It’s apropos and yet somewhat inexplicable that Hayao Miyazaki would end his career on one what is easily his most divisive film. Miyazaki has spent so much of his career delivering masterpieces of animation that discuss the horrible fall out of war, destruction of the environment, and war machines. So it’s absolutely confounding that Miyazaki takes a more objective approach to Jirô Horikoshi and his creation of what would become certified weapons of war.
I truly hope you’re doing well in the current social climate and are celebrating Friday the best way you can. This week, I’m reviewing two brilliant animated series that’s female oriented, but fit for every audience imaginable. They’re two very complex and amazing animated series you can sit down and watch with the whole family, that promote strong female heroes, complex ideas about youth and discovery, and confronts very real overtones about loss of innocence and growing up way too fast.
With their partnership with GKids, Shout Factory has managed to obtain a remarkable chunk of Studio Ghibli’s library and have given choice titles some truly deluxe treatment. Among some of Hayao Miyazaki’s masterpieces is the incredible “Spirited Away” a film that owes a lot to “Alice in Wonderland” and “The Wizard of Oz,” that also evokes subtle social commentary on child trafficking. In either case, “Spirited Away” is still a remarkable and stellar piece of art, with some of Miyazaki’s most memorable creations including No Face, and the Soot Sprites.
Twenty years ago, Studio Ghibli and the master Hayao Miyazaki opened my mind up to a new dimension of animation and storytelling that pretty much changed my life. It also inspired me to look toward telling bigger tales with richer characters, because Miyazaki is very much about rich characterization and brilliant metaphor. Much of his films revolve around the love of nature, the vastness of the open sky, and the effect humans can have on the environment and the world around us.
“Never-Ending Man” is a meaningful documentary that explores the thoughts and ideas of Hayao Miyazaki that we can’t really find anywhere else. While some may go in to this expecting a more biographical and fluffy film about the man and his life, Kaku Arakawa seeks to give us more of a thoughtful and subtler peek in to the man, who is late in to his career and his life.
The idea of the cost of war has never been more thoughtfully and emotionally conveyed than in Isao Takahata’s “Grave of the Fireflies.” The 1988 animated film is still one of the most emotional and powerful films I’ve ever seen, it’s a film that completely transcends all ideas of storytelling, and destroys any stigma that animation is a child’s medium that is limited in scope and substances, especially when telling human stories.
Hayao Miyazaki has reached a point in his life where there is so much change but he doesn’t know what to do with any of it. He’s reached an old age and has barely any strength any more to sit down and draw all day, but he has no idea what he’d be doing without a pencil or paper in his hand. At his old age he’s still a very curmudgeonly individual who demands perfection and treats his protégés with harsh criticism when they fail to deliver storyboards that meet his pitch perfect idea of what life is. Miyazaki has lived a full life, and in a way he’s ready to go.
This is one of the very few animated productions where Studio Ghibli’s fantastic storytelling is given a hint of European flavor. While “The Red Turtle” is branded a Studio Ghibli production it garners much of the same elements from Ghibli’s library including a wide open world, a menacing series of creatures and the overtones of the symbioses of nature and humanity. It’s best to think of “The Red Turtle” as a fairy tale, as the movie relies on a lot of inexplicability to tell its thin narrative. The narrative being thin is by no means a criticism as “The Red Turtle” is a lot about raw events, and simplicity at its finest.