise her own child with love, Emily, but her attempt misses the mark when she sends her to boarding school. Emily grows up to have Anna. Emily, just like Marnie’s parents, recklessly neglects her insofar as dying in a car crash while on holiday when marnie was there from baby Anna.

Baby Anna briefly comes into care of Marnie before she dies. Anna is then adopted, who now has attachment disorder. While Anna’s early childhood was apparently sometimes happy, according to some framed photos, she can’t totally and reflexively accept the love of her foster mother.

Things come tumbling down when she discovers they’re secretly paid a subsidy to care for her. Her foster mother, Yoriko, remarks that her ordinary face is a recent phenomenon at the beginning of the movie. Things seemed to be going well for Anna.

Explaining the opening scene In many ways, the opening scene is a hard shibboleth between those who will get the rest this movie and those who won’t.

It’s not an exposition of characters we’ll see again, it’s more like a dip of the toe before entirely plunging in. A teacher walks over and asks Anna to see what she’s drawing. She’s shy at first, but eventually decides that showing her artwork may be recognised as an exceptional gesture from her—that showing something so personal might payoff with praise and sincere fascination. As she’s just about to hand over her sketchbook, the teacher is casually distracted by something else in the playground, and walks off; it was only feigned interest.

Her attempt at putting herself in a vulnerable position was met with no interest. Her gesture went unrecognised.

She has a panic attack. She’s excited to reveal something personal about herself. but that’s immediately rejected soon after. Thought she was going to throw up here. My emetophobia kicked in :/ Few words are exchanged here, yet what plays out is remarkably complicated.

She isn’t just shyly offering a drawing, she’s pushing herself. The way the teacher’s so casually dismissive is deeply glib and condescending to her—and not just in a static sense. It’s like an advanced version of The Ick, where Anna suddenly realises the motive of the teacher was entirely different, and in a devastating cascade, so were the motives behind all events since first meeting.

In a flash, the entire universe reconfigures before her eyes. She can’t take it anymore. What’s also interesting is how so much of this is conveyed through facial expressions. Yonebayashi said in the blu ray extra that he made a special committment to the facial expressions of the characters. Not comically wacky boneitis expressions, but carefully measured shifts in mood; the difference between facial expressions in Ghibli animation vs US animation is the difference between an eloquent speech and an autistic ramble.

Anna’s self defence when marnie was there is to put on a ordinary face. The moment she realises she is put in a vulnerable position, such as when people begin to toy with her feelings, she puts on her face to shutter everything immediately, like the sudden vertical descent of a fire curtain. Said it himself. Explaining high tide / low tide So Anna is now in Hokkaido, with the Oiwas.

At low tide she takes a cursory look around Marsh House. Seems abandoned enough. The tide comes in. While out in Toichi’s boat, she catches a glimpse the Marsh House windows lighting up. Alas, it was just the low sun… or was it the high tide? These scenes broadly familiarise us with Anna’s lucid mode; here we are just adjusted to how reality works in this movie. Abandoned at low tide. Tide comes in and the house kinda lights up. What’s going on? Must’ve been the low sunlight… In a dream she ventures across marsh, smoky and half tide, and sees a girl through the window of when marnie was there Marsh House.

She then wakes up. We’ve now been familiarised with the setting of Anna’s dream mode; this kind of setting appears again later in the movie. Anna’s dream mode is visually distinct. She can’t go anywhere but stand on that grass. Explaining Toichi Just a small thing. Toichi’s name is wordplay on eleven in Japanese; he was the eleventh child among his siblings. Now, how can someone from such a large family be so lonely?

This small detail is a comment on the nature of loneliness. Poor Toichi Explaining Tanabata The appearance of Vega and Altair in the sky. Tanabata is a Japanese festival that celebrates the meeting of the two deities, Orohime and Hikoboshi as represented by the stars Vega and Altair respectively, who are otherwise separated in the sky by the vault of the milky way. This seems like a metaphor for something, eh.

But first, let’s just have a look at what goes on at the festival. Anna is introduced to Nobuko, and she’s reluctant to be friendly with her at first. When Nobuko asks her where she is from, Anna answers.

She lets her guard down a little and smiles. However, Nobuko is immediately distracted and runs ahead to her other friends; it was only feigned interest. This is a repeat of the opening scene. Anna smiles a little when Nobuko asks where she’s from.

Immediately puts on her ordinary face when ignored. A little later, an explicitly vulnerable part of Anna is now blown open, her wish to be normal everyday. Not only is she unable to explain what that means, it’s immediately trivialised when Nobuko tactlessly moves onto commenting on Anna’s racial characteristics.

This is the equivalent of punctuating a reply to a serious message with a lmao. This again, breaks Anna. She calls Nobuko a fat pig, etc. Explaining Anna and Marnie’s first encounter So on the when marnie was there of the Tanabata, after Anna runs off. Just as the gods Orihime and Hikoboshi are to meet, so are Anna and Marnie. So Anna flops herself beside when marnie was there marsh at high tide.

She collects herself and begins to walk away. Suddenly, a candle is shown to mysteriously light up. It’s as if to indicate how metaphysically strange things are about to be.

This candle is probably a reference to the Japanese lyrics of one of the movie’s soundtracks, Anna, a small candlelight shining deep in my heart. A candle in the boat suddenly appears. She rows across the marsh and meets Marnie. Anna is a little bit confused, especially Marnie’s stealth behaviour, but wins her trust after Marnie promise to keep each other a secret.

Let me repeat that again, Anna wins Marnie’s trust only when Marnie says you’re my precious secret and asks her to keep her a secret in return. This is all is apparent in Anna’s facial expressions. What’s so good about this deal? It’s the fact that Marnie in some manner, even if it doesn’t make much when marnie was there, is treating When marnie was there uniquely in a way that somehow feels good. Remember that Anna still views herself as outside of the invisible magic circle, she wouldn’t even bother getting to know Marnie if was under the usual conditions of making friends with someone with the expectation of further inveigling oneself into their social circle.

This makes Anna smile. Anna isn’t sure about Marnie at first. But straight after Marnie’s proposal to keep each other a secret, Anna smiles. This is sort of like avoiding what happens in Kiki’s Delivery Service, where Kiki when marnie was there to know Tombo one-to-one, but as soon as Kiki sees Tombo casually with his friends, Kiki when marnie was there inside.

Explaining the three questions + Marnie’s brief disappearances On the second meet up, Marnie proposes to Anna that they each will ask three questions to each other. Why? It’s because Marnie knows that making friends involves the awkwardness of negotiating between oversharing and undersharing, and so it’s better to formally stagger things out.

This demonstration of self-awareness pleases Anna very much. Now Anna really has her trust. When Marnie asks what’s it like living with the Oiwas as a follow up question, Marnie disappears when Anna tries to think about them.

So, in addition to knowing she only appears at high tide, we now know that Marnie’s presence is dependent when marnie was there Anna’s frame of mind—her frame of mind cannot stray far outside the universe of her and Marnie. She reappears again when Anna recovers her thought process. Anna, I don’t feel so good… The same things happen in the silo scene, which I will touch on later.

