June 25, 2009

My Neighbour Totoro

Posted in Hayao Miyazaki, Studio Ghibli at 12:10 pm by j128

Disney version; avail. on DVD My Neighbour Totoro is a 1988 film directed by Hayao Miyazaki of Studio Ghibli and the title “Tototo” is the Studio Ghibli mascot, which features in the opening titles of all their anime films. This was one of my first Studio Ghibli films that I saw, the other being Kiki’s Delivery Service, and both are heartwarming and enjoyable children/family films. Saying that, it is important to note that unlike many Western children/family films, Studio Ghibli films are unique in that despite being animated, they are enjoyed by audiences of all ages and can be seen again and again without the usual feeling of resentment or that “not again!” feeling that can happen from a too-much-viewed film.

History of My Neighbour Totoro

Totoro was released in North America alongside Hayao Miyazaki’s mentor Isao Takahata’s Grave of the Fireflies, a strategy that is believed that was done for two reasons: 1) Totoro, at the time, wasn’t believed to be successful, and 2) while I haven’t seen it, many who have seen Grave of the Fireflies say it is an extremely depressing and tearful film, and so Totoro would act as a lighter film that would balance out Fireflies.

On that second note, some reviews that I have read have made a distinctive parallel between Totoro and Fireflies, being that these two films star two young siblings who have a bond with each other, but at the same time their relationships are ironic in that one is a happy, bright relationship, while the other is miserable and tragic relationship.

Originally, Mr. Miyazaki had planned on the story centering on an only child and her childhood wonderland, but later this only child diverged into two sisters, being Satsuki and Mei, their names both translating as “May”, being the fifth month of the Gregorian calendar. Their names stem from the said fact of the original only child. This is the reason why there are promotional posters with a single girl and Totoro, having been released before the character change.

For more information about the film, I’d recommend reading The Art of My Neighbour Totoro, it contains tons of original art, character development and design, etc. It can be found at Amazon.com.


Set in the 1950’s, in the Japan countryside, the protagonists Satsuki and her sister Mei have moved into an old house with their father. They moved to the countryside so as to be nearer to the hospital their mother is recovering in from tuberculosis (confirmed by Mr. Miyazaki, whose mother suffered from this disease when he was a boy). Within the short opening of the story, they meet some of the locals, including an old lady known as Nanny and a young boy named Kanta, who develops an ambivalent relationship with Satsuki, and she with him. The sisters also discover mysterious black, puffball-shaped creatures variously translated into English as “dust bunnies”, “soot sprites”, etc.

Despite only being eleven, Satsuki is shown being quite able of making her family breakfast and bento lunches (obento). While she’s in school, their father studies (he’s a professor of archeology and anthropology), and Mei plays outside where she comes across a small white creature, and she follows it into a brier-like thicket – reminiscent of Alice in Wonderland – and falls through a hole onto a larger version of the strange creature, which Mei learns is a “totoro”, or a kind of troll. (See the Wikipedia link for more details.) Mei soundly falls asleep on top Totoro and is found by Satsuki and their father in the thicket when she wakes up. Mei tells them about Totoro and they go to the Camphor Tree, where Totoro lives, and they make a prayer, full of gratitude and thankfulness.

One day Satsuki, Mei, and their father travel by bicycle to the hospital. They arrive and the girls are naturally happy to see their mother, as their mother also is to see her daughters. They tell her excitedly about the dust bunnies and the big Totoro and the little totoros. On the way back home, they discuss the anticipated visit from their mother when she is able and well enough to go.

The rest of the movie follows the girls’ course of adventures with Totoro, including the bus stop episode where Totoro gladly takes their father’s umbrella, after Satsuki offered it to him, and in return he gave them a small leaf-wrapped package of magic nuts and seeds, which seem to grow into a huge forest overnight and the girls fly over the countryside holding onto the giant Totoro.

While their father is at the university, Satsuki and Mei are looked after by Nanny, and after harvesting some vegetables, Kanta comes running with a telegram from the doctor. Satsuki uses Kanta’s family’s telephone to contact her father and tell him. Later Satsuki and Mei find out that their mother can’t come yet as she caught a cold, and will come next week. Mei and Satsuki have a terrible argument, leaving Mei crying.

Satsuki and Mei are sensitive girls who care for their mother, and Satsuki also breaks down – both are scared and don’t want their mother to die. Mei overhears Satsuki and runs off. Later, it is apparent that Mei ran away and Satsuki is insightful enough to realize that Mei has gone to the hospital! A search begins for Mei and Satsuki runs all over the countryside to find her sister.

As a last resort, Satsuki calls for the help of Totoro and she takes a ride on the Catbus and they find Mei. Soon after the sisters’ happy reunion, they go to the hospital where their mother is, and while they don’t visit her, they see their father visiting their mother in the hospital and before they go back home, Mei leaves the ear of corn on the window sill, with the following inscribed: “For mother.” It is possible that their mother saw Satsuki and Mei in the trees.

As the credits roll, Satsuki and Mei are taken home, and the Catbus disappears into the night sky. Nanny and Kanta soon meet them and they walk home. Their mother comes home, has baths with them, and reads stories to them in bed while Totoro and the small totoros are in the background, until they aren’t even noticed by the girls. As indicated through the closing song, Totoro can only be seen in childhood.

My Neigbhour Totoro opening

I couldn’t find a Totoro trailer that satisfied me, so I chose the opening from the Fox Video version and the Japanese version with English subtitles. Both the opening and closing songs are sweet and they are very sing-along songs. The English and Japanese versions slightly differ from each other in translation.

English opening (Fox Video)

Japanese opening, with English subtitles

Recommended Editions of Totoro and Recommended Reading

The Art of My Neighbour Totoro (published by Studio Ghibli), available on Amazon.com and other stores, online and walk-in stores.

As with all foreign films, watching them in their original language is best and with subtitles. This goes for anime, too, and I wholeheartedly recommend watching Totoro in Japanese, with English subtitles, a thing made possible for viewing in North America thanks to Disney.

But of course, some may wish to view this film in English, so I would recommend watching the Fox Video version because in my opinion it’s a better dubbing than Disney – many people praise the Fanning sisters (Dakota and Ella) with their dubbing but personally I think that Disney overdoes dubbing of little kids in Studio Ghibli films – Satsuki and Mei sounded way too high-pitched and simplified for my liking. I know they’re just little girls (Mei and Satsuki) but in the Japanese version and even in the Fox Video version, they have more dimension in their characters than their Disney counterparts. Anyway, that’s enough from me, how about I just let people go watch this movie and see which version they like better? I’ll make one final note, however: the Fox Video and Disney versions are not the same – the opening and closing songs are the same but it was sung by someone else and the tune was not favourable for my liking (I prefer the Fox Video version) and the scripts are somewhat different.


