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The Northman (2022)

The film that I have personally been most excited about this year is Robert Eggers’ The Northman. Based on the legend of Amleth, the story follows Amleth (Alexander Skarsgård) as he vows to avenge his father, King Aurvandill (Ethan Hawke) who died at the hands of his bastard brother, Fjölnir (Claes Bang), and save his mother, Queen Gudrún (Nicole Kidman) who was kidnapped by the latter. The plot itself is fairly simple as we follow Amleth’s quest across the seas to Iceland, but as ever with Robert Eggers’ films, The Northman ventures into great characterisation as we get to see Amleth’s emotional development throughout. The film has been marketed as an action epic adventure which it is, but it is also a drama steeped in trauma as Amleth tries to complete the impossible and seek justice from those who have wronged him. The film features one of the best casts of the year as it also includes supporting turns from Anya Taylor-Joy and Willem Dafoe, as well as a brilliant turn from Björk, who makes a return to acting after more than a decade away from the silver screen.

The film is directed by Robert Eggers who cowrote the script with Sjón, a frequent collaborator with Björk. The first thing that is noticeable about The Northman is that it is Eggers’ largest project in scope and budget as his previous films, The VVitch and The Lighthouse utilise minimal locations and characters whereas The Northman features an array of different characters as Amleth makes his way cross-country to avenge his father. The direction and writing seems more suited for mainstream audiences than Eggers previous efforts (you can read my thoughts on those here), but this isn’t necessarily a bad thing. What Eggers manages to achieve with The Northman is his ability to make a film of a larger scope that is suitable for a general audience.

Alexander Skarsgård has garnered a reputation thanks to his action-based roles, but his dramatic turns have often gone wrongly unnoticed such as his amazingly uncomfortable performance in The Diary of a Teenage Girl (read my review here). The actor playing Amleth not only has to demonstrate a huge level of physical fitness, but they also have to be capable of conveying the character’s emotional journey and the burden that he is faced with. This is what makes Skarsgård perfect for the role over the physical aspect as you can see with every strike of his sword that there is the ulterior motive and bigger picture in Amleth’s face. What makes Skarsgård’s performance so brilliant is that the character of Amleth is not invincible or incapable of feeling pain as he is beaten down plenty of times by his foes, but this seems to drive him further to outfight them constantly and this emotional battle that Amleth has eventual manifests into uncontrollable rage.

The film is specifically a singular character journey as we follow Amleth’s quest, but that doesn’t mean we don’t encounter plenty of other brilliant characters along the way. The main supporting character comes in the form of Olga, a sorceress who fights against those who threaten her and proves herself to be a perfect balance for Amleth as she brings out his human side. Playing Olga is the incredible Anya Taylor-Joy, who has showcased a fantastic range in her relatively short career. Giving her the chance to reunite with Eggers following her breakout in his debut feature, The VVitch, Taylor-Joy’s performance is strong and determined, as she longs for a life away from slavery as she bids to be free. Another brilliant supporting role comes from Nicole Kidman, who plays Amleth’s mother, Gudrún, as she displays an ethereal quality that makes her seem untouchable even though she is within Amleth’s gaze for a lot of the film, while proving that there is a darker side to her character than what may seem.

What I was most looking forward to when it came to watching this film was the return of Björk to the big screen. Despite very limited screen time, Björk’s performance is visually striking, and her presence has a lasting effect on the entire film thanks to her eerie turn as the Seeress. Not only is the performance integral to the overall plot as she tells Amleth of his fate as he readies himself to journey to Fjölnir, it brings a supernatural and otherworldly quality to the film that provides escapism from the chaos that surrounds Amleth’s reality. Hopefully, this small role encourages Björk to take on even bigger roles and sees her return to the big screen sooner rather than later.

From the outset, The Northman is a visual feast for the eyes thanks to cinematographer, Jarin Blaschke, who perfectly captures the medieval setting of the film and does a perfect job balancing out the light and shadow of the natural landscape. What Blaschke manages to achieve is conveying Amleth’s point of view to the audience by merging the real and the supernatural, so it becomes one perspective throughout. Because we are seeing the world through Amleth’s eyes, there are certain events that can be misinterpreted or wrongly perceived due to Amleth’s error and Blashcke puts this across perfectly.

