This past weekend I attended a special prescreening event for Studio Ghibli’s The Secret World of Arrietty at Symphony Space in New York City. Due to the film being screened as a very special pre-theatrical release, all reviewers, writers, and bloggers were asked to refrain from writing reviews on the film. And so I will respect Symphony Space’s request and wait to post a full-fledged write-up until the film is fully released in February. For the time being, I would like to give a general summary of my experience at Symphony Space and the screening that helped to kick off the Children’s Film Festival in NYC.
The Secret World of Arrietty is a Studio Ghibli film that has been licensed by Disney for release in the United States, while GKIDS is distributing the film to theaters. The film is an adaptation of the novel “The Borrowers” and its target audience is young children to adults. It follows the young “borrower” Arrietty and her adventures in being a miniature human being. No really, she’s only a few inches tall! She befriends a human being named Sho, or Shawn in the English dub, and such an act is forbidden to such borrowers. This of course creates a friendship and a conflict within the film, but I will go into that more in a future write-up.
Seeing Arrietty in a large theater was a fantastic experience, and I can’t thank Symphony Space and GKIDS enough for allowing such a special screening. There were many children who attended the screening along with their parents, but it was evident that anime fans made their way to the screening as well. As announced before the beginning of the film, this was the official first screening of the English dub in the United States. And if I may add, the dub was overall pretty good. So don’t be afraid to check out the dubbed release in February as it is very entertaining.
Of particular interest and a fact I would like to point out is how when waiting for the film to start there were a number of images projected onto the screen in regards to the Children’s Film Festival that GKIDS helps to put on. Of particular interest were the titles Hoshi o Ou Kodomo (Children Who Chase Lost Voices From Deep Below) by Makoto Shinkai and Hiroyuki Okiura’s (of Jin-Roh: Wolf Brigade fame) A Letter to Momo. I believe this means they will be screened as a part of the New York Children’s Film Festival, and I can’t wait to see these films on the big screen.
Thank you again to Symphony Space and GKIDS for distributing The Secret World of Arrietty! Keep up the good work and bring more anime to NYC!
It had been a long while since the last time I saw Laputa, maybe six or seven years ago. It was probably around the time I wanted to see more Ghibli films after the encapsulation of Spirited Away. All I was able to find, though, were Kiki’s Delivery Service and Castle in the Sky at my local movie rental store. At that age I was able to enjoy Laputa with the mindset of a 14-year old. Now in 2012 I am 22 years old and I appreciate the film with so much more depth and meaning. I had forgotten the struggles of Pazu and Sheeta, and the mind-blowing quality of animation that is precedent in so many of the film’s scenes.
Castle in the Sky was released in 1986 and the film has aged well over time. The tale is a classic but I will recount it anyway. The mysterious Sheeta falls from the sky and is surrounded by a blue light, allowing her to float to the ground with a graceful essence. The power of her necklace protects her in times of need, but it’s also the main source of conflict throughout the film. Meanwhile, the energetic Pazu is there to catch her from the sky. He’s an orphan who prides himself on the fact that his father once saw the famed ancient city Laputa while flying in the sky.
There are two main organizations who are after Sheeta and her necklace. One of them is a crew of sky pirates led by the granny-like Captain Dola. The other is the military, headed by an investigator named Colonel Muska. Dola and Muska’s objectives differ significantly, or so it seems. Dola seems to want the necklace as it’s a valuable treasure to steal while Muska believes it will lead him to Laputa where he will gain access to great destructive power.
One great element that is featured in Laputa is its set up of characters and what Miyazaki does with them. He crafts them in such a way that you care for them and you want to support them in their struggles. The antagonists are molded into beings that we want to see defeated, and then Miyazaki has us question the morals of others. Captain Dola is an example of a woman who is revealed to be kind at heart even though she is first presented as a pure antagonist. Muska is pure evil and his facial expressions alone reveal his obsessions for power.
I have yet to see every Ghibli movie, but of the moderate selection I have seen there are not that many male protagonists. As Studio Ghibli’s first actual film, I wonder if they experienced difficulty with balancing between Pazu and Sheeta. Sheeta is a strong character but she relies on Pazu for portions of the film to help her get through situations. Pazu has his own flaws but comes through for Sheeta as he learns about himself and grows into a fine young man. Sometimes he is typical of a male antagonist, diving into the fray to save the princess. He is the determined hero who guides Sheeta to safety. But he’s also so young that he is learning that he himself may not be the bravest person, but that he can still make up for his faults. This is why he returns to Sheeta to be her knight in shining armor, except the armor is replaced with a miner’s clothing.