My Neighbour Totoro at Wikipedia, see note about the word “totoro”

The Camphor Tree – A fan’s website dedicated to My Neighbour Totoro

My Neighbour Totoro at IMDB

Laputa: Castle in the Sky

Posted in Hayao Miyazaki, Studio Ghibli at 12:07 pm by j128

Disney cover of Laputa: Castle in the Sky (or Castle in the Sky) is a 1986 anime film directed by Hayao Miyazaki of Studio Ghibli and it is loosely based on Gulliver’s Travels by Jonathan Swift. As with Mr. Miyazaki’s earlier Studio Ghibli films, several English translations were made, and sometimes there were characters’ name spellings and pronunciations changed, etc., and it wasn’t until Disney made a deal with Studio Ghibli that Castle in the Sky was officially released in North America.


The English translation of the Japanese title (Tenkū no Shiro Rapyuta, translated as The Sky’s Castle: Laputa) was changed to Castle in the Sky upon release in several countries with Spanish speakers, and even some countries that have little Spanish influence such as the U.K., as the word Laputa, though meaningless in Japanese, English, and French, it translates as “prostitute” ( la puta) in Spanish. This was perhaps Jonathan Swift’s intention when he wrote Gulliver’s Travels, as he claimed that Spanish was one of the many languages he was fluent in; however it should be noted that Mr. Miyazaki hadn’t been aware of the word’s meaning until after the film’s release and he said that had he known of the word’s meaning, he wouldn’t have used it, and he apologized. For Spanish speakers and readers, Laputa has been replaced by a euphemism such as Lapata.

History of Laputa

Within the storyline of Castle in the Sky, in the opening credits and throughout the story the history of the floating island is alluded to, connecting this story to our world, which is strengthened by the obvious European influences, such as mediaeval castles, miners, etc. According to legend, humans have always been fascinated with the sky and flight, and as they ventured further into making aerial exploration possible their flying machines became more sophisticated. The most famous of these legends was Laputa, a floating castle in the sky that was an entire city hidden within a violent storm and that within the storyline had been abandoned seven hundred years ago, and most people have ceased to believe in it. Only a few believe in it now and competition to find it is dangerous and tense. See Wikipedia for more information on the history of the setting.


The story opens in the sky, a young girl is being held by agents under the command of Colonel Muska on an airship, being taken to an unknown destination. The airship is attacked by sky pirates, who seem to be after the girl. In the resulting confusion, Muska tries to send a message using Morse code, while doing so, the girl suddenly hits him on the head with a wine bottle and knocks him out. She takes a crystal from him – at that moment, the pirates barge into the room and she and the crystal are almost seized, causing her to fall from the airship.

Meanwhile, a young boy named Pazu sees the girl, who is now no longer falling, but floating and a blue light is emitting from the crystal. He catches her and within a few seconds, the crystal’s light ebbs and disappears. He takes her to his home, where she wakes up next morning to the sound of his trumpet and he feeds his pigeons that he keeps in a coop. Pazu apparently lives alone.

While there, the girl whose name is Sheeta, sees a photograph of a floating castle in the sky. Pazu explains that his father took the photo and that he was an explorer, he tried to find a legendary city called Laputa, and he shows her a copy of Gulliver’s Travels. (In the Disney dubbed version, it is his father’s journal.) Hardly anyone believes Laputa exists but Pazu believes the city does exist and wants to find it.

Suddenly the pirates arrive that had tried to get Sheeta and she and Pazu quickly try to leave the town, with Sheeta being disguised as a boy, but when she stumbles when Pazu tries to go to his master for help, her braids give her away. A riot ensues in the small street while Pazu and Sheeta go through the back and go down the railroads and get a ride. It’s not long, though, that they are followed by the pirates and then they’re surrounded by the military – the agents that had held Sheeta hostage in the first place.

While running, Sheeta and Pazu fall, only being saved from death by the crystal, and they float down into an underground tunnel where they find an old miner called Uncle Pom, who reveals Sheeta’s crystal to be “volucite” (“aetherium” in the Disney adaptation) and that’s what keeps Laputa floating.

When the children emerge, Sheeta reveals her secret name to Pazu, which is Lucita Toel Ul Laputa, an ancient name she has inherited meaning “Lucita, True Ruler of Laputa” in Laputan. The agents appear and surround them and take them by force into custody. They are taken to a fortress, a mediæval-style castle, and are separated: Pazu into a prison cell and Sheeta is treated like a princess and is shown an old Laputan robot that fell from the sky.

Pazu is released, being given some gold, and he goes home only to find the pirates have taken over and he is tied up. He realizes his foolishness at going, being paid gold for Sheeta’s capture, but Dola, the pirate leader, comments on Sheeta’s courageous action for Pazu’s escape while she faces danger. She compares Sheeta to herself when she was a girl and advises her sons that when they marry, to marry a girl like Sheeta.

The pirates and Pazu go off to rescue Sheeta. Meanwhile, Sheeta remembers an ancient spell for help that she learnt from her grandmother when she was a little girl, and repeats it. Suddenly, the crystal glows blue light and the robot awakens. Chaos ensues in the fortress and the robot protects Sheeta from the guns and bombs that are directed at it. It manages to fend off the offensive forces until Pazu and the pirates arrive, who successfully rescue her. Unfortunately, when Sheeta fainted, the crystal bounced off down to the ground, and is found by Muska, who can now touch it without being harmed, and everyone sees the light is pointing in the direction of Laputa.

Meanwhile, Sheeta and Pazu are taken aboard the pirate ship where they lend a hand. Pazu helps Dola’s husband, a mechanic, while Sheeta is employed to work in the kitchen, which she has to clean up first before cooking anything. Soon, Dola’s sons are all helping her in the kitchen, who all seem charmed by her. In the Japanese version, she is seen as a potential motherly figure to the sons, while in the Disney English dub one of the pirate sons even makes a profession of love to her. (“I’m in love with you!”)

The pirates and Muska’s fleet compete in the discovery of Laptua – Sheeta and Pazu get to the island first on their own in some sort of aerial contraption that is separated from the pirate ship during an attack from the government agents when they enter the violent storm.

There Sheeta and Pazu find another Laputan robot, and many more like it, but they’re all asleep. The moving robot takes care of the flora and fauna and looks after it. They soon hear gunfire and see that Muska’s fleet has also arrived and the clouds have parted; the pirates have been captured and the children persevere to rescue them, in the process Sheeta is captured by Muska and disappears with him into the deep interiors of the city where Muska displays the terrible power the crystal can unleash. He kills all his fleet using the Laputan robots and the power of the crystal. It is revealed that Muska is also in line of inheritance.

