Studio Ghibli Retrospective 5

Part 1 Part 2 Part 3 Part 4

XIII. Princess Mononoke

Princess Mononoke’s a legitimate war movie. And one centred on something close to Hayao Miyazaki’s heart, too: the environment. It’d seem like this’d be an excuse to preach about the current disarray mankind has thrown the world into, but it actually shows lots of restraint. Even amidst the film’s lack of subtlety, which was never that important anyway, there’s quite a bit of depth. It has a lot of nuance and layers.

Arguably, the best praise I can give is that it doesn’t paint either side of the conflict, humans and animals-alike, as one-dimensional. They’re equal parts compassionate and destructive, in different ways. The humans can be destructive and apathetic to nature, as evidenced through Lady Eboshi, but kind and caring to their own, as also evidenced through Lady Eboshi. Subsequently, the animals of the forest, majestic and graceful, also have their impulsive, vicious sides. Amidst their constant back-and-forth, you see and understand both sides.

The one constant is Prince Ashitaka, the outsider and audience POV. You’re meant to sympathize with him. He’s the one whose life was influenced negatively by the conflict. He’s also the one who keeps making grand speeches about wanting everyone to get along. It can feel a little self-righteous at times, but it works. Plus, he’s awesome in combat.

The film conflicts the viewer constantly: who do we root for? The humans? The animals? Both? Neither? We’re meant to be uncertain.

That’s not to say that the film doesn’t present clear lines. Ultimately, nature wins. The fighting is bad for everyone involved, yet it’s inevitable. And it’s cyclical, with it happening whenever expansion on either side becomes necessary. That honesty’s welcomed in a world where environmental movies lack it.

Everything’s also complimented by the aesthetic, which uses hints of CGI for select shots, and the music, which is my favourite from Joe Hisaishi. Yet even amidst the grandness, there’s something small about the ordeal. It never loses sight of the intricacy of the premise, despite its violence and bloodshed. That’s something to be admired and respected.

I’ve made no secret that I have issues with the movie, even if none of them hold it back: for one, the plot takes a while to set up. The second-half’s also significantly better than the first-half. Many of the side-characters blur together into a collective voice. And while one of its antagonists gets their comeuppance, the other doesn’t. None of these are deal breakers, though.

For what it’s worth, this is a brilliant film. It’s layered, introspective and dense. This is the kind of movie you show to film students who are interested in environmentalism. It’s also the kind of movie you show general audiences looking to have their brains picked. I wouldn’t call it my favourite Miyazaki movie, but it’s pretty high up there. And at almost 134-minutes, it’s epic, too!

XIV. My Neighbors the Yamadas

I always feel hesitant saying this, but this is one two Studio Ghibli movies that I don’t like. The reason’s simple: it’s not a movie. It’s a series of skits loosely connected by Haikus, and ones that have next-to-nothing to do with one-another. It’s also way too long for its own good. It may be pretty, and it’s occasionally funny, but I keep wondering what the point is. Maybe that’s on me though, I don’t know.

To be fair, the movie’s not the worst. It’s not even Studio Ghibli’s worst movie. Yet while I don’t loathe it, I keep failing to understand why the Japanese-equivalent of a “Best of” collection received the feature-length treatment. Even as a slice-of-life comedy, it’s not interesting enough to warrant more than 40 minutes. And that’s being quite generous.

Perhaps I’m being unfair. The movie, if you can call it that, plays to the mundaneness of everyday life, particularly in the family unit: struggling with your grades in school? Cue your mother yelling at you to “study harder” repeatedly. Your girlfriend’s on the phone? Chances are your family’s listening in. Even sibling rivalry and family squabbles are represented here.

I understand a lot of this in theory: it’s an ode to family life. It’s supposed to be episodic, silly and without depth! But if that’s the case, then why not make this a series of shorts? Why not keep this as a 4-Koma Manga, which suits it? There are only so many ways to draw out a punchline before it gets boring!

Fortunately, the movie looks pretty. Its designs are sketchy and cartoony, perhaps to emulate the newspaper funnies aesthetic, and it’s well-scored. It also gets me to laugh a lot, which I assume is a positive. And it ends on a sweet note, which is nice. But, again, I can’t justify this movie’s existence. Not even explaining its premise sounds interesting, which is disappointing.

Oh, and did I mention that it drags?

XV. Spirited Away

This was the first Studio Ghibli movie I ever watched. It’s also my favourite. I was surprised to find out that that wasn’t an original sentiment, but I can’t hide it. This really is fantastic, is it’s as relevant to a pre-teen girl as to an older man. It also won an Oscar, which never happens with an anime film.

The best part about this movie is Chihiro, the protagonist. She’s so great because there’s nothing really special about her: she’s whiney. She’s insecure. She’s easily afraid. She lacks self-confidence. These are all parts of her character that she has to confront, and she does. I like that because most of Hayao Miyazaki’s protagonists have something special or enhanced about them. Be it a magic pendant, a broom, or a curse, that seems to be his modus operandi. Spirited Away’s about a normal, 10 year-old trying to save her parents from being eaten. That’s it.

And it works. Because Chihiro, by being herself, influences everyone around her. Even the grumpy Yubaba, who’s implied to be the antagonist, is softened by her, to the point of becoming nothing more than a miserable old grump. I guess that’s more-relatable than some grandiose adventure, huh?

The movie also has some really memorable moments. Scenes like The Stink Spirit being cleaned come to mind, for one. It’s Miyazaki rearing his environmentalist head again, but it works! You feel the creature’s pain, and you desperately want it to have a bath and be purified. And when it’s revealed to have been trapped in toxic sludge, it’s really satisfying!

There’s also that somber, really quiet train ride in the third-act. That scene’s been deconstructed to death, but I’d be lying if I denied its power. I wish more films would have quiet moments like that one, underscored by a composer like Joe Hisaishi. I firmly believe animation would be taken more seriously by adults.

Spirited Away’s a special film. It takes an Alice in Wonderland-esque premise, which I should despise, and makes it appealing. It’s funny, it’s sad, and it’s uplifting. It tackles themes of greed, corruption and the importance of self-sacrifice and love. It might not be the shortest of animated films, it’s over 2 hours, but that doesn’t matter. I strongly think more films, particularly animated ones, should strive to be as challenging as this. You can quote me on that.

(To be continued.)