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!
Cardiff Animation Festival offers an extensive showcase of some of the best animation films from around the world. I attended the physical festival at Chapter and discovers a rich eclecticism of the films on offer.
Checkpoint
Day 1
The first thing that you notice upon walking into Chapter Arts Centre is just how busy it is. 2022 marks Cardiff Animation Festival’s fifth year and its second in-person event (the first physical festival took place in 2018, and was followed by three years online).
This year, CAF was able to make good use of the physical space available while also boasting an array of virtual events which continue after the in-person offering until 24th April. The festival was spawned from a love of the animation medium – specifically short films and the licence they give for emerging filmmakers to be experimental with their storytelling and animation style. Hence, it’s no surprise that this is a festival which makes space for both local and international voices. That eclecticism is certainly felt in its many offerings, with no shortage of themes, styles, and perspectives, culminating in a festival that is culturally rich and rewarding.
Hand
There are seven showcases of short films numbered from 1 to 7, each containing a multitude of shorts within the category that share a common theme. I attended ‘Shorts 3: Sound/Vision’, which boasted the most amount of shorts with 17 films included in total.
As the title of the showcase suggests, these films are linked by their innovative use of sound and how this compliments (and sometimes contrasts) with the animation styles. Themes spanned numerous areas, with the pandemic and climate change being among the most recurring topics. The use of hands in various shorts such as WYH and Hand was particularly striking, used to explore the pandemic and gesture to the natural human instinct to communicate and connect with others.
Other shorts focused on the body as a whole, and brought brilliant commentary to discussions around mental health, especially prevalent in shorts such as Downfall and Summer Years. Others ventured into comical territories, including Acid Rain and Cockpera.
Noise Film
Merlin Voss’ poignant Noise Film was a personal highlight. Its narrative follows a protagonist going about her daily routine with the entire soundscape – from car to weather – rendered by humans. The way Noise Film utilises this sound exemplifies the power of subjectivity and how personal perspective may shape perception of outside events.
‘Shorts 2: Human/Nature’ was another bumper category with a whopping 16 films within its rota. These shorts were connected by their themes of identity and the self, contrasting the differences between mankind and nature in a period of increasing climate-based tension.
There were shorts that had a keen interest in the natural world such as Suburb and In Nature, while others had a sharp focus on the human experience such as the heartbreaking Deep Tissue and Silvering. I would be remiss not to mention the hilarious Magical Cat, a series of minute-long shorts that cropped up throughout these pieces following the comical activities of an animated cat.
Magical Cat
Emma Kelly’s Looking for Answers, in particular, offered profound reflection on human experience with a simple story of a man eager to plant and grow a seed who ultimately gets knocked off course by an obsession with research.
‘Shorts 6: Reel/Life’ featured 12 shorts with experimental themes and storylines. Most were made as a response to political issues, and their interests were global in reach; from Checkpoint which follows a young girl in modern-day Palestine to Les Larmes de la Seine (The Seine’s Tears) which explores France’s Algerian population in the 1960s and their rebellion against the curfews imposed by the police. Necessarily, these were not comfortable watches and they emphasised the didactic and activistic power of the animation medium, especially in addressing political taboo.
Freedom Swimmer
Olivia Martin-McGuire’s Freedom Swimmer was especially moving. Its narrative follows a man’s past flight from China to Hong Kong with his young daughter, its story running in parallel to the story of his granddaughter’s current fight for freedom in modern-day Hong Kong. The combination of live-action interviews (using actors to ensure all identities are anonymous) and minimalistic animation tells the story with an intricacy which is at once specific and universal.
‘Shorts 4: Home/Sick’ was the final set of shorts I attended on the first day. Each filmmaker in this showcase explores the themes of home and belonging, the meanings of these terms being both literal (I Call it Home) and conceptual (Depths of Night). Each short gives insight into the nuance of individual experience, and the complexities of what we claim as home.
Affairs of the Art
Joanna Quinn’s Academy Award-nominated Affairs of the Art is the stand-out piece of this set. It sees the return of her much-loved character, Beryl, in a mockumentary format as the protagonist delves into obsessive natures, documenting Beryl’s own fascination with art. Quinn perfectly conveys the shifting dynamics in the family home as she delves into desires and regrets – a perfect encapsulation of the universal longing for identity and meaning.
