Over the course of their existence, Studio Ghibli has primarily been defined by two instantly recognizable names – Hayao Miyazaki and Isao Takahata, the two masters who laid the cornerstone for the studio and worked laboriously to define it over a few decades. However, while we can appreciate and adore their work, it is sometimes a good idea to look at other filmmakers who have worked as part of the studio, since more often than not we will find that not only do they tend to be disciples of the canonical masters, they are terrific directors in their own right, and warrant our attention as well. Hiroyuki Morita worked under many directors over the years and contributed to several terrific films as an animator over the years, both within Studio Ghibli and other independent productions, which he gradually rose in the ranks to eventually take on his production, and it is his debut as a most intriguing director, since he is adapting The Cat Returns (Japanese: 猫の恩返し), which is a spin-off of the popular manga Whisper of the Heart, which was previously adapted a few years prior, coincidentally with a screenplay by Miyazaki, in one of the several works he helped create but didn’t have the time or willingness to helm the production. A wonderfully ambitious and also deeply compelling film that represents all the elements that we have come to expect from such a film, The Cat Returns is extremely charming, a small but meaningful examination of several themes that fit in perfectly with the broader universe established by this animation empire, being both a great introduction to someone who has inexplicably not directed too many more films after this, and an entertaining adventure film that pays sufficient tribute to not only the director’s artistic forefathers but also to the medium of animation, which has rarely looked more striking than it has in this wonderful film.

Perhaps we place too much emphasis on Studio Ghibli as an entity, which is drawn from the sentiment that their storytelling is far more complex and animation superior to any of their contemporaries, which has led to its ascension onto a pedestal, which is always a risky place to put a production company, as we have often seen. Yet, they seem to continuously produce exceptional work, with only occasional failures (and even in these instances, those are still very good films), which is an extraordinary track record, especially when we look at the lesser-known filmmakers. The reason for this radical success is quite simple: the stories they tell are simmering with complexity, even when they appear simple at a cursory glance, and the messages that stand at the heart of these narratives are immediately captivating. The Cat Returns is certainly not a deviation from this pattern, even if it is a slightly more straightforward narrative in comparison to the deeper, more evocative stories that we have seen produced by the company over time. The themes that this film explores are made very clear at the start – it is a coming-of-age story that focuses on identity and a young woman growing up, confronting perilous situations that act as thinly veiled commentaries on the process of maturing, all delivered with sensitivity, honesty and a lot of sincerity, which is exactly what makes this such a beguiling, captivating work of poignant, emotionally-resonant storytelling. Even the most obvious concepts are rendered as unimpeachably beautiful throughout this film, which is a wonderful exploration of childhood, particularly in that ambiguous space between our carefree younger years, and adolescence. It takes some bold swings in terms of the narrative, and we can’t confidently say that absolutely every idea is neatly tied up (at only 75 minutes, there’s not enough time to expand on the world of this story, and a longer running time would have been justified, albeit at the expense of the rapid, economical pace that is part of the identity of the film), but it is all part of the charm that keeps this film so engaging.

It is hardly surprising that one of the most defining traits of these films is the characterization, which is stronger than even some of the greatest live-action works. These filmmakers pride themselves on creating characters that are deeply human and realistic, rather than being thin archetypes that serve very little purpose in terms of narrative. Every character in The Cat Returns is brilliantly written, and we can never predict where they will be heading next, which is all part of the insatiable charm of this film, and the main reason why it feels so sincere. Despite focusing primarily on a young woman’s voyage into a mystical land occupied entirely by anthropomorphic cats, the story is extremely resonant, primarily because we are so invested in the protagonist’s journey, which is captured in such vivid detail. In addition to our human protagonist, we have some truly memorable supporting players – the dashing hero Baron Humbert von Gikkingen is a great co-lead, and brings so much value to the film, and Muta is a terrific comedic foil that has a lot of depth, much more than we may have initially expected. I am rarely a proponent for dubbed versions of foreign films, but Studio Ghibli regularly chooses perfect actors to occupy these roles, and The Cat Returns boasts a terrific cast, who all do their part to bring these characters to life. Anne Hathaway, Cary Elwes and Peter Boyle make for a formidable trio of heroes, while Tim Curry is hilarious as the film’s main villain (who in reality is just a goofy anti-hero – there aren’t any antagonists to be found anywhere in this story, which is a refreshing change of peace), and we find a rare acting performance from the wonderful Andy Richter. It’s a tremendous cast that brings to life this wonderful story – and while it isn’t so much a case of who is delivering the lines and more about how they fit into the story, it’s difficult to not be beguiled by these characters, regardless of whose voice and what language emerges from them.

Another aspect of the work produced by Studio Ghibli that bears mentioning is the fact that the majority of their films manage to be both narratively quite profound and visually stunning, which is not always very common when it comes to animation, which usually tends to prioritize one over the other. Throughout The Cat Returns, it becomes very clear that Morita was a journeyman animator since every detail of this film is extraordinary – the style is beautiful without being overly complex, and there is a lot of complexity in every frame, which is why it is such an engaging experience to just immerse ourselves in this world, which proves to be quite a remarkable one, constructed from fragments of ideas that are brought to life in vibrant colour. Several aspects are extremely beautiful, but the film never feels like it is only a visual exercise. Instead, it is a masterful collision of both style and substance, with the precise animation coupled with the gorgeous score by Yuji Nomi working alongside the tender, heartfelt story that is positively brimming with unique ideas to create such a meaningful, deeply evocative experience that is both invigorating and heartbreakingly beautiful, which is what we have come to expect from a studio that has always done its best to forge strong emotional bonds with the audience, so much that it is perhaps the only studio in which its most distinctive trait is how it captures a very specific, enchanting atmosphere, long before we even start to consider the more tangible details. The Cat Returns is truly exceptional as a stylish, well-crafted animated film, but it doesn’t neglect the story, which is just as well-composed and deeply endearing as everything else we encounter throughout this film, which is quite an achievement in itself, especially considering the depth of subjects with which Morita was willing to work in the construction of this layered story.

It would be foolish to say that The Cat Returns is one of the greatest works ever produced by Studio Ghibli since that is canonically untrue – but not for the reason that this film lacks anything, but rather it had to live up to an enormous legacy, and very few filmmakers could ever come close to touching the brilliance of the masters. However, this didn’t stop Morita from putting in all the effort he could muster to create this wonderfully quaint and charming adventure film, which is as meaningful as it is entertaining, and there is not a single moment in this film that doesn’t feel entirely genuine and deeply moving in a lot of very sincere ways. There are so many different ideas embedded deep within this film, which is a very complex examination of identity, delivered in a simple and precise manner that feels absolutely profound and perhaps even slightly daring, which is not always something we may necessarily expect from as simple a premise as this – but we love to be surprised, and this film offers them in an abundance. The Cat Returns may be severely underpraised in comparison to some of the other works produced by the studio, but it is still such a vigorous, meaningful film that carries so much weight and has a lot of wonderful details that immediately make for such a deeply charming, enticing narrative that is both clever and meaningful in equal measure, which all amounts to a very special curio of a film that is as heartfelt as it is deeply evocative, which is par for the course for this studio, which has rarely found itself producing anything less than absolutely spellbinding.