The Deer King (2021) Too many characters fail to spoil this sumptuous anime (Cinema Review)

Once upon a time the name Production IG carried a certain gravitas. With works such as the 1995 film adaptation of Ghost in the Shell, the eerily seductive Blood: The Last Vampire and later to be recognised by the great Hollywood machine in the form of Quentin Tarantino (who requested the studio make the animated section of Kill Bill Vol. 1), it was easy to see why they were THE go-to studio for animation in the late 90s to early 00s. Hell, their name could even sell an overpriced DVD (at least, that’s my excuse for purchasing Kai Doh Maru). However, like with so many studios, others have risen to take their place at the top of the Anime Production Company Tree, with the likes of Wit, UFO Table and Mad House all moving up to the top table. Fast forward to today and the imminent release of Production IG’s latest film, The Deer King.

In A land ravaged by war, the victorious Zolian nation marches across the land of its fallen adversary, the Aquafese, claiming their resources and labour for their own. However, a disease that only afflicts the Zolians has returned and is carried in the bites of a pack of Black Wolves. An imprisoned man and the young girl he rescues hold a secret that will change the course of history for everyone.

The easy (read “lazy”) comparison is to the all-time classic Hayao Miyazaki film Princess Mononoke, and whilst its shadow looms large over The Deer King, I find myself drawing many more similarities to The Heroic Legend of Arslan and the nonsensical yet gorgeous Kabaneri of the Iron Fortress, one being a sweeping epic across a vast world taking in many characters, the other a forging of disparate forces joining together to fight many enemies and a larger all too undead foe.

Co-directed by first-time helmer Masashi Ando and 2nd timer Masayuki Miyaji, The Deer King is an adaptation of the fantasy novel series by Nahoko Uehashi. It has the kind of world that many similar stories only dream of. Filled with various tribes, a rich history drenched in blood and two nations that carry the burden of animosity that will last for generations. It’s in this backdrop that we are introduced to Van, a mountain of a man (reminiscent of Thors Snorresson from Vinland Saga), as broad as he is wise and a heart untouched by the viciousness of the world. Whilst Van will act as our anchor to this tale of power and magic, there is a vast cast of characters that weave in and out of the 112-minute runtime.

This soon becomes the biggest problem The Deer King faces, there are just so many people to fit in and so much story to tell that the runtime is too short for the weight it has to carry, which makes the pacing very uneven. It tries its best to establish character, but this can be at the sacrifice of story progression which is rushed through without allowing the audience time to take in the enormity of the world they are building. Fortunately, the quality of The Deer King (when compared to the majority of other Anime films out there) is of such a high standard that even when it stumbles it does so with elegance and style, giving way to beautiful landscapes and epic action, all balanced by Harumi Fuuki’s sweeping score.

As the old adage goes “always leave the audience wanting more”, but I don’t think it was quite meant in this way. The Deer King needs time to breathe, to fill your eyes and thoughts with its rich history and its many, MANY characters. It’s one of those rare occasions where the story would have benefited from a 12 episode Anime show rather than a feature film, but with it looking as sumptuous as it does, with heart-stopping action and an amazing world, not a penny is wasted and the decision to proceed with a movie budget is justified.

With buckets of potential that aren’t quite met, The Deer King is still a wonderful entry into the hallowed halls of Production IG films, once again confirming its spot at the head of the table.

The Deer King