Day 2
Day 2 is marked by another bustling cinema foyer – the area wall to wall with aspiring animators with plenty of space for scribbling and storyboarding ideas. As well as more film showcases, a masterclass hosted by Joanna Quinn, director and animator of the Oscar-winning short film, Affairs of the Art, is on offer.
Isaiah
Things kick off with ‘Shorts 5: Silent/Cinema’. This collection of films contains the least amount of shorts with only nine in its repertoire, but this is only due to the longer running time of each piece.
‘Shorts 5’ is, in many ways, the most accessible of all the showcases – each piece linked by lack of sound and visual storytelling. Still, the plots are no less vivid for the restraint. Isaiah – one of the shortest of these films – tells the story of Mari Lywd and the tale of its Christianisation. Meanwhile, Megamall provides an insightful look into capitalism and its varying impact.
Pilar
Yngwie Boley’s Pilar captures my heart – its story following a character desperate to escape her post-apocalyptic village and reconnect with nature. Equally wonderful is Samantha Moore’s Treasure, the film following a man’s search for treasure using a metal detector in the modern-day and the connection to the past where we follow a young mother from the past who sacrifices her treasure for the good of the community. These films are completely different in themes and animation style, but both convey the power of the visual format to transcend the need for dialogue in conjuring intense emotion.
‘Shorts 1: Together/Apart’ consists of films connected by the themes of connection and communication – a deeply relevant topic following the years of global pandemic. These shorts display an acute focus on humanity.
Signs
Films such as Signs and Everything Is Going To Be OK explore the desire to reconnect with others after losing oneself in daily routine, while My Ex Boyfriend is a hilarious story about a woman whose life is flipped upside down when water begins to pour out of her boyfriend.
What was great about this collection of shorts was the inclusion of LGBTQA+ stories such as Sincerely and All Those Sensations in My Belly which followed the respective protagonists in their quest to find love in a world which doesn’t always accept them. Lina Kalcheva’s Other Half is a thoughtful claymation exploring a world where couples literally merge together to form one body.
Day 3
The weekend has begun and more animation is on the menu. I start off with ‘Shorts 7: After/Dark’ – with a turn to the darker side, CAF offers firm rebuttal to offhand remarks made at this year’s Oscar ceremony about animation being solely for children. Feature film Flee – which screened at this year’s CAF – was a contender for multiple Academy Awards. The 12 films within ‘Shorts 7’ explore (sometimes with graphic detail) issues of trauma and violence.
MOM
The first film, HIDE, is a beautiful and claustrophobic look into trauma as we see life through the eyes of a young boy who hides in a cupboard and sees glimpses of family life that are often kept hidden from children. MOM follows a young girl who is being hunted for entertainment as her plight is broadcast across the country and her reflection on memories with her mother allow her to come to terms with how the past has shaped her.
The Swiss film, Mr. Pete & the Iron Horse, provided a hint of fun – following a soldier and his quest to appease his leader. Paul O’Flanagan’s Memento Mori, which followed an esteemed post-mortem photographer, Mr. Huxley, and an encounter that forces him to reflect on his previous behaviours is a standout piece. Featuring Mark Gatiss as the protagonist, the film transports its audience into the Victorian era and does a brilliant job of setting the mood and tone from start to end.
Mr. Pete & the Iron Horse
Day 4
Shorts all out the way, the last day of the Cardiff Animation Festival has come around fast. Today the schedule turns East with two feature length Japanese films to watch before the concluding awards ceremony.
Japanese documentary The Kingdom of Dreams and Madness starts the day, the film following iconic Studio Ghibli founder and director, Hayao Miyazaki, as he directs his 2013 feature, The Wind Rises. It’s a beautiful and poignant look into the creative process of one of animation’s leading figures, looking into his entire career and what led him to make The Wind Rises.
The documentary not only gives a brilliant insight into one of the world’s best animation studios but also shows just how much hard work and dedication goes into making a feature-length animation. The screening was followed by a talk by the popular podcasters behind Ghibliotheque where they discussed various aspects of the studio and the filmmakers.
