1917 is a World War I epic that seems to be the one to beat when it comes to the Best Picture award. Co-written, directed and produced by Sam Mendes, the film acts as a tribute to his grandfather, Alfred Mendes, based on stories that he would tell about the war. Following two young soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) who are tasked with travelling across enemy lines to warn off a British attack before they fall into a trap set by the Germans. The film has become well-regarded for its flawless editing, designed to look like two continuous shots. As well as beautiful technique, 1917 also boasts a stunning cast that includes well-loved actor of the big screen such as Colin Firth and Benedict Cumberbatch as well as TV favourites such as Daniel Mays and Andrew Scott. As expected, Mendes delivers and the continuous shots and editing only exemplify the non-stop nature of war. There is only one point in which the audience is allowed to relax at the start of the third act of the film. The writing is simple as Mendes lays focus on the physicality and the atmosphere rather than the dialogue. There are few monologues and those with speeches such as Andrew Scott’s Lieutenant Leslie are at rare moments of stand still. Co-written by Mendes and Krysty Wilson-Cairns, the script is minimalist in dialogue. Even when following the two Lance Corporals on their journey, we never really hear Schofield’s backstory because he is so withdrawn. One brilliant scene is when Schofield is picked up by a passing British unit and they are sat in the back of a truck. Schofield sits silently as the soldiers around him comment on their various backgrounds, imitate their General and comment on whether occupying other countries is worth the damage. It’s a poignant scene which brings in a humane aspect that is often missing from World War films.
The performances are impressive, particularly by George MacKay who is always on camera. He carries the film in the same way that he carries the message to the troops. It is no easy feat as an actor to hold so much pressure from such a big film but MacKay has shown promise from the early days in his career and his subsequent breakout performances in Pride (2014) and Captain Fantastic (2016). 1917 exploits MacKay to a mainstream audience that he won’t have been subject to in such a way previously. His Lance Corporal Schofield is reluctant to go on the mission and keeps his cards close to his chest but his determination to see it through is fearless, particularly in the final scenes as he runs through the trenches. Schofield and Blake appear to have different takes for their mission at the beginning. Blake is insistent on setting off immediately whereas Schofield logically believes in waiting until dark. Because of the emotional stake that Blake has in the mission (his brother is among the troops heading into the trap), Schofield has to ensure that Blake’s heart doesn’t lead his head.
The two protagonists balance each other out as Blake risks his own life to save Schofield when a bomb is set off in a German trench. Chapman is also fantastic as Blake who appears naïve due to his sentimental nature. When encountering a German soldier whose plane was shot down in a dogfight, Blake’s gut reaction is to assist and get the soldier some water to ease the pain whereas Schofield doesn’t hesitate to shoot at the enemy. As mentioned before, the supporting cast is littered with stars from the small and silver screens. Admittedly, the supporting cast are granted one scene each so it’s more of a cameo, but each actor makes the most of their moments. Andrew Scott particularly delivers a brilliant monologue as a Lieutenant who has little hope in winning the war whereas Benedict Cumberbatch’s Colonel Mackenzie views he retreat from battle as a sign of defeat. The fleeting appearances from the supporting characters is thanks to the perfectly linear narrative of the film itself. We see the two Lance Corporals setting off to warn the Devonshire Regiment and ending with Schofield sat beside a tree in a mirror image of the opening shot.
It would be a big misjustice not to mention the revolutionary cinematography and editing provided by Roger Deakins and Lee Smith, respectively. Both men are at the top of the game in their respected fields and they work fantastically as a team. What these men have managed to achieve feels as claustrophobic and in your face as the war itself. There are many comments from people saying that the continuous effect took some getting used to but for me it felt natural and flowed perfectly. The editing is in a similar vein to the technique used in Birdman but on a bigger scale. What Deakins does so brilliantly is simultaneously provide big explosions shots filled with action while also maintaining great focus on the individual protagonists’ faces. Despite everything that is going on around the soldiers, the audiences’ eyes are fixated on the characters. Deakins’ colour palette is muted as expected in a war film with greens and browns. There are no exaggerated colours or futuristic spectacles. Deakins ensures that the film is very much grounded in its reality. Together, Deakins and Smith manage to create a film that is visually captivating and stunning, making the best use of the environment given and its limited landscapes.