Sheeta finally manages to get the crystal back and runs, with Muska in pursuit, and she finds Pazu again who’s been looking for her. She gives him the crystal and tells him to throw it away before being caught by Muska.

In the final showdown, Muska is defeated by the children when they both use the crystal, uttering a spell of destruction, and Laputa disintegrates. The pirates manage to push off just in time. Muska is blinded and supposedly killed. The children are saved by the roots of the giant forest and they find their flight contraption, still in good condition, and fly away from the island, that steadily floats up higher and higher until apparently being caught in Earth’s orbit while the pirates and the children depart, going their own ways.

Original Japanese Trailer


  • During one of the Laputan sequences, two fox squirrels are seen, from another of Mr. Miyazaki’s films: Nausicaa of the Valley of the Wind.
  • A crystal similar to the one that Sheeta wore is one of Howl’s accessories in Howl’s Moving Castle.
  • At the Studio Ghibli Museum there is a life-size statue of a Laputan robot.


June 24, 2009

Spirited Away

Posted in Anime, Hayao Miyazaki, Studio Ghibli at 9:02 pm by j128

Spirited Away

"Spirited Away" DVD cover (Australian release)

Spirited Away is a 2001 film directed and written by Hayao Miyazaki. This film marked the comeback of the much-acclaimed director after his assumed retirement after the release of Princess Mononoke. Mr. Miyazaki drew the inspiration for Spirited Away during a summer vacation when he met the daughter of a friend – the daughter very much resembled the film’s heroine Chihiro in character – it is said that anybody who sets within ten feet of Mr. Miyazaki is likely to become a character in one of his films. As an example Mr. Miyazaki’s other film, Kiki’s Delivery Service, the protagonist Kiki was based upon the thirteen-year-old daughter of producer Toshio Suzuki.

In Japan the original title is Sen to Chihiro no Kamikakushi literally translated as The Spirited Away of Sen and Chihiro or Sen and the Spiriting Away of Chihiro. Spirited Away was the first anime film to win an Oscar as well as winning the Golden Bear Award at the Berlin Film Festival, being the first animated feature film of any kind to do so.


Excerpt from DVD insert: Hayao Miyazaki said, “I would say that this film is an adventure story even though there is no brandishing of weapons or battles involving supernatural powers. However, this story is not a showdown between right and wrong. It is a story in which the heroine will be thrown into a place where the good and the bad dwell together, and there she will experience the world. She will learn about friendship and devotion, and will survive by making full use of her brain. She sees herself through the crisis, avoids danger and gets herself back to the ordinary world somehow. She manages not because she has destroyed the ‘evil’, but because she has acquired the ability to survive.”

Chihiro is a ten-year-old girl (the same age as the inspiring girl) who is a sullen, bitter, and spoiled brat but by the end of the film she has undergone a metamorphosis into a confident and happier person. She and her parents are moving when her father gets themselves lost in which they find a seemingly abandoned theme park fashioned after a not-too-recent Japanese past.

Her parents find a stall with food and start eating despite Chihiro’s complaints. She wanders off and finds a bathhouse; as she begins to explore she encounters a young boy and he tells her to leave immediately and to get across the river before its too late. He creates an illusion to give Chihiro a chance to escape.

Chihiro finds her parents who have now tranformed into large pigs and understandably she freaks out and flees. However, she doesn’t go far, as the grassy field that her family had crossed is now covered with a large body of water. Adding more to her dilemma, she is slowly becoming transparent.

The boy finds her in her transparent state and convinces her to eat something that makes her solid again; he then helps her further by telling her she’ll need to get a job to survive in this spirit-inhabited world from the sorceress Yubaba.

Chihiro meets the boiler-man Kamajii, who directs a servant named Lin to take her to Yubaba. Chihiro reaches Yubaba’s lair after a degree of difficulty and assistance. In order for her to acquire a job at the bathhouse she has to surrender her name to the sorceress who renames Chihiro as Sen; this is how Yubaba retains control: she literally takes away a person’s name and renames them with only part of their name. While Yubaba is viewed as the antagonist, she is not exactly a villain, and is quite doting to her over-sized baby named Boh.

Chihiro (Sen) struggles at first but while forming strong relationships with Lin and “the mysterious and handsome” Haku (the young boy) she gains confidence and courage. Furthermore, she gains respect after helping a “Stink Spirit” but actually is a river god revealed after all of the pollution is cleansed of it. She also forms a relationship with Kaonashi a.k.a. “No Face” who helps her a lot several times in the film and she assists him as well in time.

No Face is a mysterious character as well. Though he assists Chihiro, he is also attracted to the staff’s greed, and thus offers them tons of gold while transforming into a grotesque monster and assumes the voices and characteristics of those he consumes.

Chihiro meets Zeniba, Yubaba’s twin sister who is exactly identical physically but their hearts are opposite. While Yubaba is nasty and who seems to hold no love for anyone but Boh (it seemed she had some heart for Haku until he is mortally wounded and orders him to be thrown down a hatch before he bleeds too much on the carpet) while Zeniba is a grandmotherly sort. Haku had stolen a golden seal on behalf of Yubaba and those who steal her golden seal are doomed to die. Chihiro takes it upon herself to return the golden seal to Zeniba and rescue Haku.

However, she cannot yet go to Swamp Bottom – where Zeniba resides – as she has another job to do: get Kaonashi out of the bathhouse. He is eating everything and Yubaba’s furious. Chihiro realizes that she must have let Kaonashi into the bathhouse by accident and it is up to her solely to him out.

Kaonashi tries to tempt Chihiro with gold as he did to the others but she firmly refuses; instead she gives the rest of the herbal cake that the river god had given her whom she had already given some to Haku. The herbal cake thus provokes Kaonashi to vomit everything he has consumed and he leads a rampage after Chihiro until he is his regular size.

Kaonashi accompanies Chihiro on the train to Swamp Bottom along with Boh and the hawk-like creature employed by Yubaba and both are transformed by Zeniba. The trio of heads are transformed into Boh to fool Yubaba.

Chihiro and company arrive at Swamp Bottom and are escorted to Zeniba’s cottage by an animate lamp post. Chihiro returns the golden seal even though she stepped on the slug in which she learns the slug was what Yubaba used to control Haku.

Meanwhile at the bathouse, Yubaba discovers the loss of her baby, and discusses what is necessary to release Chihiro and her parents back to the ordinary world with Haku, who is now healed and free of Yubaba’s internal control. Under Yubaba’s instruction, Haku goes off in search of Boh.

