Tag: spirited away

Categories
Review

The Boy and the Heron (2023)

Marking Hayao Miyazaki’s first film in a decade, The Boy and the Heron was my most anticipated film of 2023. The film follows Mahito Maki, a young boy who must deal with the loss of his mother, Hisako, in a hospital fire during World War II. As his father finds love with Hisako’s sister Natsuko, Mahito journeys through a literal and figurative path of grief and acceptance with the assistance of the mysterious Grey Heron.

Written and directed by Hayao Miyazaki, The Boy and the Heron is a stunning piece of cinema. It feels big and grand, harking back to previous surreal epics such as Spirited Away and Howl’s Moving Castle. While the film may be maximalist in its approach, the tone draws more parallels to The Wind Rises due to its more serious themes and wartime context. The film feels like Miyazaki taking a final bow after changing the world of animation, and cinema itself, forever.

The film is distinctly Miyazaki, filled with expressive characters, colourful scenery and adorable creatures. What makes The Boy and the Heron standout in particular is how unflinching the character design is. The Grey Heron becomes truly grotesque during his transformation and each of these sequences is filled with intricate details. There are also plenty of Easter eggs throughout the film relating to Miyazaki’s previous films, especially Spirited Away and Howl’s Moving Castle.

The characters are brilliantly written. Mahito serves as the audience’s way into the other worlds and his confusion and curiosity is portrayed beautifully. His dynamic with the Grey Heron changes and shifts as often as yhr landscapes, keeping the film in flight and showing that internal and external struggle Mahito has. The Grey Heron is a tortured character and acts as an anti-hero. He acts as an antagonist initially as he lures Mahito into a forbidden tower by saying they will find his mother.

The main theme that is prominent throughout the film is loss and grief. These discussions are examined through the eyes of Mahito, meaning that the film delves into complex and alien emotions. From the opening scene in which Mahito’s mother perishes in the fire to the climactic scene where Natsuko is in a delivery room, we see all of Mahito’s trauma rising to the surface. There is an elemental quality to the film as Mahito’s journey sees a mesh of fire, water, earth, and air. Each holds significance as they guide him through each world until he is able to find peace.

One of the highlights as expected is Joe Hisaishi’s stellar score. How he did not receive an Academy Award nomination is truly criminal. While the music for The Boy and the Heron may not reach the heights of his previous scores, it boasts some of his best film work yet. The track “A Feather in the Dusk” is among the high points, serving as accompaniment to the conflict between Mahito and the Grey Heron while “Memories” is a melancholy piece that calls back to Mahito’s trauma of losing his mother. It feels as though Hisaishi composed the music with the mindset of Mahito’s emotions with excellent results.

The Boy and the Heron is clearly a passion project that is executed fantastically. Miyazaki’s attention to detail is second-to-none and it marks a phenomenal installment in a career that has changed the animation game forever. What makes it such an effective film is how engaged with the time and setting The Boy and the Heron is but its themes and discussions are universal and relatable. Hopefully we will see Miyazaki take to the stage victorious at the Oscars next month.

What did you think of The Boy and the Heron? Let me know in the comments below!

Categories
Uncategorised

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!

 

Categories
Uncategorised

The Tale of the Princess Kaguya (2013)

My favourite animation of the past decade hands down belongs to Isao Takahata’s swansong which is a retelling of the Japanese folktale “The Tale of the Bamboo Cutter”. It follows a man who finds a small girl in the centre of a bamboo shoot, he picks her up and she turns into a baby and then quickly grows into a young woman in the blink of an eye. Known as Takenoko (which translates as “Little Bamboo”), the family live a life filled with finery. Takenoko is given the title Princess Kaguya and soon begins the quest to find her a husband. The only problem is that Kaguya does not want a husband. She enjoys her freedom and finds the concept of regality to be horrifyingly restrictive. The film underperformed at the box office but the critical response is overwhelmingly positive with five stars across the board. It’s a shame that this film hasn’t received the mass audience that Spirited Away did because it is such an intricate look into traditional Japanese culture whilst merging in the pressures of being a woman in a man’s world and living up to societal expectations. Its portrayal of depression is one of the most realistic and resonating in film for me, particularly the scene in which Kaguya flees the party and sheds her many kimonos. The significance of this scene cannot be discussed enough. Kaguya is dismissing the life that her parents have decided for her. Her parents are not bad people but they have confused their own wishes with their daughter’s and this is what ultimately tears the family apart. The film was released just after Hayao Miyazaki’s The Wind Rises in a double bill that hasn’t been seen since the 1988 releases for My Neighbor Totoro and Grave of the Fireflies. Just as those films are completely different in subject matter and style, the same could be said of The Wind Rises and The Tale of the Princess Kaguya.