The music in The Northman has been composed by Robin Carolan and Sebastian Gainsborough who provide a wonderful soundtrack that incorporates sounds of the time and instruments that would have been used, while ensuring that it adds to the tension and action that is happening onscreen. Just as we see Amleth’s emotional journey visually onscreen, the music provides a perfect backdrop to this so the film becomes a sensory experience and the audience can really emote with Amleth and his struggles.

The Northman may appear to be an action film when it comes to its marketing, but the film delves into deep characterisation and seeks to explore Amleth’s motivations and the emotional journey he takes from the moment his father dies to seeking out his revenge. As expected with an Eggers film, the film is brutal and unflinching in its visual while boasting a script that perfectly captures the essence of the time period and culture to really immerse the audience. The Northman is Eggers’ biggest film to date in terms of budget and scope, clearly demonstrating his ability to grow as a filmmaker as well as demonstrating how his vision can fit in with mainstream audiences.

What did you think of The Northman? Let me know what you think in the comments below!

The Northman is available to see in cinemas now!

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Raya and the Last Dragon (2021)

Raya and her nemesis, Namaari, face off amid the snowy mountains of Spine. Featuring Kelly Marie Tran as the voice of Raya and Gemma Chan as the voice of Namaari, Walt Disney Animation Studios’ “Raya and the Last Dragon” will be in theaters and on Disney+ with Premier Access on March 5, 2021. © 2021 Disney. All Rights Reserved.

Disney’s latest animation, Raya and the Last Dragon continues the inclusion of strong female characters being incorporated into the Disney universe. Taking inspiration from an array of Southeast Asian cultures, the film takes place in Kumandra, a nation that is divided into five tribes following a power struggle between them that ended when Sisu, the last dragon, concentrated her power forming a magical gem that brings peace. Raya, the Princess of Heart, is tasked with recruiting all the pieces of the gem after it is broken. Travelling to the other four lands: Tail, Talon, Spine and Fang, Raya and Sisu work together to restore peace and bring Kumandra to its former glory.

Beautifully animated with fantastic characters that we have come to expect from the current Revival Era, Raya and the Last Dragon feels more mature than previous releases as it isn’t afraid to showcase the violence of conflict and the grief of loss. The film is directed by Don Hall and Carlos López Estrada with a screenplay written by Qui Nguyen and Adele Lim and it is clear that a lot of research has gone into developing the backstory and origin to ensure that it is a respectful and accurate depiction while also maintaining an original story that is both captivating and moving. The animation itself is rich in colour and intricately details. From the opening scene, you feel engrossed into the world and the culture from the animation style and the immersion of cultural folklore. Whether travelling through the rough sands of Tail to the wintery scenes in Spine, Raya and the Last Dragon is filled with breathtaking scenery, well developed characters and a story that takes you on a journey through folklore and adventure making it enjoyable for audiences of all ages.

Kelly Marie Tran provides a great leading performance as the voice of Raya. Having proven herself a worthy actress as Rose in Star Wars: The Last Jedi, Tran is perfectly cast as Raya as she provides the confidence and strength required of the character. We really feel Raya’s struggle and fight as she is faced with numerous obstacles that threaten to turn everyone in Kumandra to stone. Raya doesn’t sing about her feelings nor does she have a love interest, the film is solely about her and her mission to restore the gem and bring peace to the land. The scenes where Raya and Fang’s Princess Namaari collide are brilliant thanks to the intense performances from Tran and Gemma Chan, who voices the latter.

Awkafina is one of the most exciting actresses working today and has already shown a wide range through various genres and mediums so it makes sense that Disney tapped her to voice the lovable dragon, Sisu. The design of Sisu is absolutely breathtaking using a wonderful pastel colour palette that is rich in blues which make her stand out visually. Awkwafina’s signature humour and charisma helps Sisu’s personality come forward and elevates the character from a mythical Godlike creature to a more humanised interpretation that feels more relatable. This allows for great moments between Sisu and Raya as the former’s optimism helps drive the latter forward.