Haku finds Chihiro and the rest of the crew at Zeniba’s: Zeniba forgives Haku for the theft of the golden seal and Haku flies Chihiro and company back to the bathouse except for Kaonashi who stays with Zeniba as a helper. In the aftermath, Haku, with the assistance of Chihiro, remembers his true name, and Chihiro is given the final test – determining the fate of her family and their return to the ordinary world.

Excerpt from DVD insert: “Our story is one in which the natural strengths of the character are revealed,”Hayao Miyazaki concludes. “I wanted to show that people actually have these things in them that can be called on when they find themselves in extraordinary circumstances. That is how I wish my young friends to be and I think that this is also how they, themselves, hope to be.”

Cast and Points of Interest

Japanese Cast: (select – see first Answers.com article listed below for more detail)

  • Chihiro: Rumi Hiiragi
  • Chihiro’s dad: Takashi Naito
  • Chihiro’s mum: Yasuko Sawaguchi
  • Kamajii: Bunta Sugawara
  • Yubaba & Zeniba: Mari Natsuki

Points of Interests: Cast

  1. The signature on Chihiro’s farewell card is the first name of her voice actress.
  2. Takashi Naito, who preformed the voice of Chihiro’s dad, had been a fan of Hayao Miyazaki’s film for many years before he was offered the opportunity to star in Spirited Away. During the recording, he was rather nervous as there was Mr. Miyazaki behind him.
  3. In the scene when Chihiro’s mum is trying to get Chihiro to join them at the food stall, the actress Yasuko Sawaguchi at first put her finger in her mouth to attempt the desired effect of someone talking with their mouth full. Eventually the recording crew bought KFC and the actress said her lines while eating the chicken.
  4. Yubaba’s voice actress Mari Natsuki was excellent in her roll. As she continued to become more and more involved with her character, Yubaba became more and more alive and the crew also had their share of amusement as Mari Natsuki illustrated her dialogue with gestures.
  5. Bunta Sugawara was at the time of Spirited Away in his forties and during dialogue scenes, he even began moving his arms around like Kamajii. Furthermore, in the golden seal scene when Kamajii made that gesture to Chihiro (a member of the Disney staff compared it to the Western “cootie catcher” gesture) Rumi Hiiragi did not know beforehand what the sign meant. Mr. Miyazaki had to explain it; in which one of the crew said that “the young don’t know it these days” despite it being “all over Japan.”


  1. Chihiro’s dad is based on a real-life person: like Chihiro’s dad, the real-life person loses his way in directions while driving and he gobbles up food. Even Chihiro’s mum is based on a real person: a staff member of Studio Ghibli. Chihiro’s mum greatly resembles the real-life person and she also displays the gesture of having her elbow pointing downward while eating.
  2. As mentioned earlier, Chihiro is based on the daughter of a friend of Mr. Miyazaki’s, which he met during summer vacation at his summer cottage. Mr. Miyazaki said that she inspired him to make Spirited Away, a movie for young girls, and for those who “were ten years old and for those who will be ten years old.” Despite the fact Mr. Miyazaki made it for young girls, the film is loved by audiences young and old of all ages and whether or not they are young girls or otherwise.


The theme park (it is also referred to as an amusement park in some translations) that Chihiro and her parents discover before the adventure begin is based upon a real location in Japan nearby Studio Ghibli and which Mr. Miyazaki would visit at dusk when the crowds were thin. It is, from what I have seen, pretty much the same layout as the theme park’s buildings are in Spirited Away, though they’re more modern. However, inside the modern buildings are models of the old buildings of the past. See the Nippon Television Special for more information regarding this location and the other points of interest, which can be found in the bonus features in the DVD version of Spirited Away.


The colourful, star-shaped objects that Lin feeds the soot sprites (reminiscent of another of Mr. Miyazaki’s film, My Neighbour Totoro) are a Portuguese candy called kompeito introduced to Japan in the fifteenth to sixteenth century. In the English dub, the kompeito is called confetti. See below in the external links for more information.

Always With Me

The theme song of Spirited Away, Always With Me, was preformed by Youmi Kimura, who was a virtually unknown musician, and the lyrics were written by a friend. Miss Kimura said that a melody kept playing in her head and by request, her friend wrote the lyrics to accompany it. The two women then thought of the idea to send it to Hayao Miyazaki, as both loved his films since Princess Mononoke.

Mr. Miyazaki received the tape and enjoyed it. At the time, he was working on Rin, the Chimney Cleaner, however this film was never to be as it was turned down. Because of this action, Always With Me, wasn’t heard publicly until some years later when Mr. Miyazaki listened to it again while working on Spirited Away. He then realized that it was exactly the theme of the film he was working on. When the film premiered, Always With Me was heard publicly for the first time ever.


Novelizations of Spirited Away are available in graphic novel form, usually consisting of one to five volumes, and contain most of the dialogue from the film, as are most of Hayao Miyazaki’s other films. See the Nausicaa.net link below for more details.

Besides books and graphic novels there are playing cards, figurines, keychains, etc., which can be found over the Internet and elsewhere.

Spirited Away 2

Spirited Away 2 is a fan-made movie based on the characters of Spirited Away, however, it does not relate very much to the original film and it also contains a resurrection of Godzilla.

Recommended Reading

The Art of Spirited Away by Hayao Miyazaki and Stuido Ghibli Editorial Desk. It features the concept art, cell art, etc. of Spirited Away.

Personal Thoughts

In my opinion, I think that the Spirited Away DVD is the best release of any Studio Ghibli film to date, by means of special features. All the other Studio Ghibli DVDs just have original storyboards and the original Japanese trailers usually, which can get kind of boring sometimes. I really like the Nippon Television Special.

Spirited Away Trailer


Spirited Away – A detailed article of the movie, etc. at Answers.com.

Spirited Away – Australian website

Spirited Away – Nausicaa.net

Spirited Away Merchandise – GhilbiWorld.com

Image(s) [under construction]


One of my favourite scenes: at Zeniba's house

The Cat Returns

Posted in Studio Ghibli at 9:00 pm by j128

The Cat Returns is a 2002 anime film directed by Hiroyuki Morita and produced by Studio Ghibli. It was spawned from an earlier Studio Ghibli film, Whisper of the Heart (1995), which depicted short scenes of fantasy elements from the story that the protagonist, a young girl, was writing about, and these scenes became so popular with fans that they demanded a movie be made of Shizuku’s novel.