Explaining the house party and hair pin I don’t know if there’s much to explain here other than to highlight that this is where Anna and Marnie’s experience of each other is at its most vivid, and that Marnie unmistakably recognises Anna as Anna and not someone else, which is important to understand when later discussing the reality of Marnie and how these events are recounted in Marnie’s diary.

Anna ventures out and, again, meets Marnie at high tide. Marnie lovingly gives Anna boat rowing lessons, learn about each other, and relish how secretive their relationship is. Many details about Marnie’s life comes all at once here. Marnie disguises Anna as a flower girl and brings her into the Marsh House. We are introduced to her two parents, her nan, and her cousin Kazuhiko. Anna gives jealous looks when Marnie dances with Kazuhiko. Marnie, recognising her jealousy, gives Anna a moonlight dance.

The next morning, Anna visits the Marsh House at low tide to find it’s strangely abandoned again. Nevertheless she spends the rest of the day doing housework, where for the first time we see her casually smiling. Marnie is in her heart. Anna momentarily loses her smile when marnie was there Setsuko talks about how much her foster mother must love her. Anna is not convinced.

Setsuko later remarks Anna’s hair has grown out, and so by the end of this scene, she is wearing a purple hair pin. What does this hair pin represent, other than the fact that Anna’s hair is longer? It represents Marnie (as we precisely learn later), and that she has Marnie on her head. Hair pin of love. Explaining Sayaka’s arrival Anna races to the Marsh House when she realises she should be meeting When marnie was there again, but finds it’s still abandoned. Next day Anna is outdoors sketching, where she meets Hisako, who is painting.

She clues us in the possibility of Marnie being real mentioning Anna’s sketch looks like someone she knew. Her coincidental interest in the Marsh House gives us an idea that something is auspicious about it. Anna heads there after learning someone is moving into the Marsh House. Anna has a normal conversation with Hisako. Let’s just note for a moment that Anna has now demonstrated some social skills.

Marnie has given her strength to begin socialising. She is healing. So she meets Sayaka, a girl moving into the Marsh House. Sayaka thinks Anna is Marnie, because of a diary she found that aligns with her own observations of Anna wandering about alone. Now we’re clued into how Anna must appear when she’s experiencing Marnie.

We at least now know she isn’t being physically transported to another dimension. Anna, baffled, explains she is not Marnie, prompting Sayaka to investigate further. Anna read the diary for a bit, which describes events like Marnie rowing… alone. And a party where she invites… a flower girl. She doesn’t name Anna because she ofc wasn’t there, not time travelling, it was an actual flower girl.

Although when reading it, Anna flashbacks to when she was the flower girl. Anna reads until she reaches torn out pages. Anna and Sayaka are so cute together lole. Explaining Anna and Marnie’s final day out The next morning, Anna meets Marnie. The setting here appears to be her dream mode, but is it? I don’t know. Smoky and low tide, it’s like a dream. Our two love birds hold each other, and Marnie admires the sketch Anna did of her.

Marnie mysteriously explains she cannot go very far from the Marsh House, and so Anna accepts she will take lead on where to go. They walk across the marsh bed in low tide, which doesn’t seem possible because Marnie only appears at high tide. It now cuts to them mushrooming in the woods. Things aren’t so dreamlike anymore, so if she was dreaming, she isn’t anymore. Explaining Anna and Marnie’s final secrets There is a lot to take in here. Let’s approach this carefully. As much as Anna loves Marnie, she is now head-on intimidated by her when she talks about how wealthy her parents are.

Even though what Marnie talks about is questionable, the way Anna reacts makes it clear how her relationship with Marnie isn’t perfect. Deep down Anna is frustrated, but doesn’t want to confront her. Anna sulks rather than confronts. In a weird kind of retaliation to this, Anna becomes so desperately frustrated that she resorts to pity tactics. She can’t confront Marnie head-on, she uses an alternate route to either force Marnie to be guilty about her fortunes or concede her life is not that good.

Anna plays risky and and reveals her deepest vulnerablility. She says she’s a foster child and that she cannot forgive her parents for leaving her. Now, Anna is used to her thoughts and feelings when marnie was there trivialised: as much as she trusts Marnie, here she’s bracing herself for a stupid response.

Fortunately Marnie’s response is effortful: she straight up poses a thought experiment, if you really didn’t have any relatives left, then the folks that took you in must be truly kindhearted people.

Anna judges this as an ignorant response, but again, an effortful one, and so follows a pause of silence. She adds that they’re paid to care for her.

When Marnie supposes that doesn’t mean auntie doesn’t love you, Anna’s pent up anticipation for a stupid response is let loose, sputtering seriously?! But her anger quickly melts into sadness, explaining her situation is unique, that she can’t bear to see the anxious looks in her mother’s face.

Marnie holds her, promising she will love her forever. <3 Anna asks Marnie it’s time for you to tell me a secret. They’re still playing questions game! Marnie reveals that her parents are absent most of the times, and she’s bullied by the house maids.

In particular, Marnie is constantly threatened to be locked up in the nearby, delapidated silo. This threat might be hard to appreciate; I liken it to the threat of being locked up in a shipping container. This makes Anna legit mad, but in actually in a healthy way, where she can actually confront Marnie.

Explaining the silo scene Anna takes Marnie to the silo so she can overcome her fear of it. Anna is in control now. No longer does she feel submissive to Marnie, but an equal.

On the way, Marnie mysteriously calls Anna Kazuhiko and walks ahead. From a distance, Sayaka interrupts Anna saying she found some more pages of the diary. These diary entries concern the existence of Kazuhiko. Do the recovery of these pages bore relation to Marnie suddenly referring to Anna as Kazuhiko? Will explore that in a bit. Also, the fact that Sayaka is present goes to prove that this scene definitely isn’t a dream—at least by now that is, but I maintain the possibility that it may have started as one.

Anna turns to Sayaka, then looks ahead again to see Marnie is not there. Her frame of mind has been disrupted, just like that scene when Anna was trying to remember who the Oiwas were. Marnie calls Anna Kazuhiko. Sayaka arrives with recovered pages of the diary. Marnie disappears. Anna enters the silo to finally find Marnie again, trapped above. Again, Marnie confuses Anna as Kazuhiko. She’s also wearing Kazuhiko’s coat.

Marnie finally recognises Anna as Anna and together they hold each other through the storm. Where did that coat come from? Hmm… The way Anna’s frame of mind shifts here now has a permenant effect. Anna falls asleep and we’re shown a hazy sequence where Marnie is rescued from the silo by Kazuhiko. This isn’t Anna’s dream, this is just something viewers are learning indepedent of Anna.

The narrative is ahead of Anna here in knowledge. Ah, that’s where the coat came from. Anna wakes up and finds Marnie is gone. How does Anna react to this? Remember what I said of the opening scene, were Anna is crushed when a interaction with a teacher turned out to be a lie.

Here, this is more than just a teacher abandoning her. This is a house of cards collapsing; every interaction with Marnie she ever had was a lie.

What happens here is nuclear fission, where the consequences of this set off an uncontrollable chain reaction that makes out her entire life to be a lie.

