ANIME/FILM REVIEW | "Deer King" Seeks A Cure in a Beautifully Dangerous World
Nature is a double-edged sword. Sometimes it welcomes us with the beauty of its forests and flowers. Other times, nature can be deadly, with plenty of poisonous and dangerous creatures roaming its paths. The most villainous of all is the one known as “plague”, a beast so unforgiving that many saw it as a curse in the olden days. Production I.G’s latest film The Deer King visits a time where even the mightiest of rulers couldn’t stop nature’s cruelest fiend.
Based on the novels by Nahoko Uehashi, The Deer King focuses on a fallen king known as Van (Shinichi Tsusumi). Now toiling away in the empire-controlled mines, he is a shell of his former self, as his family and entire army no longer wanders the Earth. His life is shaken up once more when wild dogs carrying a disease infiltrate the mines, killing almost everyone. Besides Van, the only other survivor is Yuna (Hisui Kimura), who starts to become something like a daughter to him.
Van and Yuna wander through the land, finding solstice in a nearby village. There Van keeps his true identity secret, while the curse of the wild dogs flows through his veins. Unbeknownst to him, his immunity to the curse could lead to finding a cure for those who have been suffering through the plague. But before such a plan can occur, the wild dogs return and take Yuna with them.
What follows is a story filled with tragedy and hope, with the weight of the world on Van’s shoulders. Despite the voices telling him to claim a new throne, all Van wants is to be left alone to mourn. Thankfully, the bright-eyed Yuna helps Van to rediscover both purpose and happiness. In the mines, Van was content to die in his surroundings; in nature, he finds a reason to live once more.
One can see why The Deer King has been compared favorably to Hayao Miyazaki’s Princess Mononoke. Not only do directors Masashi Ando and Masayuki Miyaji have experience as Studio Ghibli veterans, but the film’s themes are somewhat comparative. Where Princess Mononoke was about nature reclaiming what humanity has taken, The Deer King is about humanity finding a way to coexist with it. Main leads Van and Ashitaka also share a cursed path, only here Van uses his curse to heal rather than destroy.
It makes it easy to see The Deer King as something as a spiritual successor to Princess Mononoke. Granted, the latter is the better film, but Ando & Miyaji are able to craft beautiful worlds, frightening beasts, and a feeling of hope all throughout The Deer King’s two-hour runtime. The characters are relatable, the cause is worthy, and the overall narrative is enjoyable…to a point. There are some instances where its third act can stumble, as Van seeks to rescue Yuna from the wild dogs in a way that feels slightly rushed.
Some might not be able to unsee some of the comparative nature of the film’s disease to that of the current pandemic. A few of the characters — especially the ruler — even go so far as to reject the notion of a cure in favor of one’s own strength. The Deer King showcases the ignorance of those who turn their nose towards modern-day science, as they favor of olden day treatments. However, as one will see, said “treatments” do nothing to hold back Death from collecting their souls.
Production I.G’s greatest visual strengths are on display when Van and Yuna are allowed to breathe and be accustomed to their surroundings. They’re allowed to act like regular people, as they abide by the village rules and get along with its people. How Van trains the deer, the way Yuna plays with the other kids, and even hunting trips are showcased with great care and respect to the film’s characters and tone. Even when those who seem antagonistic arrive to rain on their parade, The Deer King finds a way to keep its beautiful essence flowing.
Despite the characters not being blood family, voice actors Tsutsumi and Kimura do a great job with crafting a believable bond between Van and Yuna. As Yuna, Kimura brings a level of positivity to those around her, even those who seemed to be lost to the darkness. Tsutsumi give Van a voice that lets viewers know the cross that he bears, as his tone brims with both sadness and determination. Together, the two hold up this film’s narrative well, even when they become separated halfway through the story.
Although its ending feels slightly rushed, Ando & Miyaji manage to deliver a beautiful story that emphasizes the importance of family and trust. Through Van, The Deer King demonstrates that without either, one will easily throw themselves to the wolves without a second thought. Thankfully, life is filled with plenty of Yunas, who’ll keep the light from being fully snuffed out. With its gorgeous animation and strong voice acting, The Deer King delivers a fantasy that showcases the kindness and cruelty of nature itself.
FINAL GRADE:
The Deer King arrives in US cinemas on July 13. English subtitled version observed for review. Promotional consideration provided by GKIDS and Sophia Kandah of 42West. Click here for tickets!