The score composed by James Newton Howard takes its inspiration from Southeast Asia and helps to elevate the action. There are some really wonderful pieces such as the solemn melancholic music that plays as Raya’s father is turned to stone and the more upbeat, exciting piece that plays as Raya is chasing a baby around Talon to get the gem back. Howard is one of the most prolific composers in the film industry and can always be relied upon to enhance the viewing experience. Raya and the Last Dragon is no exception. Unlike most Disney films (and Disney Princess films especially), there are no songs in this film so making sure that the music was just as captivating was important so as to keep younger audience’s attentive and driving the story forwards.

Overall, Raya and the Last Dragon deserved a longer cinematic release. A film of such richness and spectacle was a treat to see on the big screen and really allowed the details to stand out. After a year long absence, Disney Animation Studio has come back with a huge hit on their hands that is surely going to find itself on the nomination list of many Best Animated Feature categories when awards season arrives. The world of Raya and the Last Dragon is one that would be wonderful to revisit in the future thanks to the stellar performances from the cast and the writers.

What did you think of Raya and the Last Dragon? Let me know in the comments below!

Raya and the Last Dragon is available to watch on Disney+ now!

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Song of the Sea (2014)

Cartoon Saloon’s second feature and the middle installment of Tomm Moore’s “Irish Folklore Trilogy” is a beautiful story that explores a plethora of Irish mythology including selkies, faeries and Celtic goddess, Macha. Song of the Sea follows human child, Ben who lives in a lighthouse on an isolated island with his father, Conor and younger sister, Saoirse. Still feeling the pain from his mother’s death six years prior when she died giving birth to Saoirse, Ben blames his younger sister for the tragedy and treats her badly because of it.

Marking Moore’s second directorial feature and based of a script written by Will Collins, Song of the Sea delves even further into Irish mythology than The Secret of Kells as Saoirse deals with her new identity as a selkie. As well as this, the film also explores the story of goddess Macha who has been turning faeries to stone. With Saoirse being the last of her kind, it is up to her and Ben to find her magic coat so she can sing releasing the faeries to they can travel to Tír na nÓg. There is a lot going on but not so much that elements are lost. The script does a fantastic job of tying the different plot points together.

As protagonist, Ben, David Rawle does a fantastic job of bringing the character’s conflicting feelings of pain and adventure. Ben fills his life with the stories he mother told him but he is terrified of the water and still feels the pain from his mother’s death. Only a young boy, he has a very black and white view on the world and this leads him to become stubborn in his ways. As the film unfolds, Ben begins to grow and develop a positive relationship with Saoirse. Despite being mute, Saoirse’s big vocal moment comes in the film’s beautifully climatic scene when she sings her song. Lucy O’Connell does a wonderful job thanks to her lovely singing which feels magical. Singing in both Irish and English and helping the spirits go to Tír na nÓg. Saoirse is such a lovable character throughout and when she finds her voice it is both emotional and exciting as this is where the magic comes to life.

In supporting roles, we see some of the cast take on two roles. Brendan Gleeson returns to Cartoon Saloon’s productions as father, Conor and mythological Mac Lir. As expected, he does a flawless job as the grieving father who struggles to bring up his children alone. His performance as Mac Lir is only small as we see flashbacks of him crying an ocean of tears as folklore dictates before being turned to stone. Using Gleeson for both voices is a clever choice as it allows the story to draw parallels between the magical world and reality as both characters experience grief through losing the one they loved. Fionnula Flanagan also performs dual roles as Granny and Macha. Again, there are similarities between these characters ad they are matriarchs trying to make life better for their children and grandchildren but don’t think through the consequences fully which creates the conflict in both the magical world and reality.

As expected with Cartoon Saloon films, the music plays an integral part. None more so than in this film where the plot is all about Saoirse reciting the song that will save the magical creatures. With a title like Song of the Sea, it was expected that the film was going to be full of wonderful music. Regular Cartoon Saloon collaborators Bruno Coulais and Kíla bring a world of excitement through their music, particularly with flute sounds and other woodwind instruments to reflect the sounds that would be heard through the shell. “The Song” track is among the best in any Cartoon Saloon film as it combines that magic and whimsy as Saoirse sings the song of the sea.

Overall, Song of the Sea is a film that will leave you wanting to know even more about Irish folklore and mythology. From the stunning animation to breathtaking music and the emotional storyline, this is a film that is sadly overlooked but is a major player in modern 2D animation. If The Secret of Kells helped to put Cartoon Saloon on the map then Song of the Sea ensured that it will be staying there for a long time.