At first Studio Ghibli was approached in 1999 by a Japanese theme park, who requested to have them write a 20-minute short starring cats. Hayao Miyazaki wanted this short to have three key elements: Baron, Muta, and a mysterious antique shop. Later, the short was scraped as the theme park canceled the project, but nonetheless Studio Ghibli continued with the project, making a new story drawing from the short and the manga that Aoi Hiiragi had been commissioned to write as an equivalent to the short, which was written from Shizuku’s perspective, roughly years in her future. This manga was translated into English and published by VIZ Media as Baron: The Cat Returns.

This is just a rough and somewhat brief summary of the history of The Cat Returns, and if you are interested to read any additional information, please read the Wikipedia page.

Aside from the characters of Baron and Muta and the antique shop, this story is entirely its own, and hardly relates to Whisper of the Heart or Shizuku’s story, but it is still a wonderful story.


Haru is a seventeen-year-old girl, a quiet and unassuming high school student who has a unique ability to talk to cats that has been long suppressed. She isn’t well-organized: sleeping in on a weekday and is usually late for class; she is also low in self-esteem and confidence. She is sometimes depressed that she doesn’t have a boyfriend like her friend.

After an ordinary day of school, on the way home with her friend discussing boys and suchlike, they observe a strange, odd-eyed cat waiting to cross the street holding a parcel in its mouth. As they watch, the traffic starts moving just as the cat accidentally drops the parce. In a desperate, heroic feat, Haru runs across the street and rescues the cat with her, and just narrowly avoid being hit by a truck. She then discovers that she rescued a very important cat: Prince Lune of the Cat Kingdom. Her friend doesn’t believe the cat spoke to Haru and thinks that maybe Haru hit her head.

At home, Haru asks her mother if cats can talk, and a recalled memory of when Haru was a little girl. A dirty and malnourished kitten had been following Haru and in an act of kindness, Haru gave the rest of the package of fish-shaped biscuits (maybe taiyaki?) to it. Her mother also recalls that Haru had told her that she had spoken to the kitten.

Haru goes to sleep but wakes up in the middle of the night, and when she looks out her window she sees a procession of cats walking on their hind legs, and they stop at her house. Natori, the bespectacled advisor of the Cat King – a creepy, ill-groomed large cat with odd eyes – gives Haru a scroll and declares that tomorrow many gifts of gratitude will be showered upon her. Haru merely nods, not knowing what she’s gotten into.

Next morning, she wakes up late again for school, but this particular morning has already started off unusual: in their front yard catnip has grown and her mother has to lay down – she thinks she hasn’t had enough sleep. When Haru woke up, she got a phone call from her friend, and the reason for the call: hundreds of rackets are all over the place.

Haru hurriedly runs down the street to school and as she does so, many cats start following her – being attracted to the catnip on her clothes. They follow her to school and when she arrives and goes to her locker, small boxes fall out, and they start moving. A second later, the boxes open, and dozens of mice emerge. She freaks out and the cats appear, chasing the mice.

She finally arrives in class and she begins studying the scroll she got the previous night, and she now realizes that it wasn’t a dream. She stays after school, doing clean up, and while doing so Haru glimpses the pretty young girl that the boy that she likes. One of the cats, named Natoru, Haru sees, and angrily shakes her. (In the Japanese version, Natoru is female, yet in the English version for some reason she was voiced as a male.) Natoru happily tells her all that’s happened but soon discovers that Haru didn’t like the gifts. Suddenly, Haru is offered Prince Lune’s hand in marriage, and before she knows it, Natoru has ran off, telling her that they’ll pick her up tonight, as she took Haru’s mixed reply as being affirmative.

Haru panics and is in a desperate situation and is unhappy with the new developments. A female voice speaks to her, telling her to go to the Cat Bureau. Haru finds a large, fat cat named Muta, whose name is parodied throughout the film due to his excessive size. He leads her to the Cat Bureau and there she meets the owner, Baron, full name: Baron Humbert von Giggingen, and Toto, a statue raven that comes to life much like Baron.

Haru explains her predicament and they discuss it over tea. Baron decides its time to visit the Cat Kingdom and they prepare to go, but Haru is suddenly whisked away by cats. Baron, riding Toto, and Toto carrying Muta chase after them, and Muta is thrown in the direction of the cats, intended to be caught by them, but they avoid him. He angrily runs after them and just manages to jump on – almost exceeding the weight limit.

Baron and Toto are forced to follow them in the human world, as Haru and Muta travel to the Cat Kingdom through portals. They finally find the Cat Kingdom: five islands in the shape of a cat paw.

There, Haru slowly becomes catlike and she is treated to a feast and entertainment, but she is too miserable to even care or take notice. Earlier, prior to the feast and entertainment, Muta gorged himself on the food and apparently drowned in a large vessel of catnip jelly and he was wheeled to the banquet. Haru is suddenly asked to a dance by a mysterious persona, whom is soon revealed to be Baron.

They make a desperate escape from the banquet amidst the confusion that ensues and the vessel containing Muta smashes, thus freeing the large cat, who attacks the cat soldiers, giving the Baron and Haru a chance to escape, with help from a royal servant, a white, blue-eyed cat named Yuki.

After being reunited with Muta, they go off to the tower – the portal to the human world and the only way Haru can go home. They are almost defeated by the King but Prince Lune comes home all of a sudden after some campaign and tells his father that he doesn’t intend to marry Haru, but Yuki. It is explained that Yuki is in fact the little kitten that Haru had helped years earlier, and in return Yuki has helped Haru. Another thing revealed is that Muta is actually a cat that has visited, or rather terrorized, the Cat Kingdom before: Renaldo Moon! According to legend, he emptied an entire lake of fish, and took off afterwards.

After some difficulties, Haru finally makes it back to the human world with the help of Baron and Toto. She thanks them and he replies that if she should ever need help again, all she must simply do is call and reminds her that she can visit as often as she likes. Haru confesses that she might have developed a slight crush on Baron.

It’s the weekend and Haru’s mother wakes up. She comes down, a little groggy, and is surprised to see Haru already up and even made breakfast! Haru is very mature and she soon goes out to visit her friend, who tells her that the boy she was interested in dumped the girl, and that if Haru wants to go out with him she’s more than welcome. But Haru doesn’t mind anymore – it doesn’t matter. Her friend is surprised about this new development and doesn’t understand. As they walk by, they pass Muta who is snoozing on one of the chairs at an outside café table.

Hero’s Journey

As it has been noted in many Studio Ghibli films, the protagonist often goes through a journey of transformation and self-discovery. At the start of the film, Haru isn’t very confident and is often unsure of herself; but by the end of the film, she has matured considerably and cannot compare to her old self, as her journey and her relationship with Baron has had an obvious affect on her.