The Kingdom of Dreams and Madness
Next I attend the Welsh premiere of animator loundraw’s directorial debut, Summer Ghost, a 40-minute film that follows three teenagers who meet in the hopes of encountering a mysterious ghost who has been appearing to people during the summer months. A deeply resonant film that looks into the complexities of adolescence, identity, and trying to find your place in a quickly-advancing world, Summer Ghost boasts captivating visuals and a gripping story while managing to delve into each of the main characters’ lives in a way that feels natural. There was also a pre-recorded Q&A with loundraw following the film which delved into his rise in the world of animation and the various inspirations behind the film.
Awards Ceremony
The festival concluded with the awards ceremony where multiple films received the beautiful trophies that had been painted with dots by festival-goers throughout the weekend.
After each winner was announced, the audience was treated to a final viewing of the winning film which was a great bonus. A resounding success from start to finish, Cardiff Animation Festival is a powerful showcase for the emotional vitality and variety of the animation form.
You can see all the winners of the Cardiff Animation Festival 2022 in order that they were announced below:
Best Micro Short
Winner: NOMINO SUKUNE (directed by Ryotaro Miyajima)
Highly commended: Crafty Witch (directed by Laura-Beth Cowley)
Young Jury Award
Winner: Shift (directed by Cam Swartz)
Highly commended: Heartwood (directed by Reyes Fernández), Tobi and the Turbobus (directed by Verena Fels), and Tacet (directed by Zachary Simon)
Quick Draw Award
Winner: Blending In (directed by Bethany Powell)
Highly commended: Camouflage, Sniff Test, Blend, and Guinea Pigment
Best Student Award
Winner: Other Half (directed by Lina Kalcheva)
Highly commended: Sauna (directed by Anna Lena Spring and Lara Perren)
Best Short Film
Winner: Freedom Swimmer (directed by Olivia Martin-McGuire)
Highly commended: In Nature (directed by Marcel Barelli)
Audience Award
Winner: Affairs of the Art (directed by Joanna Quinn)
Pixar’s latest film, Luca, takes us all the way to the Italy and follows the life of the titular character, a sea monster, who longs to have adventures on the surface after being introduced to the land by his new friend, Alberto, who is also a sea monster. The two escape to the nearby town of Portorosso in a bid to purchase a Vespa so they can go on many adventures. There have been comparisons made with other films such as Call Me By Your Name and Disney’s own The Little Mermaid but Luca is a distinctly unique film of its own and blends wonderful animation style with an unexpected storyline. Directed by Enrico Casarosa and based on a script by Mike Jones and Jesse Andrews, Luca will leave you breathless thanks to the beautiful animation, engaging characters and heart warming message.
Casarosa’s direction is wonderful and Luca marks his feature directorial debut for Pixar following his beautiful Oscar nominated short, La Luna. What made La Luna such a standout short among the Pixar shorts is how vivid it is in its use of colours as well as how emotional the storytelling is. Casarosa certainly knows how to convey the emotion of storytelling through the differing landscapes. The script also does well in serving this desire for freedom as we are thrust into Luca’s world with very little set up so we become introduced to everything as Luca is. Taking inspiration from the films of Studio Ghibli in terms of the rich scenery, coming of age journeys as well as naming the town Portorosso after Ghibli’s beloved film Porco Rosso which also takes place in Italy. Jones and Andrew have written a film that dives deeper than what’s on the surface.
Leading the cast as the titular character is Jacob Tremblay, who has had a brilliant career for someone so young. Having his breakthrough aged 9 in the Oscar winning Room, Tremblay has quickly established himself as an actor capable of bringing a variety of strong performances that many adults could only hope to achieve. This makes him perfectly cast as the titular character, Luca, who wants to explore the world against his parents’ wishes. There are a lot of similarities between Luca’s character and Miguel from Coco in that they are both young boys who want to venture away from what is expected from them and express themselves. Where Miguel wishes to create music, Luca wants to travel and learn about the world. At the start of the film, we see how Luca’s life is micromanaged and despite living in the ocean, is confined to a particular amount of space and is not allowed to venture outside of it before his eyes are opened by Alberto who shows him that there is an entire world out there. Tremblay embodies Luca’s adventurous side and enthusiasm for learning really well and makes the film even more enjoyable to watch.