When marnie was there, well and truly. Everyone is always leaving Anna behind. Even you, Marnie. Even you. Explaining the apology scene Anna gets out of bed while still in her nightdress to confront Marnie. I thought this was a dream, but actually this happens for real in the book and doesn't sufficiently look like Anna's dream mode.

She at first stubbornly decides she will never forgive Marnie. Marnie pleads for Anna to forgive her for leaving her at the silo, explaining you simply weren’t there, and that I can’t stay here any longer.

Anna, although confused, tearfully forgives her. This is a deeply moving scene, for what Marnie really meant by you simply weren’t there is that is that in death, she couldn’t be there at all. Marnie managed to indirectly make Anna forgive her for that. Marnie begs for forgiveness.

Anna forgives Marnie in more ways than one. Everything clears when Anna reaches closure. The poingancy of you simply weren’t there, is the statement of closure that completely heals Anna, without her even directly knowing it. She wasn’t abandoned because it was something that was her fault, but simply because someone simply wasn’t there. Marnie’s reality and timeline What is Marnie to Anna; is she some kind of ghost appearing to Anna, or is she real and Anna is shifting between dimensions?

In the most indisputable terms: Marnie is a memory. The Japanese title of the movie is Omoide no Marnie, transliterally [My] memories of Marnie. The book actually wraps up the reality of Marnie in the very last sentence of the very last page, that Anna had remembered her.

So that much is certain, but it doesn’t tell us anything specific. It vastly narrows things down; we know what a memory is and isn’t, so we can respectively develop and exclude further theories as appropriate. Let’s exclude a few first. I exclude the idea that Marnie is a ghost. When marnie was there Marnie a ghost is quite a stretch, it’s the idea that she’s physically materialising in front of Anna… along with her maids, parents, Kazuhiko, and the entire setting of the Marsh House?

That all alone is not likely, but also, how does it help to explain moments like the silo scene, where Marnie briefly confuses Anna for Kazuhiko? Or when Anna thinks of the Oiwas’, which causes Anna disappears to Marnie? Ghosts need to have some consistent balance of reality, otherwise it becomes something else entirely.

Nor do I think Anna is being isekai’d, that she’s entering an unstable fork of Marnie’s timeline. How does this dimension almost-accurately reproduce Marnie’s past while, again, have this inconsistent balance of reality? And wouldn’t Anna’s mere presence in a fork of Marnie’s timeline cause the butterfly effect, and chaotically altering all subsequent events from the beginning?

It especially isn’t plausible Anna actually time travelling. Anna does not change the past; there is no account of her in the diary. I briefly thought that the flower girl that Marnie wrote about in the diary might’ve of been Anna, but I now believe it was an actual flower girl (for reasons I’ll explain later).

It is understandable why throwing these ideas out might be upsetting, because it’s satisfying to believe that Anna’s interacting with a sentient entity, which makes her feelings real rather than a part of a delusion.

Do not worry though, there are some other better ideas to look at that doesn’t make out Anna to be a total schizo. After all, it is important to note that there still is a two-wayness to Anna and Marnie’s interactions; when Anna disappears to Marnie, when thinking about the Oiwas, this scares Marnie and time to her appears to have elapsed. Is Anna’s experience of Marnie a reconstruction of the stories she was told as an infant?

Having established that Marnie is nothing but a memory, you might think that directly confirms the theory that Marnie is a reconstruction of Anna’s childhood memories of stories told to her at her bedside by Marnie herself. Nope. This theory is not consistent with the book. The book does not cast back to her infancy with a scene like this. Anna’s experience of Marnie doesn’t have to necessarily be an autobiographical memory, it’s still open to being something on the side of spiritual or ancestral.

At the most we are assured that her experience is something like a very vivid recollection. Is Anna dreaming? Partially.

There are very short, limited moments where its certain Anna is only dreaming of Marnie: in the initial scenes where Anna merely dreams a girl with blonde hair she sees through the Marsh House window. These scenes are distinctly Anna’s dream modes, as I discussed in the plot summary; smoky and half tide marsh bed.

Although I clarified the apology scene is not a dream, the weather dramatically clears to clear and sunny, representing Anna’s sudden sense of closure. This is sort of dream logic. So I suppose it could be a dream, if not liberties taken with animation.

This alone strengthens the case that the existence of Marnie is something internal to Anna rather than materially existing, or you’d otherwise have to build a case that there is something affecting both Anna’s dreams and reality. But, are all Anna’s experiences of Marnie just a dream? No. Making this case would start from the idea that Anna have a pretty severe sleeping disorder, that she’s dangerously when marnie was there the whole time, sometimes found on the side of the road.

But also, remember how Sayaka disrupts Anna when she’s heading to the silo. That’s certainly not Anna having a dream—one can’t even argue that she’s also dreaming of Sayaka there too because we see in a later scene, Sayaka back at (now, her) Marsh House mulling over the diary in the context of having seen Anna earlier.

It should be noted that Anna’s dream mode does not seem to substantially reflect any of the historical experiences of Marnie. Is it all otherwise one big fabrication in Anna’s head? Yes and no. It’s not all a big fabrication, just partially—like Anna is wearing VR headset that’s altering what she sees. If it was all, then this basically would be a variant on the dreaming theory. It would be unusual to imagine so almost-accurately, things that actually happened decades earlier.

Is Anna a stand-in for Kazuhiko the whole time? No. This theory is meant to help explain why Marnie is so romantically inclined to Anna, and why Marnie briefly mistakes Anna when marnie was there Kazuhiko in the silo scenes, where the illusion is breaking down.

It entirely forgets however that Anna saw Kazuhiko at the house party—who was Anna to Marnie then? Perhaps you believe that Anna was a stand-in for the actual flower-girl in Marnie’s timeline in that scenario. Not true either. A replacement, yes, but not a stand-in where Anna looks like someone completely different from Marnie’s perspective. Marnie in these scenes perfectly recognises the disguised flower girl as Anna in continuity to all the other scenes.

This logic will be discussed in more detail later. When marnie was there Marnie a spiritual projection? This is the idea I have managed to successfully flesh out the most and will advocate. This theory was first outlined by Vincent Kavanagh vk, who proposes that Anna’s experience of Marnie is a spiritual overlapping of timelines, prone to being interrupted. He fella also partly incorporates the idea that Marnie is a ghost, which I don’t agree with, but nevermind that for now.

I have illustrated this idea here: There are three things here. Anna’s spirit, Marnie’s actual timeline, and Anna’s experience. Anna’s spirit imperfectly projects itself onto Marnie’s timeline of things that actually happened. Historical Marnie would spend time outdoors alone, but Anna overlays this timeline and becomes her friend. If Anna’s frame of mind is disturbed, such as when she begins thinking of the Oiwas’, then Marnie disappears.

Or when Sayaka disrupts Anna as she heads to the silo, again, Marnie disappears. These disturbances are why the projection is imperfect. This also supports the two-wayness of Anna and Marnie’s interactions too.

In the former scenario where Anna thinks of the Oiwas, Anna likewise disappears from the perspective of Marnie, so things fallback to her original timeline where she is alone—Marnie’s days outdoors alone are documented in the diary.