The animation style in this film is what makes it instantly stand out in the Ghibli catalogue. Taking clear inspiration from traditional paint and ink, it veers away from your typical Ghibli and Takahata aesthetic but the result is a beautiful use of technique and colour. It feels as though the film is a fairy-tale jumping from the pages of a book. The pastel colour scheme contrasts beautifully with the strong black strokes. This truly is art in animation and a testament to Takahata’s ability to push the envelope. The film in its entirety is beautiful but the now iconic cherry blossom scene is one of the most wonderful sequences in any film. Kaguya runs and plays as the cherry blossoms fall and the result is a scene of joy and freedom. The mix of deep black outlines filled in with delicate hues of pink are simplistic but resonate the lightness and happiness that the character is feeling. The use of colour is so important in this film as it evokes both material and figurative richness. Contrast the colours of nature as Takenoko ventures in the forests as a child which excites her with the scene in which she is gifted numerous kimonos that are made of unnatural colours in rich jewel tones. Takenoko is taken aback by the gift and loves playing with the material in a scene which is just as beautiful as the cherry blossom scene.

princesskaguya1

The character of Princess Kaguya herself is deeply complex and despite her origin as a being from the Moon, is one of the most human characters brought to film. Her journey from bamboo spirit to fully fledged Princess is turbulent and challenging. Content with the humble lifestyle her Earth parents lived before inflicting delusions of grandeur upon her, Takenoko refutes the lifestyle expected of a lady in high society. She is trapped within the walls of her mansion within the city and longs for the wilderness and freedom it brings. The character is not without her flaws. She purposefully manipulates five potential suitors to cross oceans and collect tokens for her affection. She does this knowing that she doesn’t care for any of them and knowing that it isn’t possible to gain these mythical gifts. When falling into her depression, we feel for her because she doesn’t want to let her parents down and appreciates everything they have done while at the same time sacrificing her own happiness. Ultimately, she has to ask herself if her parents happiness is worth exchanging for her own and asks for the Moon to reclaim her. Kaguya is a character who knows what she wants and this progressive outlook does not fit in within a society that has a place for her.

In an unusual move for Takahata, he recruited Joe Hisaishi to compose the music for this film. Hisaishi is known for his frequent collaborations with Miyazaki and had only just delivered a stellar score for The Wind Rises. It’s a credit to Hisaishi that he worked on these scores at the same time and yet both soundtracks have their own style and identity. The score for The Tale of the Princess Kaguya deeply lies in Japanese tradition, utilising traditional instruments such as the Koto which the titular character has a natural affinity for and whimsical woodwind that really brings you into the era and setting. Hisaishi has his own distinct sound as I have discussed in previous posts but this one feels totally unique in its approach. It feels softer and more ingrained in its tradition and heritage than other soundtracks. This could be because despite its fantastical elements, it is a film that is openly set in an ancient Japanese setting.

There are many scenes which stand out in this film for me and I have discussed a few of them in this post but the one that will remain the most heartbreaking is Kaguya’s return to the Moon. It’s a poignant sequence and one that will have you crying. When the procession of beings from the Moon come to collect Kaguya, the love that she has for her parents and vice versa flows through. It’s hard to believe that a children’s film can have such a sad ending but this is Ghibli and they are not afraid to delve into darker themes. Erased of her memories on Earth, Kaguya looks back at her parents and sees their love and smiles. This smile is bittersweet because she recognises the love that they have without understanding who the love is for and what it meant to them.

princesskaguya

The Tale of the Princess Kaguya is tied with Castle in the Sky for first place as my favourite Studio Ghibli film. It’s unlike any film you have ever seen and unlike any film you probably will see in the future. It’s a glorious achievement and worthy of being Takahata’s final film. The love and care that went into this film is so evident. I truly believe that the love for this film will grow in the coming years and it will become just as admired as some of the other popular Ghibli films in the catalogue such as My Neighbor Totoro and Spirited Away. It’s a film that is not an easy watch but it is so captivating and rewarding.

What do you think of The Tale of the Princess Kaguya? Let me know in the comments below!

Categories
Uncategorised

Spirited Away (2001)

One of the big ones to come out of Studio Ghibli and with good reason, Spirited Away follows protagonist Chihiro who finds herself in the spirit world where her parents have been turned into pigs. Chihiro must work under the ruthless Yubaba in a bathhouse for spirits where she is forced to take care of the visiting spirits, including the mysterious No-Face. With the help of a young boy called Haku, Chihiro navigates her way around the land of spirits and eventually learns more about herself and what she is capable of in order to return to the human world with her parents. This is commonly seen as Miyazaki’s opus as it brought international acclaim the studio hadn’t experienced before as well as a slew of awards such as the Academy Award for Best Animated Feature. The story of identity and place is one that resonated with the critical commercial audiences and has made Spirited Away an instant classic. In true Miyazaki style, the film is enjoyable for all ages and can be watched time and time again and still be just as rewarding. The film has you laughing, crying and grimacing as we encounter various characters and are thrust into the unknown. 

