Hayao Miyazaki

Hayao Miyazaki has been dubbed the "Walt Disney of Japan," the title due in no small part to the distribution of his films in America by the company. However, I do not agree with this statement. Simply because the two geniuses both made their name in the art form of animation does not make them cinematic siblings. The only thing comparable between them is their expansive imaginations. Miyazaki's films are all completely original, though they draw inspiration from universal folklore. Not only that, but he tends to dwell on deeper, more complex themes such as preservation of the environment, pacifism, and disorientation in unfamiliar surroundings. His films range from the lighthearted to the positively brutal. I love all of his films (the only one I've yet to see is Kiki's Delivery Service [1989]), and they always refuel my own imagination and remind me why I love film and animation. One only has to glance at a snippet of a Miyazaki movie to grasp the breathless sense of wonder he has created and drawn beautifully.

Kaze no Tani no Naushika/Nausicaa of the Valley of the Wind (1984)

While the animation of Nausicaa still has its kinks as the technology was still developing around the globe, it is still a wondrous piece of anime. The world Miyazaki forged feels as real as our own, both physically and otherwise. Noticeably, the animation of the insects is almost startling in detail. On closer inspection, a a fan of his films can see the themes that recur in his later entries: a plea for peace and the environment, flying, and, most of all, a strong female character. Which brings me to Nausicaa herself. Never have I seen a female character so fully-developed and admirable in an animated movie. Miyazaki did not simply make her headstrong and forceful simply for sake of her being so, but because as the princess she is so completely dedicated to protecting her people. She is not a princess who sits and waits and wears pretty dresses (though her flying outfit is pretty swanky), but a true warrior who greets her fate head-on. Also, listen to this wonderful melody. It always makes me feel like I'm flying.

Tenku no Shiro Rapyuta/Laputa: Castle in the Sky (1986)

Although the visionary imagery and bright use of color in Castle in the Sky is quite similar to that of Nausicaa, the former is strikingly different in tone. This one plays out more as an adventure tale, the villain more conventional and less complicated. But it still infuses that same sense of awe. Really, Miyazaki's sense of play and imagination is at full force here, and every character is so tangible and such a joy to watch. I wanted to tag along with Pazu and Sheeta (the main characters) as they drifted through the air, entangling themselves with pirates and others. Miyazaki's infatuation with flight always adds another great layer to his stories, because who hasn't dreamt of flying at one point?

Tonari no Totoro/My Neighbor Totoro (1988)

This. Movie. I can't believe it took me so long to watch it! It was such a treat to watch it with my friend Mary-Helen, a big enthusiast of his work, and I fell in love. In a way, I feel like this movie was made for me (not in a narcissistic way, though). It has everything; fun, excitement, magic, and a little bit of sadness. I also think that it's probably the most Japanese of all his movies, simply in its quiet veneration of nature and images of Japan's countryside and customs. If anything, it's definitely the most rooted to the real world (which is saying something, considering the large furry nature spirit). Unlike most of his features, the plot is more subdued in Totoro and focuses more on the dependent relationship between the two sisters Satsuki and Mei as their mother is ill. Though I don't have a sister, I think that their relationship feels very authentic, and the subtle moments between the two are definitely the most moving.

Kurenai no Buta/Porco Rosso (1992)

Porco Rosso struck a particular chord with me, as I am especially enamored with the ambience of the 40's, the time on which this film is based. It deftly combines magic and curses with a definite historical setting, something I've always wanted to do in a story. Never for a moment do this elements feel disjointed. It's also notable for having a male protagonist instead of a female one, the title character himself, reminiscent of the hard-boiled noir heroes of old. In that vein, he's such an interesting character, droll and detached yet, underneath it all, loving. But in my opinion, it is his love interest Gina (voiced impeccably in the English dub by Susan Egan, of Hercules [1997] fame) who steals all the scenes. I so wanted them to be together and nearly screamed at the intentionally ambiguous ending. Not to be outdone, though, is the spry, energetic character of Fio, Porco's teenage sidekick. I loved her as much as any Miyazaki girl.