Marnie’s sudden loneliness frightens her. In the latter scenario, the silo scene, in fallsback to her original timeline where Marnie is with Kazuhiko, so it’s a bit more a seamless transition to Marnie in a way she when marnie was there fully realise.

Is Marnie a tulpa? This is a fun idea I credit to a friend of mine. Some background: a tulpa is an imaginary friend you imagine so hard that it becomes an separate sentient entity in your head that indepedently talks and has its own thoughts and feelings. It fully becomes a two-way thing. People have claimed to have done this irl, especially those in the My Little Pony fandom who bring characters from the show to life.

Anna became so lonely that she began to construct an imaginary friend, a tulpa. This tulpa then began to attach itself to the spiritual aura surrounding the Marsh House/diary in her proximity and began carrying out Marnie’s most traumatising and beautiful past events.

This tulpa is two people, Anna’s Marnie and the historical Marnie. Marnie is Anna’s friend when When marnie was there is focusing, but becomes historical Marnie when she’s not focusing straight, therefore confusing Anna as Kazuhiko at one point. And then, this tulpa began presenting itself in vivid situations. This can be integrated into the spiritual projection theory. Is the diary a Horcrux; are the writings of the diary being summoned?

This is a theory proposed by video essayist Megan, who suggested that the diary is a horcrux; the diary literally contains the memories of Marnie, but is enchanted in a way that Anna’s proximity summons it, causing her to experience what’s written in it. This simultaneously explains why Anna can’t stray too far from the Marsh House, and explains that Marnie’s eventual disappearance would have been caused by Sayaka’s tampering of the diary. This is a pretty fun idea, characterising the diary or the whole Marsh House itself as a horcrux is useful for the spiritual projection theory.

It explains where Marnie’s timeline is coming from in the first when marnie was there. In conclusion? Marnie is a memory conjured as a spiritual projection overlapping Marnie’s timeline, possibly chanelled through a horcrux, possibly presenting as a tulpa. Anna and Marnie’s relationship Are Anna and Marnie in love (gay)?

Yes. They are in love. Beyond reasonable doubt, they are so in love. They are moving bare fruity still. I understand there maybe some reservations about being so enthusiastic and certain about this. I will address that matter, but first please just consider what happens in this movie at face value. • Anna backs off when other girls begin to talk about boys.

• Anna moans Marnie’s name in a moment of fright. • Anna blushes at every tender interaction with Marnie. • Anna draws detailed portraits of Marnie. • Marnie pleads that their relationship be kept a secret. • Anna is jealous when she watches Marnie dance with Kazuhiko. • Anna and When marnie was there exchange I-love-yous multiple times. Their relationship is probably innocent to Japanese eyes and everyone else is misinterpreting it; westerners falsely interpret any kind of intimacy as romantic, no?

A blogger said the following: I feel it is a cultural difference. I think people in the US are, on average, much less heteronormative than the Japanese, so we are more likely to consider a gay subtext as valid.

gb This is forgetting that Yonebayashi and Studio Ghibli didn’t write this story or create these characters. Joan G. Robinson did. Remember, the movie was adapted from a book. So the real question is, did Yonebayashi accidentally adulterate this story with perceiveable yuri themes? Here is the answer, and it’s quite extraordinary: the book is more gay than the movie. Yonebayashi toned down the yuri themes from the source material. In the book, Anna and Marnie are fairly physical with each other, and Anna is far more emotionally needy towards Marnie.

Don’t just take my word for it though because the handful of people who have bothered with the book after the movie, some I’ve become friends with, encountered the same shock.

od I mentioned the book being a favorite of mine among my coworkers. One colleague, whose in her late 40s, said it was a favorite of hers when she was a child and that she had read it with her daughter. She didn’t flinch when I said it’s the greatest homoromantic novel ever written. All this being said, it doesn’t fundamentally matter either way: the queer theme in this story isn’t very serious.

This isn’t San Junipero. Believe it or not, you can have queer relationships in stories without the queerness being the exceptional component. There’s a lot more going on this this story! I just ask that people recognise the actual depth and sincerity of their relationship at face value, rather than invent these excuses.

Isn’t this sexualising the characters; the book was published in 1967 and so couldn’t have queer characters. Nope. There is an awfully egregious assumption that any queer relationship is necessarily sexual. Indeed, I have read film reviews by writers who, while obviously not having read the book, go straight ahead in mentioning that it was written in 1967 and therefore it isn’t queer— fullstop. For example: The reason why When Marnie Was There never had a shot at being an LGBTQA story is because it’s based on a mainstream British children’s book by author Joan G.

Robinson, published in 1967. British censors at the time would never allow the unedited release of a book, let alone a children’s book, that promoted positive portrayal of LGBTQA people. cbr The book had no reason to be on Mary Whitehouse’s radar.

What kind of books were being hunted down then? One example of a childens’ book that was contemperaneously censored was The Little Red Schoolbook (1969), a book written by Danish schoolteachers on how to defy authority. That book had a statement. That book was conciously countersignalling social norms. If I had a time machine I’d show Mary Whitehouse the pain when marnie was there. This book, however, was not countersignalling anything that might’ve got it censored because homophobia then was largely confined to the scope of banning lewd magazines and cottaging, not (yet) a prevailing social conciousness about homoromanticism.

I’m not saying the 1960s was less homophobic, absolutely not: what I’m saying is that only our present social conditions make Anna and Marnie’s queerness notable because it exists in contrast to the history of homophobia, whereas in the 1960s this happened not to be a target because it would not be an immediate concern.

So all this is like debating whether not Toichi is mute, because in some alternate universe being mute is taboo. Is it not enough to independently consider what actually happens in the story? I’m yet to find reviews of book that are contemporary to its 1967 publication.

The Wikipedia article for A Wizard of Earthsea assures me that British literary critics of the 60s and 70s were open minded to children’s literature. The British Newspaper Archive doesn’t yield anything as far as local newspapers are concerned, so it’ll warrant a trip to the British Library one day.

I of course don’t expect there will be queer discourse, but I do expect their relationship will be characterised in some way or another.

If Anna and Marnie are gay for each other, wouldn’t that mean their relationship is incestuous? Yes, but only romantically and not in any meaningful way. Just because Marnie is Anna’s grandmother doesn’t mean their romantic love becomes undone—in fact, the source material doubles-down on incest themes by having Kazuhiko ( Edward) be her cousin, who she marries in later life.

If the source material is content with biological incest, what’s stopping there being a little bit of romantic incest. Maybe their relationship is latently sexual. In theory their relationship has the potential to fit the complete definition of incest, though without the moral issue of consanguinity because it’s same-sex.

Well, as we know, Marnie leaves forever in the end, so all we can actually consider is how Anna feels towards Marnie. We can only imagine! As she grows up, with those unresolved when marnie was there But please appreciate how tenuous and restricted that line of reasoning is, and how it’s left the boundaries of the story and ventured into headcanon.

My point is that as far as the story itself is concerned: it doesn’t matter. I am surprised that this is such a big deal, because Anna and Marnie’s blood relationship is merely a technical hurdle, not a practical one: there is no grandmother-granddaughter dynamic being subverted, there is no physical age difference, and they are as good as any coeveal couple.