Ten year old Chihiro is forced to move away as her dad starts a new job. Unhappy about the move, we are first introduced to her as she sulks in the car with a bouquet gifted by her classmates. Chihiro is soon forced to think beyond her years to navigate a way out of the spirit world with her parents. She is a character who finds her own strength and relies on herself to figure this out. On entering the Bathhouse, Chihiro is overwhelmed by all of the creatures but is soon tasked with carrying out there needs. The Stink Spirit is the breakthrough moment as Chihiro passes the test and understands what the spirit needs. Anothe protagonist is dragon/river spirit Haku, who initially takes form as a boy Chihiro’s age. Haku immediately sees Chihiro and helps disguise her from other spirits before she is given permission to reside in the spirit world. At the top of the bathhouse lives Yubaba, a witch who runs the facilities. After failing Chihiro off, she strips Chihiro off her name and gives her the identity Sen. Soon enough Chihiro becomes Sen and forgets who she is as she is enveloped in the spirit world. By losing herself, she loses sight of the mission to get home. Yubaba is a character who has no motive to act for or against Chihiro and simply allows Chihiro to work in the bathhouse while she goes on her journey of self-discovery.

spiritedaway

The animation is spectacular is on a level that hasn’t been seen before and not really since (The Tale of the Princess Kaguya being another great example). A beautiful mix of Japanese folklore and fantasy, Spirited Away makes use of the scenery and locations. By setting the film in a fantasy universe, it gives the animation team an unlimited scope in design and allows Miyazaki to create a world from scratch. Not only is Miyazaki creating his own version of the spirit world but it also offering an entirely unique perspective on various aspects of Japanese culture. The whole film is crammed full of amazing sequences but among the most iconic in Ghibli history has to be Chihiro running through the garden paths surrounded by rose bushes is simple yet dreamy. It’s only a short moment but the angles and colours are perfect as Chihiro anticipates seeing her parents.  Other brilliantly crafted scenes include the food feast where Chihiro’s parents are turned into pigs. The satisfying layout of the food contrasts with the disgusting design for both her parents when they’re eating the food and consequently the design of the pigs themselves. The detail of the creases in the skin and the sweat is disgusting but then Ghibli isn’t a studio that glosses over the grotesque.

I can’t review a Ghibli film and not discuss the music. The score from Joe Hisaishi is instantly his most recognisable to date, spanning thousands of covers on YouTube and being a prominent inclusion in his concerts. The soundtrack is nothing less than stunning and totally deserving of its praise. The opening number and the main track associated with the film, “One Summer’s Day”, contains a mix of melancholy and hope. It’s slowness reflects the sadness that Chihiro feels about leaving her old life behind but it’s still uplifting and hopeful at the same time. The piece is soft and pretty and immediately brings you into Chihiro’s world. As soon as we enter the spirit world, the score completely shifts. The peaceful slowness is soon replaced with harsh brass and a quickened pace as Chihiro becomes an outsider in a new place and is forced to hide. Tracks such as “The Dragon Boy” are filled with the grandeur that lives up to Spirited Away’s epic feel. Hisaishi’s score helps to transport the audience into Miyazaki’s universe.

haku

A film like Spirited Away doesn’t come often with direction and writing that is filled with such love and passion for storytelling. Miyazaki outdid himself with this one and it’s a film that will go down in history. There are an array of supporting characters who all bring significance, even if it’s a small payoff such as Yubaba’s henchmen or her baby. You could watch this film a million times and still find something new. The film opens itself up for interpretation and analysis and has been widely discussed as such. Scenes that I find particularly striking include the attack on Haku as he thrashes into Chihiro’s dorm bloodied and weak and the scene in which Chihiro is sat on the train. The latter is so still and peaceful that it brings a sigh of relief and calm in a film that has brought so much chaos.

Do you love Spirited Away as much as I do? Let me know in the comments below!

Categories
Uncategorised

Castle in the Sky (1986)

Hayao Miyazaki’s 1986 family action film, Castle in the Sky was the first film made under the Studio Ghibli brand (Nausicaä of the Valley of the Wind was made before Ghibli’s inception although it is now included in the Ghibli catalogue). The film follows young orphan Pazu who catches a girl, Sheeta, after she falls from the sky and their mission to find the mysterious floating island of Laputa. Running up against pirates, the army and government, Pazu and Sheeta are thrust into a world full of corruption, greed and the abuse of nature. The world is crumbling thanks to the adults and it takes their childlike view to right the wrongs. On one level, the film is an engaging action movie that features extensive chase scenes and a variety of exciting locations. On a deeper level, the film can be explored as an analytical portrayal of mankind’s war on nature and the importance of working with nature and not fighting it.