On the musical side of things, Thomas Newman’s score for this film is beyond incredible and has deservedly earned him his 15th Academy Award nomination. This year has seen a strong competition in the score category with both Thomas and Randy Newman pulling punches for their scores for 1917 and Marriage Story, respectively. Undoubtedly, the Best Original Score gong will go to Hildur Guðnadóttir for her stellar work on Joker making her the first woman to walk away with the award. It shouldn’t go unnoticed, however, that Thomas Newman’s score is among his best. Much like the editing, the film is reliant on its score which acts like a thread connecting the scenes. Needless to say, if Newman does end up winning, I wouldn’t be disappointed.
Overall, 1917 has proven to be a much better film than I had originally anticipated and I found myself moved and stunned by the technical and artistic achievement that Mendes has managed to pull off. I’m not sure if it’s a film that you need to watch more than once as I personally got everything out of the film that I needed in one go. I imagine that in time, it will become renowned and known for its technical aspects and the uniqueness in that field rather than the characters.
What do you think of 1917? Let me know in the comments below!
One of the most controversial films to come out this awards season is Taika Waititi’s World War II comedy, Jojo Rabbit. Set in Germany during the last years of the War and follows 10 year-old Jojo Betzler (Roman Griffin Davis), a Nazi fanatic whose imaginary friend is Adolf Hitler (Taika Waititi). He lives with his mum Rosie (Scarlett Johansson) who is anti-Nazi and Jojo discovers that his mum has hidden a Jewish girl called Elsa (Thomasin McKenzie) in the attic. In true Waititi fashion, the film is full of dark humour and quirkiness galore and if you’re a fan of his previous films then you shouldn’t be disappointed. That being said, I understand the negative reaction this film received and wasn’t sure that I would find it funny myself but Waititi’s Hitler is portrayed as a spoilt and childish brat who is the butt of the joke throughout the film. We are laughing at Hitler rather than with him. I was surprised at how little Waititi is in the film and I think this is a smart choice. There is more focus on Jojo and his relationship with Elsa. Waititi’s direction and screenplay are as kooky as ever as he makes the best use of the film’s star power and big budget. It’s a film with numerous moving parts but a heavy focus on its two leads, Jojo and Elsa and does a brilliant job in showing their development.
Davis does a fantastic job as Jojo. Not only does he have brilliant comedic timing in his line delivery, but the confusion as Jojo questions his own extremist beliefs. When he first encounters Elsa, he is surprised at how normal she looks. Because of the lies spouted by Nazi officials, Jojo is convinced that she is a monster and is reluctant to trust her. He equally cannot let his mum or anyone else know that he is aware of her presence because he doesn’t want his mum to get in trouble. Immediately his fanatic morals are conflicted with personal interest and it is because of this that allows him to get to know Elsa as a person and begin to realise that he has been fed lies. There are many moments of true maturity in Jojo but he is 10 years old at the end of the day and the script reflects this. When repeating anti-Semitic remarks and insults that he has heard from Nazi adults, it doesn’t sound true because he doesn’t really understand what he is saying. Jojo begins to realise this himself as he develops feelings for Elsa and he finds it hard to justify his blinded hate when applying the mindset to an actual human. Jojo doesn’t understand why he feels the way he does but manages to do what he believes is right, even if it puts himself at risk.
Thomasin McKenzie is one of film’s highlights as Elsa, the Jewish girl hiding in Jojo’s attic. Elsa is a secretive and feisty character who lets Jojo go off on his tangents and enjoys making fun of him and his beliefs. Eventually, she is more open to Jojo when he begins writing letters pretending to be her fiancé in Paris. She realises that there is more to him than his hatred and that he can change. Her initial scene shows her in complete defensive mode both physically and mentally as she fights with Jojo and steals his knife. She drops her guard down and stays in her hiding place less and less. McKenzie portrays the loss and gain of freedom perfectly as Elsa doesn’t know how to react when she steps outside in the final scene. It seems strange watching her stand in the street as a free woman because we have become so used to seeing her hiding. Her scenes with Johansson demonstrate her range as we see her without the bravado. Her fears for the future and admiration for Rosie come across in a few short minutes which gives us a different perspective to how she acts around Jojo. McKenzie is definitely one to watch and has a promising career ahead of her.