The Cat Returns (Original Japanese Trailer)


Haru and the Baron The Baron

Whisper of the Heart

Posted in Studio Ghibli at 8:52 pm by j128

Whisper of the Heart

"Whisper of the Heart" (Australian DVD release)

Whisper of the Heart is a Japanese 1995 film from Studio Ghibli and directed by Yoshifumi Kondo and the storyboard and screenplay by Hayao Miyazaki. This was Mr. Kondo’s first film to direct, sadly he died three years later of an aneurysm – though others say his death also resulted from work overload – and even more, he was meant to be the successor of Mr. Miyazaki and Isao Takahata at Studio Ghibli. Whisper of the Heart was released in North America in 2006 by Disney and Buena Vista Entertainment along with Howl’s Moving Castle and the Disney version of My Neighbour Totoro.


Shizuku Tsukishima is a thirteen or fourteen-year-old girl who attends junior high school in the outskirts of a city in Japan. She loves reading and writes poetry, a recurring theme throughout the film is the song that Shizuku translates is Country Road.

Shizuku is intrigued by a boy’s name on the library cards, as he has checked out all of the books that she has read before her. His name is Seiji Amasawa. Shizuku learns that his father was a former PTA member as one of the books she borrowed has the surname Amasawa and that his son is attending the same school as she is.

One day on the train Shizuku meets a mysterious cat that she follows upon discovering an unknown neighbourhood and she also discovers a sort of antique shop where she meets the Baron, a cat doll. This is only the beginning of her adventure.

Eventually she properly meets the young boy she’s been approached by and after she’s sung her version of Country Road she finds out that the boy’s name is Seiji Amasawa and that the owner of the shop is his grandfather. Seiji makes violins and he can play a little, too, but what he’s interested in is being a violin maker. He tells Shizuku that there is a violin workshop in Cremona, Italy, and he intends to go there, but his parents are against it and his grandfather is his only ally.

Shizuku is happy for Seiji and his ambitions, though she is disappointed she does not have similar ambitions and that they couldn’t attend the same school together. Sejii’s parents give in on one condition and he leaves for Italy while Shizuku commits herself to writing a story, which Seiji’s grandfather will read, and has the Baron as the hero.

Two months go by – Seiji in Italy and Shizuku writing her story. She finishes her story, titled Whisper of the Heart, and Seiji’s grandfather reads it in which Shizuku also learns of the Baron’s past. It was rather coincidence that Shizuku gave Baron a female companion whom he became seperated from. In her story something sinister happens when an evil cat arrives at the city where the female cat and Baron were created; while in reality Baron was seperated just before the outbreak of WWII. Seiji’s grandfather wanted the cat doll but he was refused as the two dolls couldn’t be seperated and one of them was being repaired, however, a possible fiance of the grandfather’s offers that she she would take the other doll and give it to the grandfather as soon as she was repaired. The dealer accepted and the grandfather promised to come back to Germany (which was where Baron was acquired). But after the war, the grandfather couldn’t find the lady or the female cat doll, so Baron has been lonely since then.

Shizuku’s mission is accomplished: she has completed the book, now it just needs polishing. She is given a ride home by the grandfather and she tells her mother that she is finished – for now. She falls into a deep sleep and wakes up next morning, upon seeing Seiji and they ride on his bike up a hill to a special place where they watch the sunrise. Seiji proposes to Shizuku and she accepts: when they are old enough they will marry; in the meantime Shizuku will go back to school and work hard and Seiji will become a violin maker.


This film was based on the manga Mimi wo Sumaseba (If You Listen Closely) by Aoi Hiiragi.

Whisper of the Heart’s fantasy scenes depicted from Shizuku’s story became so popular with fans that Studio Ghibli released a film based on the characters called The Cat Returns, which is also a fantastic movie and I’ll also write a review of it sometime soon.

Whisper of the Heart Trailer


Whisper of the Heart – Answers.com

Online English translation of the original manga

Whisper of the Heart – Nausicaa.net

Whisper of the Heart– Google Video, full length, spoken in Japanese with Engish subtitles.


Nausicaä of the Valley of the Wind

Posted in Anime, Hayao Miyazaki, Studio Ghibli at 8:48 pm by j128

Nausicaa of the Valley of the Wind DVDNausicaä of the Valley of the Wind is a Japanese animated film (anime), directed by Hayao Miyazaki of Studio Ghibli, and was released in 1984, the first film produced by Studio Ghibli and based on the manga of the same name by Mr. Miyazaki. It is set in the distant future on Earth, after the disasterous Seven Days of Fire, which was a global war and left the Earth a wasteland and humans barely surviving on the fringes of what is left. It contains themes of science fiction, enviromentalism, and pacifism.

This anime was actually created pre-Studio Ghibli – it hadn’t even been established and was still relatively in its infancy.


It is one thousand years after the Seven Days of Fire, a terrible global war that caused the Earth to transform into a wasteland. There are hardly any safe places left for human survival, as the Sea of Decay is constantly spreading. Within five minutes without a mask one’s lungs would rot breathing in the toxic spores released from the Sea of Decay. Humans have constantly tried to burn the Sea of Decay and rebuild civilization, but all attempts have failed as the Ohmus and insects of the Sea of Decay attack any offences directed at the jungle. Shooting of guns repeatedly volumizes the level of offence and the Ohmus’ rage.

Lord Yupa is a wandering man in search of the legendary saviour that will save the world: clothed in blue and descending upon a field of gold, after a thousand years he will reunite man with the earth. Few people believe in this legend, but some still hold strong to it: this saviour is the only hope they have left. Early on in the film Lord Yupa is saved by Nausicaa from an outraged Ohmu because Lord Yupa fired his gun at an insect carrying something he mistaken for a human child, but it is actually a fox squirrell, whom Nausicaa names Teto and becomes a pet of sorts.

Princess Nausicaa of the Valley of the Wind is a bright girl who strives to unite the humans and insects together in a harmonious relationship without the ways of battle, which cause more destruction than helping others. Outside of the Valley war goes on humans against humans and humans against insects. She talks to the insects, rather than fighting them and producing fear on either sides, and calms them with an insect charm and/or harmless flash grenades. Her name is derived from a character in Homer’s Oddessy who helps Oddyseus and her part of her character comes from a Japanese folk hero known as “the princess who loved insects”, and the other half was inspired by the writings of Bernard Evslin who wrote a more in-depth exploration of the character Nausicaa from Oddessy.

