Haru (Chizuru Ikewaki) is typical schoolgirl who lives with her mother. One day while she is on her way home with a friend, they spot an unusual looking cat carrying a small present across the road. The cat is about to be hit by a truck before Haru darts across the road, scooping the cat up in her lacrosse stick thereby saving it’s life. As she turns to check if the cat is ok, she sees it standing on two legs and dusting itself down before telling her it is grateful for her saving his life. Later that night Haru is visited by the King of Cats and his large entourage who arrive outside her house to offer their gratitude and to say that they will repay her. She is later told by a cat that they wish her to marry their Prince, the cat whose life she saved, and must come with them to the cat kingdom. However, a mysterious voice tells her to look for the Cat Bureau. Following a white cat, Mutu (Tetsu Watanabe), to the Cat Bureau, she is greeted by the Baron Humbert von Gikkingen (Yoshihiko Hakamada) and Toto (Yosuke Saito) a crow who acts as a gargoyle for their town. They warn her against the Kingdom of Cats, but Haru is soon whisked away and must attempt to escape with the help of Mutu, Toto and the Baron.
“The Cat Returns” is based on a manga of the same name by Aoi Hiiragi. The idea of discovering a secret world and being whisked away, of unwilling princesses, near-sighted rulers, and dashing heroes coming to the rescue, are all common tropes of the genre. However, having cats be the central focus of the drama transforms this typical fantasy story into something magical. There is something enigmatic about cats, often be seen lounging or padding around the streets, and this film takes the idea that they are living a secret life when they are not being watched and runs with it. Early in the film Haru’s mother tells her that Haru used to say that she could talk to cats. It is this sort of childhood whimsy that the film captures brilliantly. It highlights the power of imagination and creativity that abounds in our youth, but that most people lose as they grow older. As well as this celebration of imagination the film is also a coming-of-age story for Haru. She is a girl lost in a dream world. Although she has a strong relationship with her best friend, her only other obsession is with a boy at her school (understandable at that age). When she is whisked away and forced into a marriage she does not want, she comes to realise that in fact her own wishes should not need to be so narrowly defined. Visiting the kingdom of the cats, whether this is taken literally or as a flight of fancy, shows her just how wide the world really is and that only she can decide what her future holds. By the end of the film she is transformed into a character who is full of confidence and a desire to explore the world on her terms.
The artwork and animation is suited to the fantasy plot. Early in the film we get a great sense of the city, using depth of action to create the sense of a fully realised environment as traffic and pedestrians fill the streets and pavements. When the film heads into the world of the cats there is a shift to a much simpler style. There are some nice touches such as the cat palace being decorated with fish. The designs of the cats are also great, with a unique style for all the central characters. Another fun detail showing the Chinese and Egyptian cats gathered at the king’s court. The King of the Cats is a joy every time he is on screen, with his odd-eyes and tufted fur. A fun film for children and cat lovers, with lots of heart and a plot that never lets up in humour and action.