Another element that defines Laputa as a Ghibli film is the connection to nature and humankind. I’m not sure how well Disney’s dub tried to match the original Japanese language track, but clear references are made to respect the planet as it will protect you back. Miyazaki also shows a Laputa overrun with plant life as a result to some great calamity in the skies from years ago. This must mean that the flying islands of old warred with one another until Laputa was the only nation left standing. And the result? A once lively culture bereft of human beings where only defunct robots lie in a rusted sleep.
Our senses are teased with warm feelings as atmospheres of green habitat caress our eyes. But in a turn of grief the Laputa civilization is lost and Sheeta is alone in her lineage. So instead of just toying with our emotions, Miyazaki uses transitions in emotion to teach us valuable lessons in appreciating family and nature. And if you were to take a look at other Ghibli films you will see similar themes across the board.
More can be analyzed in Miyazaki’s Laputa, but it is these simple elements that come together to create a great film. The friendship that is formed between Sheeta and Pazu is unique in that they are both carefree (to certain extents) and that they have conveniently found one another at just the right time. Sheeta literally fell unconscious into Pazu’s arms for crying out loud! We can wrap Laputa’s themes and characters into a presentation of lessons and entertainment, but Ghibli never quite seems to just want to make a piece of throwaway fun. They want to walk with us as we grow, remaining a part of our lives throughout.
I believe this has happened with my experience with Laputa: Castle in the Sky, and I sincerely hope that you rewatch it every now and then to be reminded of a companion film in your life. It’s fun, entertaining, imaginary, and full of things to help you reflect on yourself. Ghibli may not be the only ones to do this, but they are certainly masters of it. So enjoy it while you can.
I have now seen Howl's Moving Castle enough times to truly believe that it is one of Studio Ghibli's weakest films. It's not quite a personal distaste for the film itself, but rather a conclusive reaction to sub-par storytelling and a plot that is not only hard to grasp but also has holes in it. Swiss cheese anyone?
If there is one thing I need to make clear, it's that Howl's Moving Castle is gorgeous. It's a Ghibli film and this is what we've come to expect, but because it's an adaptation of a fantasy novel we get something more. The lush landscape of Howl's hometown and other scenic locations, the effort that went into animating Howl, and the pure mastery of cinematography in an animated film come together to bring a visual feast to the eyes.
But something's missing. It may be Miyazaki's direction, but that doesn't seem to fit the missing puzzle piece. It may be true that Miyazaki had to take on direction of the project even though he was in retirement, but does this explain the lack of pure heartfelt moments? No. It doesn't.
The plot of Howl's Moving Castle is simple on paper, but translating it into a 2-hour film makes things a bit chaotic. The young Sophie meets a wizard named Howl who takes an interest in her. The jealous Witch of the Waste casts a curse on Sophie that turns her into an old woman because she wants Howl's heart. At the same time there is a large-scale war happening in the background, fueled by different countries that appear briefly in the script. Howl gets involved in the war but there doesn't seem to be a solid reason for his actions. Each time Howl transforms into a bird-like creature, he risks never being able to turn back into a human being. The film follows Sophie and her adventures with Howl, with her trying to recover her younger body while Howl doesn't seem to have an exact purpose but to stop the war. The plot advances into an engaging treat but does more telling than showing along the way. Yet this is Japanese animation! I know the audience would have been able to figure out certain details for themselves.
It seems that too many plot devices were installed into the script, and while the flow of the movie is constant, it lacks the magical moments that Miyazaki and Ghibli have created in other films. I love the first 10 minutes of Howl's Moving Castle because it introduces a sense of flight and imagination, but then quickly tapers off to something sub par. The magical, heart-engrossing moments that are common to Ghibli films come naturally and don't seem forced, yet Howl's Moving Castle struggles to create such a connection.
Howl's Moving Castle seems to be a bump in the road for Studio Ghibli, similar to Tales from Earthsea (2006). Well actually Howl's is certainly better than Earthsea... but not every film that comes from one production house can be a magical hit. The next film helmed by Miyazaki was Ponyo, and that film brought back the magic that Ghibli is known for. Even though Howl's was a massive success financially, I believe it would have been a greater success if it simplified its story just a bit more and focused more on the characters; especially the relationship between Howl and Sophie.
This is a beautiful film that seemed to be just a bit over its head. Its characters were believable but their relationships needed more of a connection. I wish it was more character-driven instead of plot-driven. Events unfolded to get us from point A to point B and then C. It's when the audience doesn't pick up on such storytelling that a movie has done its job in taking the viewer out of reality and suspended his or her beliefs. Howl may have been a powerful wizard, but unfortunately he didn't have the right spell to capture my heart.
