Studio Ghibli: Five Favourites – Post Four

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Whisper of the Heart (Mimi o Sumaseba)
1995

This time I’ve actually chosen a film not directed by Miyazaki ( though he did write the script 🙂 ) but instead by Yoshifumi Kondo. Whisper of the Heart is another Ghibli adaptation, this time of a manga written by Aoi Hiiragi. While Whisper of the Heart has less action than early Ghibli works, it is full of conflict – and not simply the cliched teen angst to be found in many works aimed (unfairly?) at younger audiences.

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Instead it focuses on the conflict of the writer, or perhaps, the conflict of the creative person – whether it is main character Shizuku who desperately wants to be a writer, or Seiji, her love interest, who is striving to become a violin-maker. Much of the film focuses on the struggle these characters go through, trying to please themselves, take their dreams seriously, to work for them, to accommodate their families’ wishes and deal with their feelings for each other.

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Woven within the film’s central narrative are smaller stories, the mystery of the cat Muta, the story behind the fantastic statue ‘The Baron’ and his lost love Louise, and the story young Shizuku is writing (starring the Baron) and her struggle to produce a complete draft that she is happy with. Any writer or creative person should be able to relate to her frustration and excitement. On one hand, she can’t wait for someone to read it, on the other she is convinced she’s not good enough yet. I definitely relate, and it’s part of why the movie appeals to me so much.

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Here Shizuku visits Mr Nishi’s antique store, where she later shares her first draft in what is perhaps the film’s pivotal scene.

Whisper of the Heart also features a classic country song written by John Denver as something more than simply soundtrack – throughout in the film ‘Take me Home, Country Roads’ is rewritten and performed by Shizuku, and also by Shizuku and Seiji in addition to appearing over the opening sequence. Here’s John’s version, the earnest Olivia and the English dub of Shizuku and Seiji on vocals and violin:

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Stay tuned for the fith in the list (and then two extras for fun)!

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Studio Ghibli: Five Favourites – Post Three

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Howl’s Moving Castle (Hauru no ugoku shiro)
2004

Miyazaki and the Ghibli team are almost always stellar at adaptation. Howl’s… was first a fantastic, semi-satirical and wonderfully imaginative book by English writer Diana Wynne Jones, who first published it in the 1980s. For the film adaptation of Howl’s Miyazaki created what some reviewers feel is another visually stunning film but one that suffers from a dense plot.

I’d argue that Howl’s the film actually uses a simplified plot, where characters in the book might be combined into one for the film (Sophie has two sisters in the book for instance), or where subplots are either left out or melded.

(And I personally have no problem with this approach (by any filmmaker.) A film is not a book. They are meaningfully different and attempts to attack one for failing to reflect the conventions of the other is tedious.)

But back to Howl’s Moving Castle. Because it’s the castle itself that will probably enchant you as much as the characters or story, I thought a link would be in order – see below – because it’s an amazing piece of work, blending CGI and cel animation in a very fluid manner.

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Howl’s castle – click through to youtube, where you can see it move.

Living in the castle is the mysterious Howl, a wizard who enchants (not literally – someone else does that) the main character, Sophie, early on in the film, establishing the strong romantic aspect of the plot. Woven between their developing relationship, is magic, war and domesticity all offset by a curse placed on young Sophie, trapping her in the body of a 90 year old woman.

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As with many other Miyazaki films, there is a familiar anti-war theme, but he’s not heavy handed – even if some of Howl’s dialogue might been seen as such. More value for the viewer will probably come, once again, from characters’ relationships  –  take fire-demon Calcifer for one, whose relationship with Howl is not only complex and amusing, but vital to the plot in more ways than one.

Calcifer is voiced by Billy Crystal in the English dub. He does a great job too, which surprised me (in a good way.)

Once again Joe Hisaishi, provides a memorable soundtrack, with lush waltzes and heartfelt themes. Today, rather than link to the OST, I thought I’d share a great cover of one of the signature pieces, as performed on acoustic guitar by Sungha Jung:

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Stay tuned for the fourth in the list!