What did you think of Song of the Sea? Let me know in the comments below!

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Hayao Miyazaki: Film Ranking

It’s hard not to think about Hayao Miyazaki when choosing what anime film to watch. Known as one of the founders of the Japanese animation powerhouse Studio Ghibli, Miyazaki has established a name among critics and audiences alike as an important figure in helping Japanese cinema reach a global audience with films that are suitable for all ages. So far, Studio Ghibli has only won one film in the Best Animated Feature category which is for Miyazaki’s masterpiece Spirited Away (2001) which, in my opinion, remains the best overall winner in this category. I do think there are times when a Ghibli production should have walked away with the award but sadly, releases directly from Disney Studios tend to dominate the category almost every year.

Ghibli is reliable and consistent, bringing out films that challenge our perceptions on the society we live in by incorporating more mature issues such as loss, mankind’s treatment of nature and identity. There are other directors who have also helped to bring Ghibli the reputation it has today such as Isao Takahata who I will also be writing a separate ranking for but in the meantime, let’s delve into the films of the one and only Hayao Miyazaki.

Here is a mini write up for each in chronological order followed by my ranking at the end of the article:

The Castle of Cagliostro (1979)

Miyazaki’s debut comes in the form of this action packed adventure based on the Lupin III manga series following thief Lupin and his partner Jigen after they successfully rob the Monte Carlo Casino only to find that the money is counterfeit. They travel to Cagliostro, the rumoured source of the counterfeit enterprise in a bid to put an end to the ordeal. The film is credited with being an inspiration to the likes of Raiders of the Lost Ark and The Great Mouse Detective. It’s clearly not completely controlled by Miyazaki himself as it was made before Ghibli’s inception but there are some signature Miyazaki traits that are noticable in hindsight such as the exaggerated expressions and the mix of humour and drama. It’s a faster-paced film than the usual Miyazaki action films but it doesn’t feel rushed. Lupin is a great character and the writing ensures the audience is gripped. Another highlight in this film is the score by Yuji Ohno which has Pink Panther vibes and really helps to elevate the film-watching experience. I think that this film marks a very strong start to what was evidently the beginning of one of the most exciting film careers in Japanese cinema history.

Nausicaä of the Valley of the Wind (1984)

The first film created by the founders of Studio Ghibli comes in the form of this brilliant dystopic epic set in a world where the Toxic Jungle, a forest filled with giant, poisonous insects threatens to eliminate the last of the human race. Though released before Ghibli was officially founded, Nausicaä of the Valley of the Wind is commonly considered a Ghibli and has been re-released under the Ghibli banner. The film follows the titular character as she strives to find a way for the insects and humans to co-exist. Based on the manga series of the same name by Miyazaki, who also adapted it into a screenplay, Nausicaä isn’t afraid to delve into deep issues and question its younger audience. Focusing on the themes of mankind vs nature which would prove to be an underlying topic in subsequent Miyazaki features, the film is also unafraid to showcase loss and fractured relationships. It’s also refreshing to see a female protagonist whose strength is never questioned and is accepted for what it is, another trait that Miyazaki showcases in each of his Ghibli produced films.

Castle in the Sky (1986)

The first official feature to be released under the Studio Ghibli is the action-adventure Castle in the Sky. The film follows Pazu, a young boy who works in the mine of his local village who comes across a girl, Sheeta, who floats down from the sky. They are soon chased by pirates and government agents in a bid to track down the secret locating the mysterious floating island, Laputa, that Sheeta may hold the key to find. I have written a fuller review on this film that you can read here but it is truly a dazzling achievement. The scope and detail in the animation is remarkable and the score by Joe Hisaishi feels timeless. Although it is not as popular as Miyazaki’s later films, I think that Castle in the Sky is such a thrilling and impactful film that has a lot to say on mankind’s relationship with nature, the importance of the environment and people’s relationships with each other. Both protagonists work together to find a peaceful solution against the people who want to use Laputa and its materials for weaponary and world domination.