The rest of the cast is full of newer faces as well as established names which provides a freshness and balance which is needed. Sometimes, animated films can be filled to the brim with starry names but this can take away from the magic of the film. Jack Dylan Grazer does a fantastic job as Alberto, the confident know-it-all who introduces Luca to the surface. As he grows closer to Luca, we begin to see Alberto’s deeper layers and his vulnerability begins to show. Grazer portrays this perfectly and, like Tremblay, has demonstrated his ability to act in a wide range of roles. Newcomer Emma Berman brings a wonderfully energetic performance as outgoing Giulia, who is determined to win the local triathlon while acting staples Maya Rudolph and Sacha Baron Cohen are absolutely wonderful in their small roles as Luca’s mother and uncle respectfully.
With the film being set in Italy and showing this big adventure and friendship between Luca, Alberto and eventually Giulia, the music had to be spectacular to match the film’s brilliance. When it comes to superb film composers, there are few that have achieved the emotion and spectacle in their music as Dan Romer. Romer’s score for the phenomenal Beasts of the Southern Wild is one of the best scores this century thanks to his strong control using brass and strings specifically to convey the fine line between emotions. It is no different with Luca. Bringing in signature brass statements when the boys escape to Portorosso and mixing it with softer pieces, Romer adds another successful installment in a filmography that is bursting with so much talent.
Luca does have an abrupt start but once it finds it flow, the film begins to unfold and develop beautifully. Combining lovable characters, a great script and fantastic direction that has become a staple of Pixar creations, Luca brings an important message of accepting one another’s differences and pursuing your passions in a world that is full of sunshine and colour. A brilliant summer blockbuster, it definitely would have been great to see this on the big screen and hopefully Pixar will be coming back to cinemas with their next release.
What did you think of Luca? Let me know in the comments below!
The latest film by Studio Ghibli is Earwig and the Witch, which has been the subject of controversy among Ghibli fans due to the computer animated style of the film which differs a lot from the signature 2D anime style that the company has become known and lived for. With Hayao Miyazaki’s son, Goro, taking the helm of this Diana Wynne Jones novel, it seems that Earwig and the Witch is seeing how Studio Ghibli does in the computer animated landscape which has dominated animation for the last decade. The film follows orphan Earwig (who is promptly renamed Erica by the orphanage matron) who is adopted by Bella Yaga, a Witch, and the Mandrake, a mysterious man who keeps himself to himself.
Please bear in mind that this review is in regards to the English language version as the Japanese language with subtitles was not an option at the cinema.
The film is directed by Goro Miyazaki, whose previous films with Ghibli include Tales from Earthsea and From Up On Poppy Hill. With his father bring Hayao Miyazaki who is not only one of the founders of Studio Ghibli but is a titan of animation, it’s easy to immediately compare Goro’s work to that of his father’s. Although his efforts have been proven to be hit and miss, there is something about Goro’s vision where you can tell he is wanting to push boundaries in animation. From the Universe building spectacle of Tales from Earthsea to his latest integration of computer animation in Earwig and the Witch. It is no secret, the computer animation does look out of place in the Studio Ghiblu catalogue but it isn’t too distracting with some scenes looking impressive such as the opening car chase. However, it does seem that the world would have looked even better and more detailed if it was done in the traditional hand drawn way. When watching the English dubs of other Ghibli films, it’s not too obvious, however, the computer animation makes the dubbing distracting at times. A comparison that could be made is that Goro has adapted a Diana Wynne Jones novel which reflects his father’s 2004 adaptation of Jones’ novel, Howl’s Moving Castle which is often ranked as many people’s favourite Ghibli film. When compared to Howl’s Moving Castle and Diana Wynne Jones’ universe as a whole, the holes and odd pacing of Earwig and the Witch are evident. With an extremely short running time of 90 minutes, the film ends abruptly and feels as though there is a scene missing.
The leading role of Earwig is voiced by newcomer Taylor Paige Henderson who brings a stubbornness and hardness that would be expected of a young girl with Earwig’s background. The character of Earwig is much like other Ghibli heroines in that she thinks she knows the ways of the world but she has a lot to learn. However, bearing in mind she is likely younger than the fiercest protagonists such as Nauiscaa and San, Earwig is a little rough around the edges in terms of her character. Henderson does a good job at portraying Earwig’s unapologetic nature. Vanessa Marshall on the other hand does a stellar job as Bella Yaga, the witch who takes Earwig into her care. Even when not on screen, we feel Bella Yaga’s presence. Much like the witches of Ghibli (think Yubaba and Witch of the Waste), Bella Yaga is focused on herself and on the surface, doesn’t wish to subscribe as a role model for the younger characters. Also like the aforementioned characters, Bella Yaga appears to be mean and unreasonable but actually has a kind side and does appear to care for Earwig.