Let’s be pragmatic about this. Is Anna transgender? Her tomboyish, perhaps all-out androgynous appearance in the movie is because of a quirk of how the source material was interpreted. There is a line where Marnie lols at Anna’s boy clothes. Not because she’s literally wearing boy clothes, but because the timeslip is being hinted at: Anna’s 1960s clothes look bizarre and androgynous to Marnie’s 1910 clothes. I don’t know if it was the Japanese translation of the book that’s the cause of this, or how Yonebayashi interpreted that part with (understandably) not much knowledge of the history of anglo fashion.

It has been very convincingly argued that Anna represents the transgender experience however. As a Letterboxd review had explained it: [c]ertainties other kids take for granted (like the fact that mom and dad love them) are rendered uncertain for queer and trans kids.

This is a pretty beautiful way of looking at it. Comments December 31, 2020 You know, I’ll be honest. One of my favorite parts about this movie is that I dont really get what happened exactly, and to be honest, I dont really care what happened.

This is kind of a similar feeling When marnie was there get with evangelion, where if I tried to explain exactly what happened, I wouldnt be able to, but I could tell you instead exactly how I related to it and exactly how it made me feel. I really dont like it when movies over explain the concept to the point where that becomes the focus instead of the characters and emotions of the story.

Oh, it’s impossible to completely explain Marnie. There's so many open ended parts of the story that I entirely concede to being totally ambigious. There are parts I’m not sure whether Anna is dreaming, and there are numerous merely possible theories that can be combined. I summed it up myself to a friend, sometimes you have the love the questions themselves.

I think, personally, I put in a lot of effort in looking at the emotions and characters because that’s what means the most about this movie to me. I first watched Marnie at a time in my life where I totally lost the ability to be vulnerable to anyone and it deeply moved me.

November 9, 2021 Wow, your comment really spoke to me here. That's exactly how I feel about this movie too. When I watched it years ago for the first time, I was in one of the worst states in my life.

I was trapped so much inside my mind that I couldn't see the world as something worth being in. I felt like Anna, just a lifeless being with very conflicted emotions inside, feeling isolated from the rest of the world.not feeling understood. The list goes on. I lost the ability to be vulnerable with anyone too. When the ending song kicked in, I bawled my eyes out. Not just because this movie was one of the best things I've watched in a long time, but it also struck something in me so deeply.

Because I was also in that dark and stressful place at the time, it resonated with me so deeply. I don't mind the theories, but sometimes just trying to figure out how the events of the story exactly happened, like you said, overrides the actual feelings and the emotions of the story.

I feel like the whole purpose of this story is supposed to be open ended to a certain extent. This movie isn't so much of trying to figure out the "how" (it's not supposed to be mystery), its more about Anna's emotional wellbeing and how the story thats unfolded, affected her life.

Meeting marnie, regardless of how it happened, became a huge impact on Anna's life. It's honestly really hard to explain it. It's just the beautiful story in and out. January 1, 2021 Bro I ended up sobbing at the end of the movie with the grandma montage this movie hit me deep • When Marnie Was There - Japan and US Trailers comments Hayley Harrison 2015 • When Marnie Was There: Ghibli’s Final Film Was ALMOST a Queer Classic Anthony Gramuglia 2020 when marnie was there Thank You, Anna!

But Our Ghostly Girlfriend is in Another Mansion (When Marnie Was There) comments superhappyawesome 2015 • A childhood story – further thoughts on When Marnie was there Clara Bridges 2017 • When Marnie Was There: EXPLAINED Vincent Kavanagh 2015 31 December 2020
• Publisher ‏ : ‎ HarperCollins Publishers; UK ed. edition (October 28, 2014) • Language ‏ : ‎ English • ISBN-10 ‏ : ‎ 0007591357 • ISBN-13 ‏ : ‎ 978-0007591350 • Item Weight ‏ : ‎ 7.1 ounces • Dimensions ‏ : ‎ 7.76 x 0.71 x 5.12 inches • Best Sellers Rank: #81,123 in Books ( See Top 100 in Books) • #3,601 in Children's Action & Adventure Books (Books) • Customer Reviews: Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system when marnie was there things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness. Learn more how customers reviews work on Amazon Amazon Customer 1.0 out of 5 stars Excited to read once the replacement gets here Reviewed in the United States on October 10, 2019 I bought this book to read because I adore the Ghibli film, and was severely disappointed with the brown gunk on the cover.

Thankfully the pages stayed intact. I just ordered a replacement so here’s hoping to a cleaner cover! For some weird reason it is getting rarer and rarer to read, or watch or consume really any media with a deep emotional relationship between two people without having the need to drift into romance or explain away how it is not romantic. So much fiction tends to either make friendship always equate to romance, or carefully dodge that by explicitly stating how unromantic two people's connections are.

When Marnie was There does not try to shy away from a deep emotional relationship while also not feeling the need to explain it away. Like many, I heard about the Studio Ghibli film first. A lot of people were suggesting it was Ghibli's answer to their utter lack of any pro-lgbt text in any of their works.

I would argue that not only is that true of Ghibli, they also lack very many stories where the lead and supporting roles are same sex. There seems to be a hyper heteronormative romance in the stories they tell to the extent that even same sex friendships go too far for them. This has been always something of a disappointment for me, as I, like many, generally and otherwise love their work.

As of this writing I have not seen the film, but I am told that the lgbt subtext is really not there and mostly reading too much into it. This may or may not be true for the film, but it absolutely is true for the book. The characters feelings do not stray in that realm, while whatever possibilities could have been is not explored it is also not important and I for one would argue that since the book wasn't afraid of portraying a close same sex friendship, in a way it also does not fall into the typical trap of modern het-norm stories.

This book doesn't try to tell an lgbt story, but nor does it feel the need to avoid it by explicitly saying it isn't one, which is getting shockingly rare these days. Certainly Ghibli hasn't done anything of that nature before (with the film based on this book being perhaps the biggest exception). What makes this story so amazing is the emotion. This is a wild emotional ride from start to finish, a bitter sweet but ultimately uplifting story that is beautifully woven from start to finish.

The first couple chapters maybe rather slow, but things start to pick up and don't fall off again at any point. Characters introduced rather late in the story manage to still have emotional impact and importance despite having been in the story for so short a time and often newly introduced characters become emotional callbacks to previous points in the book. Personally I would dare someone to try to read this and not feel their heart strings tugged.

So if you've seen when marnie was there Ghibli film or not, this book is still a timeless classic. It is suitable for any age and while it maybe a somewhat quick read, it will surely be one of the more emotional books you've probably read in a while.

I would recommend this book to anyone. Great book! I watched the Studio Ghibli film several weeks ago and couldn't get the characters out of my head so I downloaded the book for my Kindle.

I'm so glad I did! A lot of stuff in the book made more sense to me than in the movie (which is certainly to be expected). I think a lot of people can really relate to the character Anna. She feels like everyone else "in the circle" and she's alone on the outside. When marnie was there figures there is something inherently different about her that makes her unable to make friends, and convinces herself she would rather not have them anyway.

The blossoming friendship between Anna and Marnie is such a perfect representation of the relationship between little girls, and I adored watching Anna become comfortable with herself as a person and start to reach out to other people.