Leading the supporting cast is Scarlett Johansson who is spectacular in what can only be described as a fantastic year for her career. Johansson caps off a phenomenal year in film with her take on Jojo’s mum, Rosie. Rosie is confident, bonkers and brilliantly outspoken. She doesn’t allow men to treat her how they want and spends her time empowering Jojo and allowing his imagination to run off with him. She disagrees with his Nazi fantasies and spends a lot of her screen time trying to capture the child in him by acting childlike herself. The character is also one of much complexity as she misses her husband as he has been missing in Italy for two years but keeps a strong front for Jojo’s sake. In one such dramatic scene, Rosie acts as both mother and father to distinguish how each one treats Jojo. With a simple smear of ash from the fireplace, Johansson becomes Jojo’s father. Her performance in Marriage Story is more defined but this shouldn’t detract from the brilliant work that she does here. Also in support is Waititi as Hitler which is the most controversial character for obvious reasons. His Hitler is clingy and desperate for attention and adoration. Seeing him in his final scenes as a pathetic man begging a child to show him some admiration is the nail in the coffin for his character and solidifies him as the punchline. Waititi is cartoonish and a complete buffoon in this role and at times is completely over the top to the point of ridicule but that’s what makes the balance work in the film. Waititi’s Hitler is created from the perspective of a child who has viewed him from the media. Because of this, Hitler’s personality is magnified to the max.
The film was enjoyable and I liked it a lot more than I thought I would. Particularly the performances from the leads as well as the characterisation of Jojo’s best friend Yorkie (Archie Yates) who is oblivious to what is going on and isn’t at all bothered about Jojo hiding Elsa. The film doesn’t pack the same punch that Waititi’s 2016 film, Hunt for the Wilderpeople did but it’s an entertaining watch nevertheless. I’m looking forward to seeing where Waititi takes his career next and hope that Sam Rockwell is in all of his future projects.
What did you think of Jojo Rabbit? Let me know in the comments below!
“If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you’d be the first person in the history of the world.”
Lancaster Dodd, The Master (dir. by Paul Thomas Anderson, 2012)
By the time this statement is spoken, we have seen the relationship between ex-Naval officer, Freddie Quell (Joaquin Phoenix) and Master of the Cause, Lancaster Dodd (Philip Seymour Hoffman) flourish and burn. The scene in which this exchange happens is in London. Freddie has travelled the Atlantic to face off The Master once more. On entering The Cause’s headquarters, he is judged by those who know him and ignored by those who do. There is no physical conflict, no shouting, only two men who are saddened by the demise of their friendship and the realisation that they can never see each other again. The Master is the head of The Cause, a cult that believes they are spirits living in a vessel and once life ends in one vessel, they simply move on to the next. Dodd’s mission is essentially one that lasts for eternity. Freddie staggers in a drunken state onto Dodd’s boat after accidentally poisoning a man with moonshine he had made. Freddie is an ex-marine, unemployed, sex-addicted alcoholic, making him the perfect challenge for his new methods to engage with past vessels. Completely unhinged and uninfluenced by society, Freddie refuses to be reined in by the restrictions put to him by Dodd and his wife, Peggy (Amy Adams) resulting in the collapse of the American branch of the Cause and forcing Dodd to relocate to England.
The Master is regarded one of the best films of the 21st century so far and is one of my favourite films ever made (I have written a review which you can read here). Set in 1950, the film follows ex-marine, Freddie Quell, as he becomes associated with the Cause, a cult that believes that the spirit transcends the body (or vessel as is referred to) and simply changes after death. Although the film is set in a particular place at a particular time, its subject matter actually makes the film seem timeless. The characters wear clothes as expected of the time and the treatment of women and sex is reflective of the time but the sentiment transcends its period, much like the spirit, and can be argued as relevant in the 21st century. Of course, this film was made in the 21st century so it has the advantage of hindsight but I think Paul Thomas Anderson’s script captures the idea of the slave and master perfectly. The Cause is portrayed as a small religion, a friendly group of people who channel their past selves in order to eventually see where man began. Freddie is confused by everything and only wants to drink and have sex but these activities are rejected and he becomes uncomfortable and agitated. It is as though he is young again as we see flashbacks of him with his first love, Doris, before he leaves for war. There is hope in the young Freddie of returning home and marrying Doris but this dream is shattered on his arrival as he finds out she is married with two children. The Cause gives Freddie a purpose to live by hoping to engage with his inner self and control it, thus allowing him to become fully subservient to The Master.
The ending brings the film full circle as Freddie has sex with a woman he meets in a pub and thinks about his time on the beach after the war, waiting to go home. The final shot is him sleeping beside a female form made of sand. It is peaceful and serene as Freddie appears comfortable. He has become “the first person in the history of the world” to live without serving a Master. He is the free spirit that Dodd achieves to ultimately control, the “sworn enemy” as he puts it.
“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
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.
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.
“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.
“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.
“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.
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”.