What Ghibli achieves brilliantly in all of its films is that the films are never patronising to the audience. There is always something to think about. Even the child-friendly films like My Neighbor Totoro include undercurrent themes of death and loss. With Castle in the Sky, we are following two protagonists who don’t have families of their own but are there for each other throughout. That in itself is a hard fact to swallow as the characters are barely 10 years old and yet they survive with no complaints in this corrupt universe. When thinking of the most iconic Ghibli films, it’s easy to think of the likes of My Neighbour Totoro, Whisper of the Heart and of course the Oscar-winning Spirited Away, but I think somewhere Castle in the Sky has been lost in the conversation. There is something about this film that centres of the childlike vision that Ghibli likes to explore but blurs the lines by incorporating flawed heros and insightful dialogue. Every time I watch this film, I feel equally inspired and affected as the passion behind this film is impossible to ignore.

laputa2

Aside from the two protagonists, there are several parties who aim to find Laputa first. A group of pirates led by matriarch Captain Dola who is a fantastic character. The only female on the ship that includes her husband and multiple sons, Dola smashes the patriarchy and in many ways is a more fearing character than the actual villains. The pirates’ encounter with Pazu and Sheeta shows that they are not your typical blood and guts pirates as the film want you to believe but show that they do have a heart. Although I do prefer to watch the Japanese original with subtitles, I do have to mention the voicework of Cloris Leachman in the English dub. She becomes Dola and gives the character this commanding quality with an undertone of softness that makes the shift in storyline believable. On the other hand, we have Muska, a government agent who is consumed by the idea of power that he is willing to betray all those who work for him to climb to the top. Initially, Muska seems rational and good-natured but his plans are soon revealed as he plans to use Laputa as a military weapon of destruction.

The animation is spectacular and sets the standards for Ghibli films of the future. Incorporating a steampunk aesthetic with classic anime styles, Castle in the Sky becomes an oxymoron in scenery. It is so clearly an alternate universe but not wholly outlandish. The world the film inhabits could be described as a grounded fantasy. This could be because the issues explored in the film are very real issues but through the metaphor of Laputa, a physically and figuratively detached land that represents a country before military invasion. One recurring feature in Ghibli films is the satisfying attention to detail such as the intricate blades of grass, beautiful colour mixtures and palettes and food that makes your mouth water. There are so many beautiful aspects in this film but the most stunning creation has to be the robot and particularly, the robot who lives among the natural world within Laputa. It’s a contrast that flows together seamlessly and has formed one of Ghibli’s most recognisable icons.

My favourite part of any Ghibli film is by far the score and in particular, the scores composed by Joe Hisaishi. I would class Hisaishi as an unsung hero in Ghibli history as his music encompass the magical qualities that the films possess. The music for Castle in the Sky is no different and in fact ranks highly for my all-time favourite scores. Each character has their own unique piece of music and even the crystal has a distinctive piano run that sounds like a twinkling star. Every piece is beautifully crafted but for me, the highlight of this tremendous achievement is the track that follows the Forgotten Robot when Pazu and Sheeta arrive at Laputa. The track is haunting yet full of hope and keeps qualities of the Laputian themed music that has been featured up this point. In the dub, there were improvements and additional tracks included that elevate the experience even more although the original Japanese is still just as beautiful. The music overall is classic and traditional in style until we get to moments of conflict were synthesizers are included and bring a more fantastical element into the mix. The soundtrack reflects the themes of the film.

castle0434.jpg

Picking a highlight scene is difficult for this film because I find it so captivating throughout but in a situation where I am forced to choose, it would be Pazu and Sheeta’s entry into Laputa. Entering the vortex in their tiny glider, they venture into the eye of the hurricane and are forced to endure heavy thunder and lightning. It’s an exhilarating scene to watch as the traditional scenery is stripped away and makes way for a black background with flashes of purples and white. The audience is taken to a different realm and it is reflected in the quick change in pacing, music and perspective as the glider becomes even smaller among giant lightning strikes. It’s a brilliant scene that is then beautifully contrasted with the sudden break as they float down to Laputa and everything seems back to normal. The angry and defensive nature of the weather is a representation of Laputa hiding itself behind the mask and reputation it has gained as a weapon.

What do you think of Castle in the Sky? Which Ghibli film is your favourite? Let me know in the comments below!

Categories
Uncategorised

The Heart in Studio Ghibli

“Many of my movies have strong female leads- brave, self-sufficient girls that don’t think twice about fighting for what they believe with all their heart. They’ll need a friend, or a supporter, but never a savior. Any woman is just as capable of being a hero as any man.”

Hayao Miyazaki

“I do not make films primarily for children. I make them for the child in all of us, whether he be six or sixty. Call the child innocence.”