Mimi o Sumeseba/Whisper of the Heart (1995)

Though Miyazaki did not direct this film (that honor falls to the late Yoshifumi Kondo), he did write it, and I wanted to bring it up because I think it is some of the best work from Studio Ghibli. I thought going into it that it would include more of the signature magic, and while it does, that is more an aside rather than the focus. instead, the film is about adolescence, young love, and determination. It has some of the realest characters in film, animated or otherwise. These people all feel like they could be my neighbors. I especially connected to the main character of Shizuku because she's a writer. She reminded me of when I was just starting out writing, and how it felt like magic was flowing through my fingers. Those were the days. Like her, all my spare time was (and still is) dedicated to that craft.

Mononoke-hime/Princess Mononoke (1997)

I would not recommend this to a Miyazaki first-timer. In my opinion, it his magnum opus, the one in which he poured the entirety of his being into, but it also extremely unsparing. Could this really be the guy who created My Neighbor Totoro? I thought upon my first viewing. It is so unrelentingly violent and bloody that plenty of scenes made me cringe. Yet it was so beautiful, both in the lushness of the forest setting and in morals and characters. At its core, it is a love sonnet to the earth, to the spirits inhabiting the planet we tread upon. I don't think a film ever had a character like Prince Ashitaka, a responsible young man greeting his fate so grimly. Nor do I think a film about the environment has ever had such ambiguous characters. There is no one whom you can label good or bad, kind or evil. They are all people, and the animals can not be exonerated from blame either.

Sen to Chihiro no Kamikakushi/Spirited Away (2001)

Out of all of these movies, this one hit me the hardest. The whole movie is basically a metaphor for transitioning into adulthood, somewhat along the lines of Alice's Adventures in Wonderland. It's a sobering experience, seeing yourself on screen going through that. And by that I mean, Chihiro is exactly how I was when I was ten, bratty and spoiled. Hopefully I'm not like that any longer, but you never know (insert sly wink). Anyway, the world of Spirited Away can be a bit unnerving at times with its weirdness, but it is just as rich and stunning as anything Miyazaki ever created, perhaps even more so. In terms of intensity, I'd fit this one in between Nausicaa and Mononoke. Yep, it's that intense. But it's also so spectacular visually and emotionally. Let the tears flow. Miyazaki deserved the Oscar he won for this, though I would consider that win cumulative of all his previous work.

Haura no Ugoku Shiro/Howl's Moving Castle (2004)

What a perfect film. The narrative is wonderfully looping and magical, the design so flawless, the music some of the best in any Miyazaki film. And then there's Howl himself, easily one of my favorite characters from any film. I had the biggest crush on him for ages after watching this one, and I would debate with my friend Gina over who was better, Howl or Ashitaka from Mononoke. There is everything I could ever want in this movie, and I swear that I could watch it forever. For a week or two after my first viewing, it displaced Cinema Paradiso as my favorite movie, and though that ended up being reverted, Howl's is still high on my list of favorites. There is so much to see and sense with this movie that it may seem frenetic at times, but it is pulsing with the energy of creative power that I dare you to not be inspired to create your own world after seeing it. It is also one of the few movies that outdoes its source material, the book by Diana Wynne Jones, which i had read beforehand.

Gake no Ue no Ponyo/Ponyo on the Cliff by the Sea (2008)

This movie is like saltwater taffy, a delicious confection (I actually don't like taffy, but that was too good a simile to pass up). How could you not smile when seeing the little fish Ponyo? How can the images of the ocean not move you to gaping? There are no bad intentions in this movie, only love and devotion and, above all, cuteness. I was in a good mood for days after watching. Actually, it was my introduction to the pure magic that is Miyazaki, and I was far from disappointed. My love for this movie will forever be unwavering. It feels a bit like an updated version of The Little Mermaid (the original fairy tale, not the Disney movie), backed by a mythology that could only come out of the genius of this filmmaker. While it does have a tone apt for little children, it has a universal sense of wonder that everyone would enjoy.

I also must point out the perfect music of all of these movies, scored by Miyazaki's collaborator Joe Hisaishi (except, I think, for Whisper of the Heart). Hisaishi is my Mozart. I hardly go a day without listening to some of his pieces. He, too, is magic. And that is what makes a Miyazaki movie: magic, throbbing within the drawings, the stories, and the characters. If only we all had his mind.