If you've liked the Studio Ghibli movie, read this book. If you liked this book, go ahead and check out the Ghibli movie because they stayed true to the essence of the story. Very rarely do I stumble across a book that leaves me think about it for days after I've finished it. I initially read the book because of the Studio Ghibli film that has been adapted from it. But now I think I've fallen in love with the book more so than the movie.

The book chronicles a young girl named Anna's summer while away from her foster parents and the city. I don't want to give away too much but Anna meets a young girl named Marnie who lives in the seemingly abandoned Marsh house. Anna has a summer of adventure and discovery that will enthrall readers of all ages. I would recommend this book to anyone who is looking for a quick summer read.

After seeing the Studio Ghibli film, which I loved so much, I when marnie was there I had to read this book. It does not disappoint! It’s haunting, beautiful, and amazing. Both the movie and the book did a great job capturing what it’s like when marnie was there be lonely and sad, but fortunately, it has a happy ending!

Overall this is a 10/10 If you haven’t read or seen When Marnie Was There yet, you’re missing out! The movie is an underrated masterpiece, and the book is an instant classic Thanks for reading! I picked this up having seen the Studio Ghibli film.

It's a slow book, with charming dialogue and characters - a slice of life from "the olden days". Even knowing Marnie's secrets having watched the film, I still teared up at the end. Joan G. Robinson has crafted a good story, and it's a great read for all ages, not just children. Our heroine Anna truly does grow up during her summer away at the beach - the part that's fascinating to me is whether the events Anna experienced truly happened, or were just stories she told herself when she was lonely.

It's never resolved in the book, but is instead left up to the reader to decide. Everyone feels like they're on the outside sometimes. Even if nobody's laughing at you, even if there's nothing wrong with you, even if you're just average and you're okay with that, you can still feel alone. There's many when marnie was there in life we feel like nobody understands us, or we don't belong, and Anna feels those things.

After being sent when marnie was there to live with some relatives at a waterfront town, Anna finds a friend in Marnie, and somehow a sense of nostalgia with it. The book has a wonderful twist to it, and I think it speaks very much to the quiet, lonely person in us all.

If you're used to action and adventure or exciting times, this might not be the book for you, but maybe it should. Everyone needs to slow down and smell the roses now and then - or in this case, sea lavender. Having watched the film, at the insistence of my granddaughter, I felt I had to read the book. I wasn't disappointed and now feel I would like to see the film again 💕 I'm very grateful to tr author's daughter for her postlude.

When marnie was there Miyazaki passed on last year, he seemed to have been so taken with the story and that led him to make the film 😊 Joy of joys A story of loneliness and friendship, of introverts and extroverts and the love between both family and friends. I read this as a way of passing a long break. a few hours later I have a new favorite book. The main character is one I can identify with on a deeply personal level; not to mention this when marnie was there one of the few things to get me misty eyed.

That's how I knew this was well worth the price paid. My only (very) minor gripe is that there is no hardcover for this. Regardless, this story is wonderful. The characters are captivating, the situations relatable even to this day and the ending is as touching as it is hopeful. What can I say. This is one of the best books I have ever read.

I don't re-read books I have already read but this one will definitely be one to re-read. The lonesome atmosphere. lack of complications and empty scenes allow one to be lost amongst the scenes the author conjurs up. When marnie was there drawings are simple and help in creating the mental imagery. There is a beautiful sense of emptiness and spaciness in the book. My most favourite scene is where the girl is on the staithe all alone and a bird flies past echoing 'pity me pity me' The ending is someone fast tracked and not in keeping with the rest of the book but the first half of the book more than makes up for it.

Amazon Music Stream millions of songs Amazon Advertising Find, attract, and engage customers Amazon When marnie was there Cloud storage from Amazon 6pm Score deals on fashion brands AbeBooks Books, art & collectibles ACX Audiobook Publishing Made Easy Alexa Actionable Analytics for the Web Sell on Amazon Start a Selling Account Amazon Business Everything For Your Business AmazonGlobal Ship Orders Internationally Home Services Experienced Pros Happiness Guarantee Amazon Ignite Sell your original Digital Educational Resources Amazon Web Services Scalable Cloud Computing Services Audible Listen to Books & Original Audio Performances Book Depository Books With Free Delivery Worldwide Box Office Mojo Find Movie Box Office Data ComiXology Thousands of Digital Comics DPReview Digital Photography Fabric Sewing, Quilting & Knitting Goodreads Book reviews & recommendations IMDb Movies, TV & Celebrities IMDbPro Get Info Entertainment Professionals Need Kindle Direct Publishing Indie Digital & Print Publishing Made Easy Prime Video Direct Video Distribution Made Easy Shopbop Designer Fashion Brands Woot!

Deals and Shenanigans Zappos Shoes & Clothing Ring Smart Home Security Systems eero WiFi Stream 4K Video in Every Room Blink Smart Security for Every Home Neighbors App Real-Time Crime & Safety Alerts Amazon Subscription Boxes Top subscription boxes – right to your door PillPack Pharmacy Simplified
New TV Tonight Hacks: Season 2 No Score Yet The Lincoln Lawyer: Season 1 Candy: Season 1 No Score Yet Breeders: Season 3 No Score Yet Workin' Moms: Season 6 No Score Yet Bling Empire: Season 2 No Score Yet Couples Therapy: Season 3 No Score Yet The Kids in the Hall: Season 1 No Score Yet The Real Housewives of Beverly Hills: Season 12 The image is an example of a ticket confirmation email that AMC sent you when you purchased your ticket.

Your Ticket Confirmation # is located under the header in your email that reads "Your Ticket Reservation Details". Just below that it reads "Ticket Confirmation#:" followed by a 10-digit number.

This 10-digit number is your confirmation number. Your AMC Ticket Confirmation# can be found in your order confirmation email. All Critics (100) - Top Critics (36) - Fresh (91) - Rotten (9) Full Review… Tara Brady Irish Times Full Review… Wendy Ide Observer (UK) Full Review… Leslie Felperin Radio Times Full Review… Geoffrey Macnab Independent (UK) Full Review… Peter Bradshaw Guardian Full Review… Dan Jolin Empire Magazine Full Review… Michael J.

Casey Michael J. Cinema Full Review… Allen Almachar The MacGuffin Full Review… Fiona Underhill JumpCut Online Full Review… Katie Smith-Wong Flick Feast Full Review… Daniel Barnes Dare Daniel Full Review… Rachel Wagner rachelsreviews.net There will never be enough words in the dictionary to describe how incredibly thought-provoking the films that come from Studio Ghibli are.

"When Marnie Was There" is no exception to that statement. Following an introverted girl, outcast by her peers at school and being diagnosed with asthma, Anna is sent away to a relatives house in the country. Filled with trees, water, and an environment that she will feel at home in, we begin to see more of the inner-Anna as the film progresses. At the films core, it is about a young orphan girl, who is looking to find herself.

She comes across a young girl named Marnie and their friendship blossoms quickly and fiercely, leading to plot twists that will have you in tears. This film is truly magnificent for everything it sets itself up for, and the payoff is emotionally satisfying in every way. This studio always knows how to write a compelling story and execute it in such a beautiful way. As always, the animation is crafted to perfection and each element has meaning.