My Neighbor Totoro (1988)

Arguably the most iconic Studio Ghibli film, My Neighbor Totoro follows sisters Mei and Satsuki as they move into an old house with their father so they can be closer to their mother who is recovering in hospital from a long-term illness. The two girls eventually encounter an array of spirits, including one that lives in the nearby forest who Mei names Totoro and the enigmatic Catbus that provides transport for the spirits. It’s a wonderful film that provides the perfect introduction for younger children to Studio Ghibli. Unlike its predecessors, My Neighbor Totoro is a lot more innocent and childlike in its design and message. This doesn’t prevent it from being a brilliant film, however, as it does a great job on touching on family dynamics, childhood and loss. It has a lighter feel and very striking design, particularly the Catbus who conveys the tone of the film without even saying anything. What is brilliant about Miyazaki’s world is how he integrates traditional Japanese folklore with his own imagination and artistry and My Neighbor Totoro is a beautiful example of this.

Kiki’s Delivery Service (1989)

Following on his successful streak, Miyazaki brings another film geared towards younger children in this lovely tale about a younger witch, Kiki, who sets off to find out what she wants to do with her life. Accompanied by her cat Jiji, Kiki is fascinated by the normal human world and understandably finds it hard to fit in as she is not like them. The film is all about understanding accepting our differences and how we can use them to the our advantage. Kiki is a great protagonist for the younger demographic as she is a strong female who is flawed but she works on those flaws. She is a well-rounded character and it showcases Miyazaki’s strength in being able to create characters that audiences of all age can relate to on some level. It’s not the strongest installment in Miyazaki’s filmography but that doesn’t mean it is a bad film at all. Miyazaki’s work is of such high calibre that it just misses out on the top tier of films for me but it is still an absolute joy to watch.

Porco Rosso (1992)

The last film Miyazaki to be made before he took his first hiatus is a more detailed look into the filmmakers interest with aircraft. Porco Rosso follows the titular character who was a human but was cursed and is now a pig who works as a pilot bounty hunter who catches pirates in the Adriatic Sea. It’s a fun-filled adventure that has inklings of Castle in the Sky with the over the top pirates and allows Miyazaki to go deep on his own family heritage of working in aircraft. Joe Hisaishi’s score is fantastic as always and strikes the right upbeat tone that the film has. For me the film’s highlight comes in the scene in which Rosso sees his dead friends flying in the sky in his own version of heaven. It’s a fantastic scene that lifts the whole standard of the film. It is my least favourite Miyazaki film as it does have some flaws that I cannot overlook particularly the treatment of Fio, a teenage woman who aspires to engineer and make planes. A few jokes and quips made by the pirates are thrown her way that I feel are inappropriate for the younger audience. Fio herself is strongly written and is a brilliantly resilient young woman who is unfazed by working in a strongly male-dominated industry but the comments made by other characters could have been removed and still maintain the toxic masculine environment that Miyazaki was wanting to portray.

Princess Mononoke (1997)

Miyazaki returned after 5 years to make this brilliant epic based on traditional Japanese folklore and spirits. Princess Mononoke is fable on mankind’s takeover of nature and the subsequent consequences that this has. Following Eastern Prince Ashitaka who is cursed by a giant boar god who he kills, he must venture West to Irontown, a place filled with revolutionary industrial technology that threatens to takeover the forest by mining the sources underground. On arrival, he comes across San, a human girl raised by the Wolf gods who violently attacks and attempts to kill the leader of Irontown, Lady Eboshi, any chance she can. The film is by far Miyazaki’s most violent and graphic film thanks to its abundance of blood and graphic injury from the offset. Miyazaki always has a large scope in his imagination but Princess Mononoke has such a richness in detail that I think brings it to another tier. From the larger than life forest spirits to Joe Hisaishi’s spectacular score which is my favourite soundtrack from any Studio Ghibli film. I have written a longer review that you can read here. Despite its Medieval Japanese setting, there is a timelessness in the message that Miyazaki it wanting to convey and I think that that is why it resonates with so many people.

Spirited Away (2001)

The film that finally gave Miyazaki a long-awaited Oscar, Spirited Away is usaully the go-to film that beginners to Ghibli go for and with good reason. Following Chihiro, a young girl forced to move away with her parents and is sad to leave her friends, Spirited Away sees the family accidentally trespass on the land of the spirits. After her parents are turned into pigs, Chihiro must work in the Bathhouse while she figures out a way to get her parents back and return home. This film is nothing short of a masterpiece between the wide array of memorable characters as we venture in the spirit world including Haku, a young man who befriends Chihiro and No-Face, a mysterious spirit who suddenly appears and causes mayhem. Everything about it is iconic and it really is a beautiful film to watch. I have done a longer review which you can read here but words really don’t do this film justice.