Whisper of the Heart's original Japanese name is Mimi wo Sumaseba, or "If you listen closely". It's an adaptation of a manga by the same name, directed by the late Yoshifumi Kondo. The screenplay is written by Hayao Miyazaki. This is one of Studio Ghibli's finest character-driven stories ever told.
We follow the simple-minded Shizuku Tsukishima who enjoys delving into fantasy novels and the like. She's in junior high and doesn't know what to do with her life, worried about high school but not about boys. She has a knack for writing stories and lyrics, sharing them with her friends and best friend Yuko Harada. One charming scene features the two singing Shizuku's adaptation of Whisper of the Heart's theme song "Take Me Home, Country Roads" together after school.
Shizuku notices at the library that someone by the name of Seiji Amasawa has been taking out all of the books that she's interested in. This leads her to believe that this Amasawa has the same liking of fantasy literature as her, so she starts to wonder who he is. Kondo and Miyazaki craft the story so that we meet Seiji early on, but Shizuku doesn't realize he's the one and only until late in the film. We all know first impressions are the most important, and according to Shizuku, Seiji's a jerk.
Much of the Whisper of the Heart's story is crafted by Shizuku's adventurous personality. One day while she's riding the train she notices a cat on board... A very fat cat.
This cat has his own adventurous qualities and leaves the train at the same stop as Shizuku's. She follows him all around a certain part of Tokyo, climbing hills until she reaches a neighborhood she's never been to before. He leads her to an antique shop where she meets Seiji's grandfather Mr. Nishi. Kondo uses a nice frame within a frame shot that captures their faces through one of his antique clocks.
Down below the shop is a woodworking room where Seiji and other students craft violins with their own hands. This leads to a beautiful and heartwarming scene between Seiji playing the violin and Shizuku singing lyrics from Take Me Home, Country Road. Mr. Nishi and his friends show up to round out a small band of fun.
Shizuku is in junior high and things can be tough for her. Although boys weren't on her mind, things soon change with Seiji. Whisper of the Heart deals with teenage crushes and relationships, bringing up feelings of nostalgia from days of old. Shizuku lives with her mom, dad, and sister in a small and cluttered apartment. Cramped inside such a small place can create tension between family members, which is another theme we can relate to.
Seiji knows what he wants to do with his life and become a professional luthier. I don't want to give certain plot elements away, but this inspires Shizuku to go forth writing her first novella. This is so important because while Shizuku's life does not feature any magical fantasies, we see segments of her story animated. Inside Mr. Nishi's antique shop is a statue of a dressed cat called Baron; something Shizuku takes a liking to when learning the figure's history. She uses Baron in her story, but this isn't the only place the Baron shows up in Ghibli's history. The film "The Cat Returns" is based off of Baron where he originally appeared in Whisper of the Heart. Isn't that neat?
Some things that always impress me in Studio Ghibli's works and anime in general are the painstaking attention to details and the beauty of hand-painted animation. Whisper of the Heart looks beautiful and I can only give props to the animators for their hard work. Take for example this scene where Shizuku is looking for the stray cat I mentioned earlier. She looks so small in a city that's so big. When I first watched this scene I thought "wow, this was all done by hand!"
Beyond the visual beauty of Whisper of the Heart is its inner story beauty. We are essentially seeing a chunk of Shizuku's life and what happens around her. It's all done with so much heart it could only come from Miyazaki's screenplay. I really cared for the characters and felt different emotions for them throughout the plot. In the end though, the relationship that forms between Shizuku and Seiji and what they each realize in their lives is something incredibly special.
From what I understand, Whisper of the Heart is not as popular as other Studio Ghibli films like Spirited Away, Princess Mononoke, or Totoro. This is really too bad, because it looks at normal human nature and the animators bring so much life into their characters. If a film makes you happy or sad or worried about its characters, then everyone who's worked on it has done their best to touch your heart.
The saddest thing about Whisper of the Heart is the fact that its director, Yoshifumi Kondo, passed away of a ruptured aneurysm in 1998. Kondo was experienced, working as an animator, character designer, and supervising animator for Ghibli over the years. He showed so much promise in Whisper of the Heart that Isao Takahata and Hayao Miyazaki thought Kondo to be Ghibli's directorial successor. But as Takahata mentioned in his eulogy for Kondo, " I am sure that your work will continue to live, be loved by people, and influence people" (from nausicaa.net). This is most certainly true with Whisper of the Heart, because in discovering it 16 years after its completion, I am influenced to want to inspire the imagination just as Kondo has.