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Studio Ghibli: Five Favourites – Post Two

totoro-studio_00311019Nausicaa of the Valley of the Wind (Kaze no Tani no Naushika)
1984

Not precisely a Ghibli film, since the success of Nausicaa was part of what enabled Studio Ghibli to be formed, but basically so – and always sold as part of the Ghibli collection. Possibly my favourite, this time it’s another Miyazaki film and looking back it’s easy to see the roots of what might now be called a classic mix of Miyazaki’s environmentalism, fantasy and use of a female lead whose ability to solve conflict with kindness is a key part of both plot and charactarisation.

Nausica-of-the-Valley-of-the-Wind-nausicaa-of-the-valley-of-the-wind-27647506-500-300Here’s something of a blurb, not a great or official one by any means: Threatened by spreading toxic jungles, Nausicaa’s people rely on their own vigilance and the wind to protect their homes and people. When a ship carrying an ominous secret crashes in their valley, warring nations converge on the Valley of the Wind and it’s up to Nausicaa to save her people.

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Part of why this film is so effective for me, is because the world building is detailed – you can feel that there’s so much more beneath the surface. The detail of the world, it’s interconnected environment and tensions, the prejudice of its peoples, it’s just as realistic as it is fantastical. (This is in part due to it’s basis in a multi-volume manga written by Miyazaki.) The insects especially, are impressively drawn and varied but also complex creatures – not in the least being the almost majestic Ohmu.

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Again there’s a beautiful soundtrack composed by Joe Hisaishi, this time with a electronic feel typical of the 80s, though the opening piece here is still quite orchestral. Below is a live performance for the 25 Anniversary, you can see Joe on the piano.

Stay tuned for the third in the list!

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Studio Ghibli: Five Favourites – Post One

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Some of you will have noticed in my bio that I like Studio Ghibli films, and I’ve occasionally posted something to that effect here. So today I wanted to spend a bit more time on one of my favourite film production companies by writing a little on five (well, seven really) of my favourite Ghibli films.

It’s a Miyazaki-heavy list, but he’s such a warm director that I seem to naturally gravitate toward his films. That isn’t to say that I don’t enjoy Takahata’s work, or the films of the other directors, but you’ll see a few Miyazaki ones in the list as I slowly reveal it!

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Spirited Away (Sen to Chihiro no Kamikakushi)
2001

Perhaps like many Western audiences, this was my first exposure to Studio Ghibli and its wonderful films – though I didn’t see it until some time after it’s English language release.

I was actually at uni and had recently borrowed the impressive 1001 Movies You Must See Before You Die. Inside I noticed Spirited Away and went straight to the university library where I borrowed the DVD and that was it. I was hooked.

Written and directed by Hayao Miyazaki, Spirited Away is the story of a young girl who has to work in a spirits’ bathhouse in order to save her parents, who’ve been transformed into pigs by their own greed.

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Admittedly that’s a pretty simple description of the plot but it gives you an idea of the main source of tension. What it fails to show is the stunning attention to detail found in the animation (a trademark of Ghibli) and the great character arc at its heart. The way protagonist Chihiro goes from being what is basically an annoying child to a person of resolve, and who can turn those around her into friends, is handled really well and provides an emotional core that’s a big part the reason I’ve watched the film so many times.

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But perhaps my favourite element of Spirited Away is the setting. The bathhouse is located in an abandoned amusement park and it’s beautiful, detailed and vivid, both in terms of its social and physical structure. And part of that colour definitely comes from the variety of spirits who visit it, among the most memorable being the close-mouthed Radish Spirit and the old River Spirit, who also embodies the environmental themes Miyazaki often includes in his films.

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Another stand out aspect of the movie, and most Ghibli films, is the music. Provided by Joe Hisaishi, it’s a moving score, with so much of it feeling both magical and familiar.

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An Academy Award winner and definitely an amazing film, Spirited Away isn’t quite my favourite Ghibli movie, but I’m kicking off with it because it’s where I started and if you’re looking to see what Studio Ghibli is like, you couldn’t find a better starting place.

More films to come so stay tuned!

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