Howl’s Moving Castle (2004)

Probably the most accessible Miyazaki film storywise, Howl’s Moving Castle is based on the best-selling book by Diana Wynn Jones and follows SOphie, a young woman discontent with her appearance who is cursed by the Witch of the Waste and turned into an old woman. She is then picked up by the mysterious Moving Castle and agrees to work as a cleaning lady for wizard Howl. The film is gloriously magical and is filled with whimiscal design which has made it a favourite amongst fans. The Wales-inspired landscapes are beautiful and vast and some maintain a very high level of detail that remains captivating long after the first viewing. This world that Sophie lives in differs to that of Howl, who longs for beauty and perfection in a world ridden with darkness and chaos. He refuses to take part in the war that is tearing the country apart and provides a bleak backdrop to the natural beauty where the story takes place. Hisaishi’s score is wonderful as always with the main theme waltz reminiscent of a merry-go-round piece. What Miyazaki does so well that he incorporates into this film particularly is showing how blurred the lines are between good and evil.

Ponyo (2008)

After his second hiatus, Miyazaki returns with another film geared towards the younger audience that follows Brunhilde, a goldfish who lives in the sea with her father and sisters, who escapes and is captured in a glass jar by a young human boy called Sōsuke. Brunhilde develops a desire to become human and changes her name to Ponyo after she is accidentally fed blood after Sōsuke shatters the jar which cuts him. Based on The Little Mermaid by Hans Christian Anderson, Ponyo is a less traditional retelling of the fairytale but still maintains Miyazaki’s vision and charm irregardless. It is an adorable film about friendship and love and despite there being hints towards a negative shift in the balance of nature due to Ponyo’s wishes, it still remains upbeat. Despite her young age, Ponyo is a strong-willed character who knows that she is out of place at the start but doesn’t understand why and makes it her mission to discover where she belongs.

The Wind Rises (2013)

The lastest Miyazaki feature to be released is absolutely astounding and comes in the form of The Wind Rises, which follows protagonist Jiro Horikoshi, an aircraft designer who works for Mitsubishi during World War II. Based on the manga by Miyazaki, it clearly is a project that the director is passionate about and I think this is emphasised by his realistic approach and design. The film tells the story of an aspiring pilot who eventually becomes an aircraft designer due to his poor eyesight and shows him falling in love with a young woman he meets. The Wind Rises is absolutely beautiful and everything about it from its writing and character design to the score by Hisaishi is flawless. Like most of the other Studio Ghibli films released since the inception of the Best Animated feature Award at the Oscars, this was nominated and it expectedly lost to Frozen but I personally would have given my note to this film because the passion that is conveyed goes beyond Miyazaki’s previous projects.

Unlike a lot of directors, there aren’t as many films that Miyazaki has directed in his 40 year career but that is because creating his films is time-consuming due to his insistence that they stick to hand-drawing their images. In the last 3 years, only 36 minutes have been created for his next feature How Do You Live? which Miyazaki has advised is his last film before retiring for the third (or fourth?) time. The calibre of his films is so high so even the ones that rank a bit lower are so strong in quality. Miyazaki has a reputation that many film-makers and lovers dream of and I have seen these films multiple times and will undoubtedly watch them again and again.

Anywho, here is my final ranking:

1) Castle in the Sky (1986)

2) The Wind Rises (2013)

3) Princess Mononoke (1997)

4) Spirited Away (2001)

5) Nausicaä of the Valley of the Wind (1984)

6) Howl’s Moving Castle (2004)

7) Ponyo (2010)

8) My Neighbor Totoro (1988)

9) The Castle of Cagliostro (1979)

10) Kiki’s Delivery Service (1989)

11) Porco Rosso (1992)

So there we have it! What do you think of my list? Which Miyazaki film is your favourite? Let me know in the comments below!