Shortly after Lord Yupa arrives at the Valley of the Wind safely a Tolmekian airship is spotted in the sky by Nausicaa after being called out as the watchmen can feel something is amiss, but do not know what it is. Nausicaa goes after it on her mehve (glider) to steer them away from the cliffs, which is the direction they are heading. As she comes closer, she sees thousands of larvae on the front of the ship and men shooting from the inside. Nausicaa notes they must’ve landed earlier and angered the insects. She tries to tell them to turn the ship and that they’re going to crash, but they crash, but not before Nausicaa sees a young woman whom Nausicaa saves from the wreak and before the young woman dies she says she is Lastel of Peijite.

It is discovered the Tolmekian airship that had crashed had been carrying the last God Warrior, a lethal bio-weapon used in the Seven Days of Fire. It had been supposed all the God Warriors had been turned to stone, except this one, which had been sleeping for one thousand years under Peijite. Peijite unearthed it and the God Warrior was stolen from Peijite by Tolmekia.

The same day Lord Yupa and Mito discover the God Warrior (intact despite the airship’s crash) Tolmekian airships invade the Valley of the Wind and in doing so, kill King Jihl, Nausicaa’s father, who was unable to fly as the Sea of Decay’s toxins had finally taken over his body. He was helpless. Princess Kushana of Tolmekia makes a speech saying that if the Valley of the Wind join Tolmekia’s enterprise they will never have to fear the jungle or the insects ever again and they will put the jungle to the torch.

After a dispute with Obaba concerning burning the jungle and its negative influences, the Valley’s people submit to the Tolmekians and the Tolmekians start reviving the God Warrior while Kushana flies to Peijite along with five Valley of the Wind hostages, Mito, and Nausicaa.

They don’t get very far when they are attacked by a small one-man Peijite plane and it is piloted by Asbel of Peijite, twin brother of Lastel. He is about to shoot down the main Tolmekian airship, which has Nausicaa on board, but is distracted when he sees Nausicaa: he thinks it is Lastel. During his distraction, he is shot down and his plane plumets down to earth in a black cloud.

Nausicaa, Teto, Mito, and Kushana take off on the Valley of the Wind airship, which is made of indestructable Ohmu shell. They find the cargo ship, which hold the five hostages and Nausicaa convinces the hostages to remove the cargo and land in the Sea of Decay, which they are flying across.

The party land unknowingly in an Ohmu nest. Nausicaa gives out orders, and a scared Kushana fires her gun – and the Ohmus rise from their underwater nest. Nausicaa apologizes to the Ohmus saying that she and the other humans are not foes and they did not mean to harm the Sea of Decay.

An Ohmu’s narrow tendrils emit and they envelop Nausicaa in a cocoon. Within the cocoon beautiful singing occurs while the Ohmus show Nausicaa a vision of a golden field and the Earth born anew.

The Ohmus then leave abruptly, their eyes red with rage, followed by hordes of insects, and Nausicaa goes after them, telling the rest of the group to get out of the Sea of Decay and wait for her and if she does not come back in an hour to continue to the Valley of the Wind, and she saves Asbel of Peijite from being almost killed by the insects, which he had enraged with the firing of his gun.

Nausicaa’s mask is whipped off by an insect’s stinger and they crash to the jungle’s floor in quicksand and they sink to the bottom, under the Sea of Decay, where the air is pure.

Asbel and Nausicaa decide to travel to Peijite the next day. They discover thousands of dead insects and the capital city destroyed. They find out the insects were lured to the city and they are going to lure the Ohmus to the Valley of the Wind by means of a baby Ohmu, barely alive and dangling from a baloon. Nausicaa is disgusted and tries to take off on her mehve to alert her people, but she is taken as prisoner after Asbel is knocked out when he tries to help Nausicaa.

Meanwhile back in the Valley of the Wind the others have come back and the God Warrior is slowly waking up. Toxic spores have taken root in the forest and the people begin burning the forest, as it is too late to save the trees.

Asbel’s mother and another girl hear of Nausicaa’s predicament and the other girl disguises as Nausicaa while Nausicaa escapes on her mehve to go to the Valley of the Wind. Before she does a Tolmekian ship boards the Peijite ship and a bloody battle begins.

Nausicaa is far out when she meets Mito and Lord Yupa, who had gone searching for her. They shoot down the Tolmekian ship and Lord Yupa handles the situation on the Peijite ship while Mito and Nausicaa continue back to the Valley.

Kushana has broken out of her bonds and battle begins in the Valley, with the Valley’s people resisting against the Tolmekians to the point of bloodshed. Kushana brings out the God Warrior, awakend, though it begins to fall apart for it is not fully completed. It literally wipes out a few scores of Ohmus.

Nausicaa rescues the baby Ohmu, despite being shot deep in the shoulder and foot. The baloon falls on one of the islands within the Acid Lake. The Ohmus come towards Nausicaa and the baby but suddenly change direction when they sense the use of weapons in the Valley of the Wind. Nausicaa coerces the two Peijite men to carry Nausicaa and the baby Ohmu to the Valley of the Wind.

Nausicaa and the baby Ohmu land in the Valley, right before the Ohmus knock into them hard and the collision sends Nausicaa far into the sky and her body falls down in the stampede of Ohmus. The Ohmus stop finally and all eyes turn towards Nausicaa.

Many tendrils of Ohmus emit and raise Nausicaa in the air. They mend her wounds without a scar and she is resurrected. Upon Obaba’s request, two girls tell her what her eyes cannot see: Nausicaa is alive and she is wearing strange blue clothes and she seems to be walking on a golden field. Nausicaa is the long-awaited legend!

A happy reunion ensues and the Ohmus slowly make their way back home.

Through the credits we see the people of the Valley of the Wind bringing up the water from the wells, the Tolmekians going back to their homeland, people of the Valley having mehve gliding lessons, and the Earth healing.

Differences in the film and manga

The film itself is much simpler than the manga and only draws from the first three volumes. Spellings are also changed such as the Tolmekians are rendered to “Torumekians” in the manga.

Characters such as Lord Yupa and Princess Kushana are also different in both manga and movie: In the later volumes of the manga not covered in the movie, he dies, and Kushana’s body is intact and whole rather than having been attacked as a child by Ohmus.


The Nausicaa of the Valley of the Wind is available in all seven volumes in North America in two options: the traditional Japanese style of right-to-left or in collaborated book form read in left-to-right. They are availabe in English in the Japanese style by VIZ in North America.

Warriors of the Wind Warriors of the Wind

In America, 1985, a movie was released titled Warriors of the Wind, based on Nausicaa. It was extremely horrible and Mr. Miyazaki as well as many of his fans strongly disliked it. It was heavily edited, most of it was composed of actions sequences, and some of the characters’ names were changed (for example, Nausicaa was renamed “Princess Zandra) as well as the Ohmus being transformed into vicious enemies. Consequently, and rightly so, Studio Ghibli now has a strict policy (“no cuts”) for future films. If anyone would like more information on this film, click the link below. As far as viewing it, it appears as if it is out of circulation – Google Video and YouTube don’t have it.

