gjacobi - 2014-07-29 19:29:01

Written in July 2014 for the Random Button Review Project

When the general public thinks about animation, one of the first things that many ask is “Isn’t that for children?” To be honest, many of them wouldn’t be at fault. Both Western and Eastern animation traditions have a long and delightful history of producing animated works with children in mind. In Japan, one certainly thinks of many Hayao Miyazaki films (My Neighbor Totoro, Kiki’s Delivery Service, Ponyo, etc.) as well as child-targeted franchises including Pokémon and Precure, to name a few. However, for every Kiki, there are at least twice as many (if not more) children’s franchises that offer little in the way of quality. The best children’s entertainment aims to not only fascinate children, but also teach them (and possibly their parents) some type of universal truth about the human condition, even in the smallest of ways. Unfortunately, Ojamajo Doremi Sharp: The Movie does not fall into this category.

Ojamajo Doremi Sharp: The Movie is a 30-minute movie that ties-in to the Ojamajo Doremi television franchise that ran from the early to mid-2000s. The basic plot of the film revolves around three sisters: Witch-in-training Doremi, middle sister Pop, and baby Hana. The film begins with Pop losing Hana while snooping around the Queen’s Garden. While there, Pop steals a Witch Queen’s Heart flower from the garden and returns home after finding Hana. When Pop runs into Doremi, she is scolded for not being responsible and losing Hana. Pop runs off, angry at being scolded, and wishes that Doremi would turn into a mouse. The Witch Queen’s Heart reacts and grants Pop’s wish, while also sprouting legs and running around the town to grant random wishes for the townspeople. The remainder of the film revolves around other witches in the town banding together to catch the Witch Queen’s Heart and the conflict between Doremi and Pop as Doremi struggles to return to human form.

The struggle between older and younger siblings is something that is fairly standard ground for a children’s program. Typically, these problems result from both parties being at fault and are resolved by both admitting that they love each other and should do their best to fight these flaws and improve their relationships. That is not at all the case with this film. The main conflict of the film involves middle sister Pop being upset because Doremi scolds her for abandoning their infant sister, Hana. Instead of rightfully admitting that she did something wrong, Pop begins crying and runs off. Doremi’s friends then begin to scold her for handling the situation too harshly. If anything, Doremi let Pop get off relatively easily, given the gravity of the situation. Multiple times throughout this film, Pop is allowed to get away with things and is easily portrayed as the “cutest” of the sisters. She has a cutesy baby voice and easily tears up at the slightest provocation. The message sent is that because Pop is cute, she can get away with anything, even abandoning her baby sister, and it’s all okay. In fact, anyone who tries to punish her is later shown as being sorry that they did. Literally, the last pre-credits line of the film is Pop posing and asking, “So am I cute after all?” Yes, Pop, you are cute. But that is exactly the problem with this film. Too much cuteness ruins this film, which is a pity considering the fact that it could have told a very imaginative, and still relevant, tale of sisterly squabbling.

As far as animation goes, it is fairly standard animation for a seemingly cheaply made children’s program. The character designs seem to be a cross between the magical girl stylings of Precure and the chibi designs present in many of the 2000’s era Harvest Moon games. Music is fairly standard for this type of program as well, although I will offer up some points for an extremely catchy opening theme song.

Ultimately, this movie is an exercise in failed potential. By focusing on presenting Pop as a cute girl who is seemingly beyond reproach, the film loses the opportunity to give children a powerful lesson on admitting mistakes and seeking forgiveness. It also forfeits the opportunity to engage both children and parents in a dialogue about these lifelong issues, which might be the real tragedy.