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To Arrietty, everything is a threat (including the lumbering, raccoon-tailed housecat), and she could die at any moment. The two characters slowly start to understand each other, and there’s a beautiful moment when the two characters share dialogue about their respective mortality.
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The story, of course, is a tale of friendship as the two main characters – the ailing Shawn and the headstrong Arrietty, which plays out in the typically unhurried pace of most Studio Ghibli joints. “The Secret World of Arrietty” is beautiful and stunning to look at, but it’s in the service of the story. (The most recent equivalent is probably the way Brad Bird staged the rat’s-eye-view sequences in the Miyazaki-influencd “ Ratatouille.”) But its not just superficial flash. In the realm of animation, things are freer, and the results are absolutely staggering: you really do feel like you’re there, without the use of cumbersome 3D glasses. Live-action movies that are saddled with miniature characters, things like “ The Incredible Shrinking Man” or “ Honey, I Shrunk the Kids” or that 1997 ‘Borrowers,’ either lean to heavily on the perspective of the full-sized human characters, or have to goofily appropriate the life of a miniature person through the use of clunky oversized props and occasionally iffy visual effects. The lack of dialogue and excessive sound effects also helps to set the mood, as are little flourishes like the physics of the borrowers’ tea, which globs out of the teakettle, heavy and sticky with excess gravity. Director Hiromasa Yonebayashi (Studio Ghibli’s youngest feature director), under the supervision of producer/co-writer Hayao Miyazaki, does a masterful job of zapping you into the action, teleporting you to a world where you can climb a loose wire like a dangling rope and a rat is roughly the size of a small dinosaur (its eyes sinister neon-bright red orbs). It’s this initial sequence, with Arrietty following Pod, wordlessly, through the bowels of the house, as they step across jutting nails and encounter the gulf between kitchen counters, that “The Secret World of Arrietty” first grips you. We watch as Arrietty rushes home, past grasshoppers the size of galloping horses, to arrive in time to embark on her first “borrowing.” Of course, it is a micro person, a young girl named Arrietty ( Bridgit Mendler), who lives with her mother Homily ( Amy Poehler) and father Pod ( Will Arnett) underneath the house’s foundation. It appears, to Shawn at least, like a miniature person, but he thinks nothing of it. While going into the rambling house he stops and notices something flicker through the grass. The movie begins from the point of view of the regular-sized humans – Shawn (voiced by David Henrie in the United States dub) is a young boy who, right before having a serious medical operation, is being sent to live with his Great Aunt Sophie ( Carol Burnett) in the country (the fresh air will do him good and all that).
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Walking out of the theater, you’ll feel at least a few inches shorter. The books have been adapted a number of times, including a fairly high profile 1997 theatrical film starring John Goodman, but “ The Secret World of Arrietty,” the wry and spirited new animated version from the wizards at Studio Ghibli (distributed in America by Disney with a translation overseen by Pixar), is the most breathlessly told, visually thrilling and emotionally involving yet. While this doesn’t explain the mystery of the missing sock, it does give a nifty explanation to misplaced household items, told with a twinkly kind of magic that’s easy to believe in, especially at a time in your life when you too are smaller than most people. The charmingly simple conceit behind Mary Norton‘s children’s fantasy novel series, “ The Borrowers,” is that there are a race of tiny people, no bigger than a stack of quarters or a human thumb, that live underneath your floorboards, sneaking into your home at night to “borrow” things essential to their survival.