In support, Richard E. Grant pulls off a fun performance as the mysterious Mandrake, a tall and lurking figure of little words who quickly becomes subject of Earwig’s curiosities. As Earwig settles into her new family life, we see the bond between her and the Mandrake grow stronger. However, the strongest bond with Earwig is the family cat, Thomas, voiced by Dan Stevens, who acts as Earwig’s companion and mentor to the world of magic as our protago is struggles to fit into this new world.
Overall, Earwig and the Witch is by no means a top tier Studio Ghibli film and it does have its flaws, especially the script which doesn’t feel entirely finished, but it should be applauded for trying something new. Although there is nothing necessarily broken about Studio Ghibli’s output, there are some eye-catching sequences and with a great song, “Don’t Disturb Me” sung by Kacey Musgraves which will get stuck in your head long after the credits roll, Earwig and the Witch is definitely worth a watch.
What did you think of Earwig and the Witch? Let me know in the comments below!
One of the most original and unique animated films of recent times, Away is a silent film that wears its heart on its sleeve. Following a young boy who lands in unknown territory, he finds a motorbike and a bird and searches for safety as he is chased by a large shadowy monster that seeks to kill him. Written, directed and scored by Latvian filmmaker, Gints Zilbalodis, Away is an incredible achievement for him, especially considering that he also animated the entire film by himself. The computer animation is unlike anything I have ever seen before and found myself really appreciating the style and in love with the contrast between the living creatures and the natural world and how the two coincide.
Away is a clearly labour of love for Zilbalodis who has created an incredible feature debut all by himself. Although the plot itself is fairly minimal, it does make for an interesting character study. We don’t know who this boy is and how he got there and yet, we understand his plight and the connection he develops with the bird. In its tone and silence, it is easy to make comparisons with animated films of late such as Studio Ghibli’s The Red Turtle as that also has some of the same qualities. Be aware though that Away is its own film and like the films of Studio Ghibli, is invested in its own universe and lore despite its similarities. Thanks to the lack of storytelling, the message from Away is up to interpretation whether you take it literally or metaphorical, it is a film that is designed to gauge a reaction from its audience.
The style of computer animation is incredibly minimalistic and marks a welcome change from a landscape where animated films go overboard to provide every single fibre and texture that can be overwhelming at times. Where the animation Away really thrived is in its natural backdrops, particularly the mountain areas and valleys. Enough detail to distinguish the shading and implied distance yet following a particular colour scheme so the film looks consistent and maintains it’s uniqueness. The design of the shadowy monster definitely has tinges of Ghibli, specifically the Forest Spirit when it transforms into the Nightwalker in Princess Mononoke. The idea of this huge shadowy presence that kills the life it touches can be interpreted in so many different ways. What I also found particularly interesting is how the design of the monster doesn’t have any distinguishing features over than its basic shape and colour and yet still remains a powerful presence when onscreen.
The music by Zilbalodis is used during the majority of the film, although there are some scenes of silence. The score contains a lot of large, open pieces that reflect the beautiful landscapes where the boy finds himself. The piece that plays as he rides across a watery surface underneath the sunny sky is particularly good as it captures that whimsicalness and mystery that the film conveys. The film may not have any dialogue but Zilbalodis does a great job of bringing the words to life through the score.
Overall, Away marks a wonderfully gripping feature debut that thrives in its minimalism. Zilbalodis is a filmmaker to watch out for and it’s exciting to see where his career will take him next. It would be great to see him work on a project for somewhere like Studio Ghibli in the future and see his style develop even further. If this is what he can achieve by himself then imagine what he can do with an entire team behind him!
What did you think of Away? Let me know in the comments below!
AWAY is out now on Apple TV, iTunes, Sky Store, Amazon, Google, Microsoft, Rakuten, Sony and Curzon Home Cinema.
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!
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.
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.
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!
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.
What do you think of Princess Mononoke? Let me know in the comments below!
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.
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.
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!
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.
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.
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!