Walt Disney

1ee27bfc386a1554cd11df8ba3e5165b1a6a035f_hq

I have previously written a post on Studio Ghibli giving a brief overview on why I love their films so much (you can read that here) as well as a post on women’s voice in film and the importance of strong female characters and female filmmakers (which you can read here). Thinking about these two posts separately merged together in my mind because some of the strongest female protagonists in film can be found in the offerings from Studio Ghibli. The characters are mainly young girls who are thrown into situations that test their strength and maturity, each time providing us with realistic and organic character growth. In a climate where women behind and in front of the camera is being looked at under a microscopic lens with every line and gesture analysed by critics and audience alike, Studio Ghibli feels like a pioneer that has been pulling off the strong female character for decades. Admittedly, behind the camera, there are little to no women at the top of the board. No woman has ever directed or written a Ghibli film; however, their strong female characters have been gracing our screen ever since the release of Nausicaä of the Valley of the Wind in 1984. As I previously mentioned, no woman has ever directed or written a Ghibli film so there is room for improvement and diversity at the top but what we have been presented with thus far seems to be a more diverse and varied on the female perspective in an environment where their strength doesn’t feel forced. Miyazaki’s statement above appears to read as a mantra or a basis for creating his female characters. In three sentences he has already captured an image of an individual who can fight but is also capable of sensitivity and equality among her peers. His definition of strength being “brave” and “self-sufficient” shows how a strong character doesn’t come from difficult physical activity necessarily but from following what you believe and fighting for that as well as pointing out the importance of female independence. It’s unrealistic to imagine a strong female character who in the end can’t even look after herself because she’s a woman.

NAUSICAA_01_NVW1012945

You may be wondering why I have also included a Walt Disney quote above. Well aside from the fact that Disney distribute the Ghibli films in America, I think that Ghibli follow the same ethos as Disney in this respect by using young characters to make the films aspirational for children and inspirational for adults. Ghibli films are more dense than Disney films and are fearless in exploring darker issues such as war and death in a way that translates well to a global audience of all ages. The “child innocence” that Disney is talking about is a willingness to use film as a medium to discuss the bigger issues which I think Ghibli achieves effortlessly. My favourite film¸ Castle in the Sky (1986) veers on the more childish side of their films and yet it is one of the more mature topically, looking at the issues of man vs nature and corruption in authority as well as incorporating antiheroes and villains disguised as heroes. Ghibli never patronises the audience and yet is perfectly watchable for young children whilst never feeling like a lecture for its older audience. In regards to “child innocence”, Ghibli are showing young girls specifically that they are capable of being the hero without needing a man to save them. It may seem trivial to ingrain this belief into the mind of a four year old but the films we watch as young children tend to follow and influence our own morals as we grow up.

I think it’s also important to note the consistent high standard that the films themselves hold. Of course some have received mixed or negative reviews but the majority of offerings (particularly those from Miyazaki and Takahata) have been embraced as modern classics with Spirited Away (2002) winning the studio the Academy Award for Best Animated Feature. I think they hold an important part of film, not only in the animation world, but in general because it is so rare that a non-English studio has such a huge global following in the West which is a huge achievement. Their stories translate well globally no matter how bizarre the stories and the creatures in them may seem and it is because of that relatibility that the female characters have specifically. Their bravery and independence are a welcoming break from the usual Hollywood heartbreak/makeup trope that the female audience is overly familiar with.

39955

“Brave”

Bravery comes in many forms in the Ghibli universe. There are the female characters who act as traditional heroes such as Nausicaä in Nausicaä of the Valley of the Wind and San in Princess Mononoke (1997) who protect their families and environment from the evil threat of mankind who aims to destroy nature. Nausicaä is a dystopian film based in a post-apocalyptic world where humans live in small villages and giant insects rule large vasts of land and jungles. Nausicaä is the princess of her village and has the ability to communicate with the insects and aims to make peace with them. Despite their supposed roles as enemies, Nausicaä understands the bigger picture and uses her influence and morals to fight against those who want to burn the jungle. Princess Mononoke is a Medieval film that follows a young prince called Ashitaka who is cursed by a Boar God after he kills it. He encounters wolf God Moro and his companion, the human San (also known as Princess Mononoke) and together they fight the industrial Irontown, a small village that is dangerously mining into the forest of the Gods, killing the nature as they go. Both films are set in opposite time spans and yet they tell almost the same story. Both women have an outsider male companion who acts as a sidekick and supporter without ever overshadowing the female. Although both films do hint at couplings, there is nothing inherently overtly sexual or forced, San is particularly uncomfortable with being physically close to Ashitaka at first. Both films delve into technology and war. Even Princess Mononoke, set in Medieval Japan, has weapons that feel oddly futuristic in the form of large iron harpoons made from the materials from the mine whereas Nausicaa allowed for more imagination due to its dystopic setting. It makes use of hovercrafts and spaceships with laser guns to boot but it doesn’t feel out of place. Both films have women working in the war itself and operating the machinery with no issue. Ashitaka even struggles to keep up with the women who run the iron mill. Lady Eboshi, leader of Irontown, is a brilliant villain as she is just as complex as the protagonists. She genuinely believes that what she is doing is for the good of the village and wants to provide a decent life, particularly for the women. Her greed for power is subsequently what thwarts this as she aims to dominate the forest and mine as much as possible. It is this character conflict that allows us to view Lady Eboshi as more than a simple evil figure like the Evil Stepmothers in Snow White or Cinderella. Her motive is to gain power for herself but she also has motives for her people as well. This is what makes Ghibli women much more complex but at the same time, realistic and gives the audience an extra layer into character growth.