Of all the films I have had the pleasure of seeing in 2015, this is definitely one of my favourites. I truly do not have any complaints about this picture. Any questions or concerns you may have throughout the duration of this film, will be answered by the time the credits role, and if you end up enjoying this film as much as myself, you will not want that to happen.

I wanted this film to keep going and going. "When Marnie Was There" is one of my favourite films from Studio Ghibli and one of the best films of 2015. When Marnie Was There (2014, Japan) is yet another picturesque Studio Ghibli production with a beautiful sketch of Japanese countryside. Very much different from its predecessors in terms of narrative and propagating themes on self-discovery and self-formation with a hint of thriller and mystery, When Marnie Was There is truly a Studio Ghibli classic guaranteed to warm your heart and pinch you in all the right places.Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis.

You can help us help kids by suggesting a diversity update. Parents need to know that When Marnie Was There is possibly the last film produced by Japan's legendary Studio Ghibli, now that master animator/studio co-founder Hayao Miyazaki has retired. An adaptation of a British children's book by Joan G.

Robinson, the slow-paced story focuses on Anna, a sad, lonely, self-hating foster child whose only friend is a mysterious girl who lives in a supposedly abandoned mansion. There's some insult language ("fat pig," "pathetic"), some scary scenes in an old silo, and a moment when marnie was there threatened violence (Anna pulls a knife on a girl who's bothering her), as well as one scene in which an adult offers Anna a drink of wine at a party.

But otherwise the movie is fine for tweens who can handle the themes, pace, and plot twists. Show more Another classic to add to Studio Ghibli's films! Absolutely stunning and deep. I would definitely allow and child to watch this, a little explanation might me needed about some parts. But it is all explained by the end. There are some scary parts, but nothing a kid 8 and up couldn't handle, possibly even a bit younger. Studio Ghibli has a way of allowing the philosophy and depth of a story to be understood by adults as well as children.

The plot has twists and turns that all viewers will enjoy! With a truly beautiful backdrop and well thought out characters that the viewer comes to care about. As always with Studio Ghibli, a movie of pure quality and refinement. Overall a truly lovely film for movie time with older kids or a date night. Show more It was an interesting watch. Yes, the children may not be able to understand the plot fully by themselves, but hey it's ok to not understand something fully, be it a kid or an adult.

I personally think the parts that the kids can easily get matters the most - to be comfortable with who you are. I'm eager to watch this with my 8 year old son. I truly enjoyed the layers the movie offered. Show more WHEN MARNIE WAS THERE is storied Studio Ghibli's potentially final film. The Japanese anime house's first film since co-founder Hayao Miyazaki's retirement, the movie is an adaptation of British author Joan G. Robinson's 1967 children's book. Anna (voiced by Hailee Steinfeld in the English-dubbed version) is a lonely 12-year-old social misfit whose foster mother ( Geena Davis) decides to send her to stay with relatives in a small seaside town that should be good for her health (she has asthma).

While staying with her "auntie" and "uncle," Anna spots a young girl in the window of a mansion that's believed to be be abandoned. The girl, Marnie ( Kiernan Shipka), and When marnie was there strike up a friendship, except Marnie isn't always available, and Anna begins to suspect that her new (and only) friend isn't real at all.

Show more This is an interesting, beautifully animated story about a fragile, self-deprecating young girl. But it's also very slow-moving, occasionally confusing, and in certain scenes too emotional to compel younger audiences used to action-packed plots or clear story lines with relatable characters.

Though kids may not be the target audience at all, of course, since Studio Ghibli films are beloved by adult animation aficionados. But even the biggest Ghibli devotee will have to concede that, while visually pretty and sometimes touching, When Marnie Was There lacks something as well. It's not going to stand among Spirited Away, My Neighbor Totoro, and Howl's Moving Castle as the best the legendary studio has produced.

Even if you divorce yourself from the outrageous expectations that every Ghibli film be a masterpiece, When Marnie Was There is undeniably more style than substance. It's still absolutely worth checking out for its gothic elements of the is-she-or-isn't-she ghost story, but it isn't a case of saving the best for last. Show more • Families can talk about anime movies and how they compare/contrast to other forms of animation.

How does When Marnie Was There differ from anime movies that involve Japanese folklore or magic? How does it compare to more mainstream animated movies for kids?

• Some parts of the story aren't told in a very straightforward way; was that confusing for younger kids? Is that OK? Do movies for kids need to have easy-to-follow plots? • Anna has a lot of trouble with self esteem. Have you ever felt the way she does about herself? What helped? Who can you talk to when you feel that way? • Why do you think Anna lashed out at some other kids during the movie? Does that make her a bully? Does knowing that she was sad and lonely make you feel when marnie was there about the way she acts than you might have otherwise?

Show more • In theaters: May 22, 2015 • On DVD or streaming: October 6, 2015 • Cast: Sara Takatsuki, Kasumi Arimura, Nanako Matsushima • Director: Hiromasa Yonebayashi • Studio: GKIDS • Genre: Family and Kids • Topics: Book Characters, Friendship, Monsters, Ghosts, and Vampires • Run time: 103 minutes • MPAA rating: PG • MPAA explanation: thematic elements and smoking • Last updated: April 1, 2022 Show more
Anna hasn't a friend in the world - when marnie was there she meets Marnie among when marnie was there sand dunes.

But Marnie isn't all she seems.An atmospheric ghost story with truths to tell about friendship, families and loneliness. Anna lives with foster parents, a misfit with no friends, always on the outside of things. Then she is sent to Norfolk to stay with old Mr and Mrs Pegg, where she runs wild on the sand dunes and around the water. There is a house, the Marsh House, which she feels she recognises - and she soon meets a strange little girl called Marnie, who becomes Anna's first ever friend.

Then one day, Marnie vanishes. A new family, the Lindsays, move into the Marsh House. Having learnt so much from Marnie about friendship, Anna makes firm friends with the Lindsays - and learns some when marnie was there truths about Marnie, who was not all she seemed. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it when marnie was there the right product for them.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon.

It also analyzed reviews to verify trustworthiness. Learn more how customers reviews work on Amazon Amazon Customer 1.0 out of 5 stars Excited to read once the replacement gets here Reviewed in the United States on October 10, 2019 I bought this book to read because I adore the Ghibli film, and was severely disappointed with the brown gunk on the cover.

Thankfully the pages stayed intact. When marnie was there just ordered a replacement so here’s hoping to a cleaner cover!

For some weird reason it is getting rarer and rarer to read, or watch or consume really any media with a deep emotional relationship between two people without having the need to drift into romance or explain away how it is not romantic. So much fiction tends to either make friendship always equate to romance, or carefully dodge that by explicitly stating how unromantic two people's connections are.

When Marnie was There does not try to shy away from a deep emotional relationship while also not feeling the need to explain it away. Like many, I heard about the Studio Ghibli film first.

