I’ve reviewed a few of Studio Ghibli co-founder Isao Takahata’s films on my blog (such as My Neighbours the Yamadas earlier today, and The Tale of the Princess Kaguya), but I’ve not yet touched on the most famous figure from that studio, Hayao Miyazaki. I’ve now seen a number of his films, though, and for all my sneering at the idea of them when I was younger, they are in fact all remarkably good. My favourite remains Spirited Away which perhaps one day I shall write about here, but in the meantime here’s the one with the catchiest theme song…
I’m not honestly sure how one reviews Miyazaki-san’s films. I resisted them for so long when I was younger, assuming them to be twee nonsense, but they have a genuine sense of wonder that is difficult to express in a critical discourse — something about the rush of colours, the transformative and magical that lurks in the everyday, and the blending of quotidian reality with supernatural undersea elements. The set-up is that Sosuke is a five-year-old boy living at home with his mum (who works at the local retirement community) while dad is out for long stretches on the high seas. This land-based reality is mirrored by an alternate underwater family structure: his absent father becomes Fujimoto, a grumpy sorcerer who hates humans and is trying to repopulate the oceans, the mother is now a mystical deity, and the magical fish-human of the title is like a reflected sister/partner for Sosuke. The themes of the environmental devastation (which Fujimoto is working to counter), and the way that this is reflected in the dangerous volitility of the ocean, are all expressed very gently, but even in the joy of the animation you get a sense of this threat underlying it all.
Director/Writer Hayao Miyazaki 宮崎駿; Starring Yuria Nara ならゆりあ, Hiroki Doi 土井洋輝; Length 101 minutes.
Seen at home (DVD), London, Saturday 30 November 2019.
Looking back at my favourite films I saw for the first time in the past year (ones that I haven’t already written up), it always feels somehow seasonally appropriate to talk about Studio Ghibli’s animations — not because they’re about Christmas, but they’re often about the idea of family and finding some kind of strength and shared communality with your family, which may not always be a lesson people take from Christmas, but it seems like it should be. My Neighbours the Yamadas may not be the most famous of Ghibli’s output, but it deserves to be better known, given it gently pokes fun at ways that families come together and fall apart, while also showing what can be good about them.
I feel like I’m still just starting my journey into Studio Ghibli’s animation, having not seen any until Isao Takahata’s The Tale of the Princess Kaguya about four years ago, and since having watched a number of the Miyazaki films (almost all extraordinary). In a sense, My Neighbours the Yamadas is less easily categorisable, given it has the sense of a serialised comic strip (which it is, after all, based upon), just these little self-contained stories, introduced by titles and often book-ended by a haiku. The animation focuses on the details that matter, so this isn’t the kind of richly-detailed visual worlds that you get in Miyazaki or, say, Your Name. (2016). Instead, there’s a caricaturists’ sense at work in capturing the personalities of these six characters (grandma, mum and dad, son and daughter, and pet dog), which, while setting it aside from some of these other titles, also gives it an immediacy and vibrancy that is somehow even stronger. In telling these little stories, it’s elucidating something of the mystery (to us as Western viewers, but perhaps even to them) of Japanese life and customs, while also showing the evident care that works within the family. The humour is all very gentle, and this is ultimately a likeable, sweet film about family life.
Director/Writer Isao Takahata 高畑勲 (based on the manga series ののちゃん Nono-chan by Hisaichi Ishii 石井壽一); Starring Toru Masuoka 益岡徹, Yukiji Asaoka 朝丘雪路; Length 104 minutes.
Seen at home (DVD), London, Saturday 30 November 2019.
I’d never actually seen a Studio Ghibli film before, which seems like quite an oversight, especially given that this film by one of the studio’s founders, Isao Takahata, is so delightful. It uses a traditional folk tale about a bamboo cutter who chances across a mystical baby (and huge wealth) while out at work. The baby grows at a rapid rate, eventually being hailed as a princess and relocated by her now-avaricious father to the city. The film itself, for all its narrative incident, unfolds at a relaxed pace that allows for lengthy sequences such as the Princess choosing from her suitors. However, just as it has plenty of openness to its narrative structure, so the visual style has a beautifully balanced sense of space, with impressionistic use of watercolours and charcoal shading, which at times (such as a scene of the Princess running across the countryside) is pushed into an almost abstract dimension. There’s little attempt to restrain the story’s mythical qualities, such that the ending is surprisingly similar to that of 2001: A Space Odyssey, but as the expansive running time should suggest, this film is less about how the story is concluded as about the telling, which is immersive and yet meandering.
Director Isao Takahata 高畑勲; Writers Takahata and Riko Sakaguchi 坂口理子 (based on the folk tale 竹取物語 Taketori Monogatari “The Tale of the Bamboo Cutter”); Length 137 minutes.
Seen at Cineworld West India Quay, London, Wednesday 25 March 2015.