There are also characters who approach bravery in a more peaceful manner such as Sheeta (Castle in the Sky) and Chihiro (Spirited Away), both films directed by Miyazaki. Both characters are young girls who are thrown into adult situations. Sheeta is on the run from government officials as they try to steal her precious necklace that is the key to finding legendary floating castle, Laputa whereas Chihiro finds herself working in a bathhouse for spirits when her parents are turned into pigs after feasting on the food for the spirits. Castle in the Sky looks at how government officials would use the castle for military purposes to rule the world. Similarly, No Face in Spirited Away manipulates through his riches and shows the corrupt nature of the structure in the bathhouse. Money is seen as an evil entity in bothas Pazu’s job working in the mine is under threat from no products found to sell, whereas the gold No Face throws around is seen as vulgar and pathetic as the adult characters scramble for nuggets. The gold pieces hold no significance to Chihiro and that means No Face has no power over her. She cannot be ruled by him because he cannot buy her. Sheeta was raised on a farm by her grandmother and Chihiro raised in modern day Japanese suburbs. Neither one has encountered a violent situation nor would know how to fight or defend themselves but their determination to do what is right and fight the powers that oppress them allow them the growth to use their wits. We see Sheeta, a princess, take on the chores on the pirate ship ran by Dola and her crew. She cooks and cleans and is unphased by the attention Dola’s sons are giving her (it’s a bit weird that adult men are fawning over a child but that’s for another time). She has a natural kinship with the robots that inhabit Laputa and with nature in general. Her ancestry gives her that connection and it gives her the strength to protect the castle without the use of violence. Chihiro, on the other hand, must travel across the spirit world to find a way to get home. The villains in Spirited Away aren’t violent themselves (with the exception of No Face) and so Chihiro isn’t under a physical threat. The beginning of the film shows Chihiro dissastified with her parents’ decision to move away. She finds the idea of change difficult and this is shown as she sulks in the back of the car shortly before her parents are turned into pigs. Spirited Away is a film that is all about change. It’s about Chihiro’s ability to live a different life and gain perspective. Her identity is literally taken from her as bathhouse boss, Yubaba, employs her and steals her name, renaming her Sen. It’s a horrifying moment as she is a child with no identity but the film shows her growth into a more mature person and how she is all the better for the experiences in the spirit world.

laputa 4.png

“Self-sufficient”

Ghibli’s exploration into identity and independence is achieved best from the perspective of the teenage girl trying to discover herself in a society that has certain expectations for her. One of the most iconic Ghibli characters, Kiki (Kiki’s Delivery Service 1988) is a clumsy witch who struggles to fit into mainstream society. She finds her place when she uses her magic for a delivery service, delivering goods from the local bakery to the townspeople in order to save the business from closure. Hayao Miyazaki’s Kiki’s Delivery Service is one of Ghibli’s lighter offerings, much like My Neighbor Totoro and doesn’t have the dark complex issues that other films have. However, it is all about the teenage girl experience and how she has to find her identity in a society that has certain expectations for women. The village itself leads a more traditional lifestyle with men as active and the women take passive roles; however, Kiki becomes self-sufficient when she fights this hierarchy. Her male friend, Tombo, admires Kiki for her magic and at no point is threatened by her independence. Kiki’s Delivery Service features a flipped relationship in which the female is active and the male passive, again, without it feeling forced or a major talking point. When Kiki becomes depressed after feeling intimidated by Tombo’s friends, she becomes depressed and is unable to use her powers or understand Jiji, her cat. It is only when she sees Tombo in danger as he hangs from an aircraft that she finds her purpose and can fly again to save him. Some people may argue that it’s following the old stereotype that a woman only has love as a motivation but the significance of this scene comes from the fact that she rescues him. This never happens in regular Hollywood offerings never mind a family animation. Kiki becomes the hero of her own story and reward and validation that is more significant doesn’t come from Tombo, the male protagonist, but from Kiki herself as she finds her own identity. This is also the case in Yoshifumi Kondō’s only directorial effort, Whisper of the Heart (1995) before his untimely death in 1998. Following high-achieving, 14 year-old Shizuku, an avid writer who loves to translate Western songs into Japanese and her encounter with Seiji, an aspiring luthier (someone who makes and repairs stringed instruments). They work together to create a story about a mysterious cat statue called The Baron that Shizuku found in Seiji’s grandfather’s antique shop. Like Kiki’s Delivery Service, Whisper of the Heart is a film about identity and independence. As Shizuku delves deeper into her creative world when writing the story on The Baron, her grades drop and she becomes lazy and sluggish. Her need for independence arrives at this low point as she realises what she wants to do with her life and knows that she must work hard at school to achieve it. She doesn’t allow her life to continuously slump to appease Seiji but rather than threaten Seiji, he in fact expresses his admiration for Shizuku for taking control of her own life and declares his love for her. The self-sufficient female isn’t punished for her strength but rewarded. Like Kiki’s Delivery Service, Shizuku’s independence comes from herself. She does receive validation from the male protagonist but this feels secondary and insignificant compared to the love that she has for herself at the end of the film.

