Inspired weirdness.
MVP Willem Dafoe as a doomed pelican.
Tag: studio ghibli
Porco Rosso (1992, Hayao Miyazaki)
Porco is a daredevil pilot with a broken-down plane, chasing pirates, who at least have a code of honor. The pirates team up with hotshot pilot Curtis, who falls for Porco’s girl Gina. Porco is stuck with young architect Fio until his climactic dogfight, which becomes a boxing match when both planes are incapacitated, then everyone gets back up and flees the fascist government. It’s a fun pig adventure that holds onto a nice sense of mystery at the end.
From Up on Poppy Hill (2011, Goro Miyazaki)
It’s a pretty good animated period drama, but if you watched if before the others, you’d say what’s the big idea with this Ghibli thing, their movies aren’t so hot. At least “pretty good” puts it above what I’ve heard about Tales From Earthsea from the number one Goro hater in my office. But it’s missing something, the smoothness and refinement of motion. When people turn their heads it doesn’t look so much like a person turning their head as it does progressive images of a head turned at different angles – the flow is wrong. Or I dunno, maybe my blu-ray was bad, but this came out after Ponyo, and some of the stuff in Ponyo is leagues beyond. The old timey piano music on the soundtrack was different, anyway.
It’s the ol’ story of kids saving their clubhouse from demolition by fatcats – in this case it’s a creaky old multi-story house on a high school campus where all the boys run their after-school organizations, and the school board is demolishing it to build a nicer one, so the girls pitch in to clean the place up and show off its value. Shun runs the school paper, Umi runs a boarding house, and they think they might be in love, but then see photos of each other’s dead fathers and it’s the same guy so they’re worried they might be siblings, then this gets resolved and it turns out their fathers were just friends so they are free to do whatever.
My Neighbors the Yamadas (1999, Isao Takahata)
Based on the style of newspaper comics, the animation has unfinished backgrounds that fade away on the edges, reminding me (in a good way) of Ernest & Celestine. Married couple, older schoolboy, younger daughter and gramma appear in disconnected sketches, stories and fantasies. The most dramatic thing that happens is the daughter gets left behind at the mall and while the family is stuck in traffic trying to retrieve her, she’s taken home by a friendly neighbor – it’s very lightweight drama with an overall big-hearted feeling (the polar opposite of the previous film I’d watched).
The first animated work to make me consider trying animation because it looks like fun, even though I know plenty of animators so I should know better.
Me IRL:
Maybe it felt more emotional because we watched it in memory of the great Isao Takahata, who increasingly looks like Ghibli’s secret weapon, a patient genius who never made the same kind of great film twice.
Castle in the Sky (1986, Hayao Miyazaki)
We didn’t want Downsizing to be our official final film of 2017, so we rewatched Inside Out on new year’s eve, then after a couple of attempts, managed to make this early Ghibli feature our first movie of 2018. The early ones are cool, but we’re more taken by their later works (Mononoke and everything after).
Pirates:
A couple of orphan kids from different backgrounds meet and end up saving the world by teaming with pirates to stop a power-mad government agent from harnessing the destructive power of an ancient and abandoned floating city called Laputa. The boy Pazu (pronounced POT-sue in the Disney dub) is from a factory town, and the girl Sheetah is descended from Laputa royalty, and that’s about all we learn about them before the movie erupts into battles, pirate humor, and tons of flying machines.
Every Miyazaki movie has a standout piece of character or vehicle design – in this one it’s long-armed bird-loving robots.
Spirited Away (2001, Hayao Miyazaki)
Second movie I watched this week where the lead girl is told at the end to not look back. Some obvious parallels with other Ghibli movies – the romantic lead boy who transforms into a flying creature to work for/against wickedness (Howl’s Moving Castle), living dust sprites (My Neighbor Totoro), the lead girl nervous because she’s moving to a new house in the country, kooky/friendly old folks, villains who are maybe not so evil really, and fantastical beasts galore – like a Ghibli’s Greatest Hits thrown into a giant bathhouse. The greatest.
The Red Turtle (2016, Michael Dudok de Wit)
Kind of a Crane Wife / Tales from the Darkside gargoyle variant with a turtle twist. Man washes up on a bamboo forest island, and is thwarted by a giant red turtle whenever he tries to build an escape boat. One day the turtle waddles ashore and the angry man flips it over. Then it becomes a human woman, they have a kid together, avoid natural disasters, the kid grows up and goes off into the ocean, the man gets old and dies, and finally she turns back into a turtle and leaves. Turtle/human spawning / cycle-of-life business, done with very attractive (wordless) animation. Some cute sand crabs, too. I also rewatched Father and Daughter and The Monk and the Fish with Katy, finally available in HD.
Chuck Bowen:
The man’s one murderous impulse begets a life of empathy — of balance. A heartbreaking, astonishingly poetic ending further challenges our human-centric absorption, suggesting that this rhapsodic life of paradise wasn’t the man’s dream, but the turtle’s.
Isabel Stevens in BFI:
Pictures are the film’s currency and they are, without exaggeration, sublime … The attention to detail shown to the sky (its magic-hour glow tinging the whole island), water (grey and angry one moment, an azure palimpsest the next), even the sand (at times you can see the grains in what looks like a smudge of charcoal) is quite extraordinary. The film is a masterclass in chiaroscuro: shadows are just as intricately sketched as the life forms that cause them. Even from a distance, a bottle washed up on the beach has a lighter shadow than a human’s. A lot of digital animation, with its blocks of colour, can feel flat. But the depth and texture on show here – conjured from a surge of pencil marks and watercolour washes – is remarkable.
Ponyo (2008, Hayao Miyazaki)
I thought I heard that this was the kid-friendliest of the post-Mononoke Ghibli movies, and maybe so, but it’s also one of the most unexpectedly bizarre. A magic fish-princess flees her underwater bubble-hatted environmentalist mad-scientist Liam Neeson-sounding dad and befriends a five-year-old boy, turning herself human to stay with him on land during a major flood.
After the flood, octopi and trilobites and eels and jellyfish waste no time moving in:
Most of Neeson’s activities are never explained:
Ponyo running on watery waves of blue fishes is some magical animation:
Human boy Sosuke and his mom meet Ponyo’s ocean-goddess mom:
Howl’s Moving Castle (2004, Hayao Miyazaki)
The adventures of:
Heen, a coughing laryngytic dog
Markl, child with a fake beard
Turnip, a scarecrow
And also:
Sophie, a cursed girl
Howl, a bird-demon
And also:
Witch of the Waste, melty-faced after losing her powers
Calcifer, a fire-demon
Katy says large parts of the source novel were omitted in the movie version, which would explain why the war and dealings with evil queen Suliman seem underdeveloped. But as far as visuals and unique characters go, this movie is unsurpassed.