 

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Princess Mononoke (1997)

Another day, another Ghibli review. Hayao Miyazaki’s Princess Mononoke is a Medieval set fantasy in the ancient land of folklore and Gods and the battle between Mankind and the spirits in the forest. The film follows Prince Ashitaka who is cursed by a dying boar and must venture to the West to find the reasons for his curse. He ventures to Irontown where the residents, led by the greedy Lady Eboshi, are on a mission to rid the forest of its Gods in order to mine up the iron and invade surrounding areas. In between these two parties is a young woman, San (also know as the titular character), who lives with the wolf Gods in the forest and whose mission is to kill Eboshi and put an end to Irontown’s plot to rid the world of the animal Gods. Ashitaka is immediately taken by San and sides with her to put an end to Eboshi while also finding out the meaning of his curse. The film is more violent than most Ghibli films and doesn’t shy away from showing rotting corpses, dismembered limbs and lots of blood but the film needs this to show the corruption within man’s unnecessary fight with nature. The violence that is perpetuated upon the forest and seeing the animal’s rebellion is heartbreaking. Miyazaki’s brilliant vision of contrasting palettes makes this a true fantasy epic as we venture from the deep jewel colours of natures filled with deep greens and blue hues to the abnormal reds and oranges that flare from the furnaces at Irontown.

Princess Mononoke features some of the best known characters in the Ghibli canon from San, the titular character to the various creatures that populate the forest, particularly the adorable Kodama, tiny spirits that guide the way through the forest. In true Ghibli fashion, San is a posterchild for strong female characters. From her first appearance sucking the bullet out of the wolf God and spitting the blood into the water, San doesn’t care how she looks. She doesn’t aim to please anyone and isn’t there to be sexualised or sought after. Ashitaka is drawn to San but San keeps him at arm’s length. She wants to help him but does not care for any romance. San’s reluctance to identify as human makes it easy for the audience to see her as inhuman. Her seemingly superhuman strength and speed makes her seem otherworldly. On the other side of the conflict, Lady Eboshi is a deeply conflict character who isn’t just a regular villain. In true Miyazaki fashion, she has her own understandable methods and a genuine desire to protect her people but she is ultimately on the wrong side of history in this instance. Eboshi is seen as a woman of civility and forward-thinking whereas the people portray San as an animal and treat her like the animals that she lives with. They do not hesitate in their attempts to kill her even though Eboshi confides her sympathies for San to Ashitaka.

The animation and style from this film is quintessential Ghibli. Drawing in on traditional techniques and meshing with this folklore and a modern feel, Princess Mononoke showcases the best of Ghibli and Miyazaki living up to his usual standard. The combination of nature and industrial is deeply satisfying and you are instantly transported to a different time. Despite being sets centuries ago, the technology feels new and unique. The designs of the spirit god’s, particularly the Forest God bring that sense of command and attention that such a character would demand from its audience. One of the best sequences has to include the opening encounter with the boar which is both grotesque and terrifying, setting the tone for the film. Contrast this with later scenes where the forest comes to life to make way for the Forest God.

If you have read my previous Ghibli related posts, you know that I absolutely love the composing genius that is Joe Hisaishi. A longtime Miyazaki collaborator, Ghibli films would not be the same were it not for Hisaishi’s contribution. This is mostly felt in Princess Mononoke, the soundtrack which I listen to everyday. It truly holds its own as an epic in its own right and brings the film’s overall status to epic proportions. Mixing traditional Japanese sounds with fantastical elements, we are thrown into the conflict between man and nature through Hisaishi’s genius use of pace and crescendo. The ending track titled “The Legend of Ashitaka” is easily one of my favourite musical pieces from any film. The piece feels as though it takes you through the emotional span of the entire film in its five minute running time. Starting off quiet and slow and then building with brass and becoming a loud and brash piece showing the tilt in man’s favour. I love how Hisaishi has his own style like Miyazaki and it honestly feels like you can’t have one without the other.

Princess Mononoke is usually ranked among the favourites and has been a popular choice since its release. It is a film that has mass appeal despite its maturity and content. There is a lot of detail to take in within every scene and such a brilliant use of locations and spaces. The era that it is set in is real but the addition of the Gods allows the creative team to think outside the box and bring their originality to the designs. Even the designs of animals such as the monkeys and the boars have an otherworldly feel to them. They are inspired by animals that exist but they don’t exist in the real world. This is something that Ghibli does best in that it blurs the line between real and fantasy, allowing the imagination to run wild. The film isn’t afraid to delve deep into serious issues with its overwhelming message on environmental destruction, the manifestation of greed in man and the corruption that it builds and the longing for power.