A lot of people were suggesting it was Ghibli's answer to their utter lack of any pro-lgbt text in any of their works. When marnie was there would argue that not only is that true of Ghibli, they also lack very many stories where the lead and supporting roles are same sex. There seems to be a hyper heteronormative romance in the stories they tell to the extent that even same sex friendships go too far for them. This has been always something of a disappointment for me, as I, like many, generally and otherwise love their work.

As of this writing I have not seen the film, but I am told that the lgbt subtext is really not there and mostly reading too much into it. This may or may not be true for the film, but it absolutely is true for the book. The characters feelings do not stray in that realm, while whatever possibilities could have been is not explored it is also not important and I for one would argue that since the book wasn't afraid of portraying a close same sex friendship, in a way it also does not fall into the typical trap of modern het-norm stories.

This book doesn't try to tell an lgbt story, but nor does it feel the need to avoid it by explicitly saying it isn't one, which is getting shockingly rare these days. Certainly Ghibli hasn't done anything of that nature before (with the film based on this book being perhaps the biggest exception). What makes this story so amazing is the emotion.

This is a wild emotional ride from start when marnie was there finish, a bitter sweet but ultimately uplifting story that is beautifully woven from start to finish.

The first couple chapters maybe rather slow, but things start to pick up and don't fall off again at any point.

Characters introduced rather late in the story manage to still have emotional impact and importance despite having been in the story for so short a time and often newly introduced characters become emotional callbacks to previous points in the book. Personally I would dare someone to try to read this and not feel their heart strings tugged. So if you've seen the Ghibli film or not, this book is still a timeless classic.

It is suitable for any age and while it maybe a somewhat quick read, when marnie was there will surely be one of the more emotional books you've probably read in a while. I would recommend this book to anyone. Great book! I watched the Studio Ghibli film several weeks ago and couldn't get the characters out of my head so I downloaded the book for my Kindle.

I'm so glad I did! A lot of stuff in the book made more sense to me than in the movie (which is certainly to be expected). I think a lot of people can really relate when marnie was there the character Anna. She feels like everyone else "in the circle" and she's alone on the outside. She figures there is something inherently different about her that makes her unable to make friends, and convinces herself she would rather not have them anyway.

The blossoming friendship between Anna and Marnie is such a perfect representation of the relationship between little girls, and I adored watching Anna become comfortable with herself as a person and start to reach out to other people. If you've liked the Studio Ghibli movie, read this book. If you liked this book, go ahead and check out the Ghibli movie because they stayed true to the essence of the story.

Very rarely do I stumble across a book that leaves me think about it for days after I've finished it. I initially read the book because of the Studio When marnie was there film that has been adapted from it. But now I think I've fallen in love with the book more so than the movie. The book chronicles a young girl named Anna's summer while away from her foster parents and the city.

When marnie was there don't want to give away too much but Anna meets a young girl named Marnie who lives in the seemingly abandoned Marsh house.

Anna has a summer of adventure and discovery that will enthrall readers of all ages. I would recommend this book to anyone who is looking for a quick summer read. After seeing the Studio Ghibli film, which I loved so much, I knew I had to read this book. It does not disappoint!

It’s haunting, beautiful, and amazing. Both the movie and the book did a great job capturing what it’s like to be lonely and sad, but fortunately, it has a happy ending! Overall this is a 10/10 If you haven’t read or seen When Marnie Was There yet, you’re missing out! The movie is an underrated masterpiece, and the book is an instant classic Thanks for reading! I picked this up having seen the Studio Ghibli film.

It's a slow book, with charming dialogue and characters - a slice of life from "the olden days". Even knowing Marnie's secrets having watched the film, I still teared up at the end. Joan G. Robinson has crafted a good story, and it's a great read for all ages, not just children. Our heroine Anna truly does grow up during her summer away at the beach - the part that's fascinating to me is whether the events Anna experienced truly happened, or were just stories she told herself when she was lonely.

It's never resolved in the book, but is instead left up to the reader to decide. Everyone feels like they're on the outside sometimes.

Even if nobody's laughing at you, even if there's nothing wrong with you, even if you're just average and you're okay with that, you can still feel alone. There's many times in life we feel like nobody understands us, or we don't when marnie was there, and Anna feels those things.

After being sent away to live with some relatives at a waterfront town, Anna finds a friend in Marnie, and somehow a sense of nostalgia with it. The book has a wonderful twist to it, and I think it speaks very much to the quiet, lonely person in us all. If you're used to action and adventure or exciting times, this might not be the book for you, but maybe it should. Everyone needs to slow down and smell the roses now and then - or in this case, sea lavender.

Having watched the film, at the insistence of my granddaughter, I felt I had to read the book. I wasn't disappointed and now feel I would like to see the film again 💕 I'm very grateful to tr author's daughter for her postlude.

Hayao Miyazaki passed on last year, he seemed to have been so taken with the story and that led him to make the film 😊 Joy of joys A story of loneliness and friendship, of introverts and extroverts and the love between both family and friends. I read this as a way of passing a long break. a few hours later I have a new favorite book. The main character is one I can identify with on a deeply personal level; not to mention this is one of the few things to get me misty eyed.

That's how I knew this was well worth the price paid. My only (very) minor gripe is that there is no hardcover for this. Regardless, this story is wonderful. The characters are captivating, the situations relatable even to this day and the ending is as touching as it is hopeful. What can I say. This is one of the best books I have ever read.

I don't re-read books I have already read but this one will definitely be one to re-read. The lonesome atmosphere.

lack of complications and empty scenes allow one to be lost amongst the scenes the author conjurs up. The drawings are simple and help in creating the mental imagery. There is a beautiful sense of emptiness and spaciness in the book. My most favourite scene is where the girl is on the staithe all alone and a bird flies past echoing 'pity me pity me' The ending is someone fast tracked and not in keeping with the rest of the book but the first half of the book more than makes up for it.

Amazon Music Stream millions of songs Amazon Advertising Find, attract, and engage customers Amazon Drive Cloud storage from Amazon 6pm Score deals on fashion brands AbeBooks Books, art & collectibles ACX Audiobook Publishing Made Easy Alexa Actionable Analytics for the Web Sell on Amazon Start a Selling Account Amazon Business Everything For Your Business AmazonGlobal Ship Orders Internationally Home Services Experienced Pros Happiness Guarantee Amazon Ignite Sell your original Digital Educational Resources Amazon Web Services Scalable Cloud Computing Services Audible Listen to Books & Original Audio Performances Book Depository Books With Free Delivery Worldwide Box Office Mojo Find Movie Box Office Data ComiXology Thousands of Digital Comics DPReview Digital Photography Fabric Sewing, Quilting & Knitting Goodreads Book reviews & recommendations IMDb Movies, TV & Celebrities IMDbPro Get Info Entertainment Professionals Need Kindle Direct Publishing Indie Digital & Print Publishing Made Easy Prime Video Direct Video Distribution Made Easy When marnie was there Designer Fashion Brands Woot!

Deals and Shenanigans Zappos Shoes & Clothing Ring Smart Home Security Systems eero WiFi Stream 4K Video in Every Room Blink Smart Security for Every Home Neighbors App Real-Time Crime & Safety Alerts Amazon Subscription Boxes Top subscription boxes – right to your door PillPack Pharmacy Simplified