Just as there are films that show the success of female independence, Ghibli have also given us films that show the true battle for female self-sufficiency. Isao Takahata’s beautiful swansong, The Tale of the Princess Kaguya, is a retelling of the Japanese folklore about a young girl found in a bamboo stalk and her ascension to royalty and the struggle she has with this lifestyle. The aesthetic of the film is traditional Japanese ink and is visually a stunning film to watch with beautiful bright colours from the cherry blossoms and kimonos combined with the natural materials used to create this film. This is combined with darker undertones such as depression and the loss of identity as Princess Kaguya is forced to pick a husband despite not even wanting to marry. At first she is lured in by the clothes and the materialistic lifestyle with the giant palace but the palace soon grows into a prison and she struggles to adjust to this new life under the watchful eye of her governess who rebuts her desire for fun and laughter. The most poignant scene in this film comes near the end of the party where Kaguya is forced to sit behind a curtain and is forbidden to socialise with anyone, except for the potential suitors who talk from the other side of the curtain. Layered with multiple kimonos, she runs through the palace to get away and sheds each kimono off layer by layer, throwing them on the road as she runs in the full light of the moon. She is literally rejecting her role in society by casting the clothing away. The materials do not hold the same magic as they once did and much like Kiki and Shizuki, she realises that wants to be free. The end of the film sees Kaguya returning to her original home, the Moon, in a scene that is painful to watch as the memories of her life on Earth are forgotten and her parents look on heartbroken as they watch their daughter whisked away. Kaguya was unable to find her solace on Earth but her struggle is important to take away. The film exploits the impossible expectations thrusted onto women and how they aren’t treated as humans most of the time. Kaguya’s discomfort mainly came from the daily practice of makeup and being physically restricted when in the presence of a man. The Tale of the Princess Kaguya is one of the darkest films that Ghibli have released and I think it was also a real brave offering because it openly looked at depression in a realistic way. Kaguya wasn’t able to gain her independence on Earth but it is a brilliantly inspirational film for the young girls watching who wish to be self-sufficient.

thumb-1920-831831

“The child in all of us”

Ghibli films are often marketed as children films due to the animation style and constant comparisons with Disney; however, Studio Ghibli has a large adult following and its understandable to see why. Every film has underlying mature contexts that children won’t understand. Issues such as illness and death are prevalent in many of their films and even though they are suitable for children to watch, they are oftentimes heartbreaking for adults to view as well. The prime example for this would be young sisters Satsuki and May in Miyazaki’s My Neighbor Totoro. Following the girls and their father as they move to be closer to their ill mother, My Neighbor Totoro is often viewed as the most iconic Ghibli film (Totoro’s profile is the Studio’s logo). The girls encounter the spirits by live in the surrounding forest including the soot spirits that initially live in the house and eventually the giant Totoro, a lovable spirit who lives in a tree near the house. He reveals himself to Mei first then Satsuki, the latter being an iconic scene in which Satsuki lends him an umbrella in the torrential rain before he boards another iconic character in the form of the Catbus. This film is a favourite among children and adults alike because it displays the creative talent and imagination the Studio have. On the surface it is a lovable and cute film that is brings a smile to your face but there is an undercurrent through the film which is the the plot regarding the mother. She’s rarely onscreen but the adult audience is aware that she exists and she is severely ill in hospital. It seems that she may even die at some point but because the film is told through the perspective of the two girls, we don’t encounter mother unless they visit her at hospital. As the girls, particularly Mei, are very young, they don’t fully understand the situation and so they act as if everything is normal and enjoy their adventures with Totoro and company. It’s this child innocence that gives the film its light and allows it to avoid being full of darkness and sadness. Their innocence prevents the reality from creeping in and allows their imagination to soar.