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Nosferatu the Vampyre (1979)

The vampire genre is one that has proven longevity since the popularity of Bram Stoker’s Dracula. Since the inception of film as an artistic genre, we have seen vampires populate horror ever since the 1922 classic Nosferatu. It’s a genre that has become a parody unto itself thanks to its association with teen franchises and the common link between vampirism and sex. What makes Werner Herzog’s 1979 masterpiece so impactful is the sincerity and the minimalism with which it is executed. Herzog brings such a natural approach to the production and yet everything is so clearly calculated. Starring Bruno Ganz as Jonathan Harker, Isabelle Adjani as his wife, Lucy and Klaus Kinski as the titular character, the film follows the story of Jonathan Harker and his encounter with the mysterious Count Dracula who lives among ruins in Transylvania. Dracula subsequently ventures into Wismar and brings along a rat infestation causing a plague in the village while feeling entranced by Lucy. The film is a haunting adaptation of the classic tale and with minimal violence, effectively mounts up fear thanks to the emotionally charged script and the isolating direction.

First thing to talk about is Herzog’s direction and screenplay which I have touched on a bit. What’s genius about Nosferatu the Vampyre is its timelessness. It’s a film that could have been made today and still received in the same way. I think that is a credit to Herzog’s talent as a writer and filmmaker that he is able to create a film that is so unique and provided an impact to the horror genre. The first act of the film follow Jonathan’s journey to Transylvania and is fairly slow burning with the middle portion showing Jonathan’s encounter with Nosferatu and his downfall and the final act sees the plague takeover and final showdown. Herzog successfully creates rounded characters in its main three protagonists: Jonathan, Lucy and Dracula and easily follows their isolated storylines before merging together in Wismar. The film becomes an intricate puzzle and Herzog cleverly manages to slot the pieces in the right place by making it more than a simple linear structure.

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Due to the lack of blood and violence, it’s up to the actors to evoke the fear in the film and the cast does so perfectly. Headed by Ganz and Adjani as the Harkers, we are immediately immersed in their world from the opening shot of Lucy screaming herself awake from a nightmare. Kinski isn’t physically in the film that long and first appears halfway through but his presence can be felt even when he is not onscreen. As we see Jonathan succumb to vampirism, we see his attitude shift from loving husband to isolated madman in a performance that is portrayed brilliantly by Ganz. The highlight for me comes from Adjani for her stellar performance as Lucy. Considering the film was made in 1979, Lucy is such a complex character. Herzog makes the audience believe that she is weak and feeble as she struggles to cope when Jonathan sets off on his journey but her strength shines through in the aftermath of the plague that sets upon Wismar. As we see a society led by men crumble, Lucy can be seen actively trying to solve the problem against the advice of the supposedly wise Dr Van Helsing (Walter Ladengast). The nightmares and instincts that Lucy create a sense of otherworldliness to her as she is viewed as a force for Good against the Evil of Nosferatu.

I don’t think I would be doing the film justice if I were not to discuss the iconic soundtrack provided by Popol Vol and featuring the Vocal Ensemble Gordela. The score brings in new sounds and unexpected notes which exemplify the films various twists and turns. It’s hauntingly beautiful and grabs your attention instantly. The score helps the film’s impact on the viewer and really elevates the experience and horror of the subject matter. The track “Tsintskaro” performed by the Vocal Ensemble Gordela is among the many musical highlights in this film as we see Lucy as she ventures through the town square among the madness of the fellow villagers. The incorporation of this traditional folksong brings forth the culture into the film and it clearly made an impact as it also provided inspiration for Kate Bush who sampled this song in “Hello Earth”.

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It goes without saying that Nosferatu the Vampyre is my favourite vampire film and among my top horrors of all time. I think that there is a strong argument to say it is the best vampire film of all time and struggle to think of a horror film that has impacted me more. It’s brilliance comes in its simplicity and its fear comes from the performances which shows what a fantastic cast and crew this film had. All the components mesh together beautifully to create a film that is still haunting and impactful 40 years on.

What do you think of Nosferatu the Vampyre? Let me know in the comments below!