![]() ![]() Screenwriters Keiko Niwa and Emi Gunji have thus given shape to Jones’ brief backstory, extrapolating on the note’s MacGuffin (“I must escape the other twelve witches after me before retrieving my daughter”) in a way that has us anticipating said return despite the book rendering one unnecessary. All that’s with her to give any sign of identity is a cassette tape and a note asking for shelter until her mother’s promised return … even if it takes years. ![]() With a rushed goodbye she leaves a baby at the door. That’s when a cut occurs for us to watch the unknown redhead walk through a cemetery towards a large orphanage. ![]() They weave in and out of traffic with impossible speed and maneuvering before we see the first bit of magic used to create some extra distance. Those familiar with Diana Wynne Jones’ children’s book Earwig and the Witch will be surprised to find Gorô Miyazaki’s cinematic adaptation beginning with a chase scene pitting a red-headed woman on a motorcycle against a yellow Citroën on her tail. ![]()
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