Ghibli’s most adult film to date is one that sees child innocence stripped away during the course of World War II. Grave of the Fireflies (1988) is Isao Takahata’s war tale about siblings, Seita and his younger sister, Setsuko and is the Studio’s most heartbreaking film to date and probably one of the hardest films to watch overall due to its explicit portrayal of Japan during wartime. The film opens with Seita’s death as he meets the spirit of his sister in the afterlife before proceeding into a flashback which shows the story of their demise. When their home is bombed, Seita must take his sister to their aunt’s house in the countryside for shelter. Eventually they have to leave to the abuse they are subjected to and are by themselves. Seita himself is only a teenager and both siblings are forced to adapt to the environment around them. Setsuko takes solace in the fireflies that flutter around only to find them dead the next day. The scene when she buries it is when she questions and begins to understand the concept of life and death, asking Seita why their mother had to die. It’s this moment when Setsuko is stripped of her child innocence and is forced to adapt to a very adult situation. The film does not treat her kindly because she is a child. Setsuko is subjected to starvation which eventually leads to her graphic and heartbreaking death which sees Seita cremating her ashes with her favourite straw doll. The size of the wicker basket holding her is tiny and showcases the cruelty of war. Takahata has denied claims that the film acts as an anti-war piece but it is difficult to view it as anything else as it is the loss of that child innocence and the loss of life at such a young age which shows the true cost of war. It’s a profound film that is extremely difficult to watch but it is important and shows how fearless the studio was even in its early days.

grave-of-the-fireflies-2

Studio Ghibli is a company that refuses to conform to the expectations held by mainstream releases. Instead, it remains a pioneer for film in general and continues to release films that explore complex female characters who are brave and self-sufficient. The hearts of their films come from the girls and women who choose to fight for what they believe in and the journey they have to discover what they are capable of. The characters don’t always achieve their end goals but the growth that they go through shows their resilience and strength. One word that cannot be used to describe the female characters in Ghibli is weak because each character has their complexities and flaws but they also have their morals and heart. Without the female characters, the standard of Studio Ghibli films would not be what they are today and in fact, Ghibli probably wouldn’t even exist. The first major character to be introduced (although not under the Ghibli name technically) was Nausicaä, suggesting that having “brave” and “self-sufficient” female heroes has always been at the heart of the Studio Ghibli ethos. After all, “any woman is just as capable of being a hero as any man”.

Categories
Uncategorised

Studio Ghibli

Studio Ghibli is a film studio renowned for its creativity, passion and maturity. There are no limits to the imagination. From the iconic characters such as Totoro and the Catbus from My Neighbor Totoro (1988) to the architectural brilliance such as the bathhouse in Oscar winning Spirited Away (2001) or the castle in Howl’s Moving Castle (2004), it’s impossible to watch a Ghibli film and not be impressed by the scope and detail.

I wrote a top 5 Ghibli film list a couple of years ago on my previous blog and looking back, I wonder how I managed to pick 5 at all. Of course Castle in the Sky (1986) is my all time favourite but there isn’t a Ghibli film that I don’t think fondly of. The worlds created by studio icons Hayao Miyazaki and Isao Takahata (who sadly passed away last year) have become ingrained in the minds of people of all ages and backgrounds. The genius of Ghibli films lies in their ability to connect with anyone who watches them.

Miyazaki films are renowned for the large scope in world building. On the surface, the films are filled with such groundbreaking imagination that anything is possible such as Spirited Away and Howl’s Moving Castle. A trait of Miyazaki (particularly his earlier work in the 80s and 90s) is his underlying discussion on mankind’s treatment of nature. He incorporates this subject through various contexts whether that is through sci-fi/action (Castle in the Sky), dystopic (Nausicaa: Valley of the Wind) or a historical Japanese setting (Princess Mononoke).

Takahata’s film are formed by Japanese heritage and history. His worlds are usually formed by the real world with his most well-known film being Grave of the Fireflies (1988), a traumatic biopic about a teenage boy and his younger sister struggling to survive in World War II Japan. The opening alone is enough to break even the hardest of hearts. My favourite of Takahata’s is his swansong, The Tale of the Princess Kaguya (2013), a retelling of Japanese folklore about a baby who is found in a bamboo stalk. It is a beautiful piece about a woman’s place in society and is mixed with magic and tradition and yet seems so unique and groundbreaking at the same time.

As I said before, Castle in the Sky is my all-time favourite which I know is probably a very different choice from most people. When Sheeta, a young girl on the run from the authorities and pirates, falls from the sky and is found by young miner Pazu, they team up to find the floating Kingdom of Laputa, a castle in the sky. I remember the first time I watched it and was taken aback by how original it was and to me it was (and still is) a flawless film. The weird thing is that I am aware that it isn’t the “best” Ghibli film (I think that would probably go to either Whisper of the Heart or Spirited Away) but there’s a beauty in Castle in the Sky in how brilliantly huge the imagination is so early on in Ghibli’s career. There’s a fearlessness in how the film isn’t afraid to include flawed heroes and complex primary and secondary characters. Also, the music by Joe Hiasaishi (who is also a Ghibli icon) is nothing less than stellar.

What are your favourite Ghibli films? Let me know in the comments below!