Nausicaa of the Valley of the Wind Original Japanese Trailer


Nausicaa of the Valley of the Wind – the entire movie available on Google Video, English dub.

Warriors of the Wind – Review of Warriors of the Wind

Nausicaa of the Valley of the Wind Mania – Information on www.nausicaa.net

Nausicaa in America – The backstory of how the manga was translated into English

The Origin of Nausicaa – An interview with Hayao Miyazaki

Shuna’s Journey – A manga perceived by many as a prototype of Nausicaa


https://i2.wp.com/www.abcb.com/nausicaa/naus_00.jpg https://i2.wp.com/koziworld.blog.playersrepublic.fr/images/medium_nausicaa_5.jpg



Kiki's Delivery Service

Posted in Hayao Miyazaki, Studio Ghibli at 6:04 pm by j128

Kiki's Delivery Service DVD coverKiki’s Delivery Service is a 1989 anime film directed by Hayao Miyazaki of Studio Ghibli, based on a book of the same name by Eiko Kadono and it was also the first to be released under the Disney/Studio Ghibli contract.

The English version stars Kirsten Dunst as the voice of the eponymous title character, Kiki, a thirteen-year-old witch. I first saw this movie in the English version, before the DVD came out, and after seeing the Japanese version I prefer it over the English version. (Kirsten Dunst’s Kiki screams too often for my liking.)


In accorandance with tradition, when a witch and a man have a child, if it is a girl she will be a witch, and when she is thirteen, on the night of the full moon, she is to leave her home and find a place for herself to establish for a year as part of her witch training.

Kiki is a thirteen-year-old witch and upon hearing there is a full moon one night, she decides it’s time to leave home. Coming along with her on her adventure is her cat companion, Jiji, and she brings her father’s old radio and flies on her mother’s broom. Her mother is the local herbalist, who practices herbal medicine, and she worries about Kiki as she doesn’t know a lot of magic, only seemingly being able to fly a broom (which she is still a novice at) and being able to communicate with Jiji.

Kiki departs, saying farewell to her parents and friends. She flies off, but at first bumps into the trees, and the trees’ bells tinkle, and a person wistfully says that he’ll miss the sound of the bells. As Kiki and Jiji fly over the countryside, they meet another witch-in-training, whose rather snooty – even her cat – who has already found a town and practices fortune telling. As her town comes within sight she says good-bye and goes.

All of a sudden, it begins raining hard, much to the chagrin of Kiki who had heard on the radio that it would be a clear night, and they take shelter in a moving train. When they wake up, they find they had landed in the feeding bag for a herd of cows. They leave and soon find a cheerful little seaside city called Koriko, and there aren’t any witches. Kiki finds it hard to be accepted at the start, especially after the near-accident she causes when she wasn’t paying attention, but she gains acceptance from Osono, one of the owners of a bakery who is heavily pregnant throughout the film, when Kiki delivers a baby’s sucker a customer had forgotten.

Promotional poster by Hayao Miyazaki

Osono takes Kiki under her wing and gives her a home and Kiki starts a delivery business. She learns to deal through her homesickness, rude and ungrateful customers, slow deliveries, misplaced merchandise, etc.

She also develops a relationship with a local boy named Tombo, a relationship that’s a little rocky at first, but she soon becomes friendly and accepting of him. He takes an interest in aviation and he’s also interested in her; almost at the same time Jiji forms a relationship with a female Persian cat named Lily, whom he had disliked at first, and soon has numerous kittens with her, which are all shown near the end of the film.

Perhaps due to neglect, Kiki finds that she’s losing her magic powers – she can’t even communicate with Jiji – and one evening while trying to practice, her broom snaps. A young woman, whose in her late teens named Ursula and an aspiring artist, comes to visit whom Kiki met once during one of her delivery mishaps, and takes Kiki to her summer retreat in the woods. Ursula is almost seen as Kiki’s older sister and she was voiced by the same actress in the Japanese version. While at the retreat, Ursula consoles Kiki and tells her that a similar thing happened to her once (an artist’s block), but she got over it, and tells her also that whatever it is a person’s gift or gifts are – whether it’s painting, witchcraft, or baking bread – must be used and not rejected. In other words, to appreciate it.

Kiki’s magical abilities are restored one afternoon when she uses a street sweeper’s broom in a desperate attempt to rescue Tombo, who is struggling to hold onto a rope several feet above the ground; he had been one of the passengers in the blimp, but an accident had occurred. At the last minute, just as he falls, Kiki saves him, and they gently alight to the ground amid cheering crowds. Meanwhile, while Osano and her husband had been watching what had taken place on the television, she starts to go into labour and in a rush, her husband accidentally spills hot coffee over himself.

Later, we see Kiki flying next to Tombo in his man-powered aviation contraption, and Osano and her husband watching them, with the baby in her husband’s arm. Kiki sends a modest letter to her parents telling them that she’s getting along fine in her new city and she’s starting to like it. In short, she’s become something of a local celebrity as she notices a little girl walking past her on the street who’s wearing an outfit like Kiki’s and complete with the street sweeper’s broom. While it seems that she’s lost her ability to communicate with Jiji, in the English version there is an added line as if to indicate that they understand each other.

Themes of Kiki’s Delivery Service

Like all of Hayao Miyazaki’s films, and subsequently Studio Ghibli’s, usually the protagonist goes through a journey of self-discovery, whether it’s recognizing one’s personal strength (Haru, The Cat Returns); a transformation, such as maturity (Chihiro, Spirited Away); or realizing something about oneself (Sophie, Howl’s Moving Castle), the character Kiki also undergoes a journey of self-discovery.

Like all witches, Kiki has to wear a simple black dress, and when she arrives in Koriko, she sees a lovely pair of red shoes in a shop window. As she looks at them, some young teenage girls walk past her, and she wistfully wishes that she were pretty; like Sophie, she doesn’t yet realize that she is pretty. Possibly as part of her witch training and also of her personal experiences of learning how to take care of herself and rely on her own resources, she also gains maturity that’s apparent by the end of the film, and this maturation includes getting over her homesickness, worries, and also overcoming her prejudiced perception of Tombo.


See Wikipedia page > Characters.

Kiki’s Delivery Service Trailer (Japanese)


You can watch Kiki’s Delivery Service, dubbed in English, on YouTube in 10 parts. Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10

Kiki’s Delivery Service – Wikipedia


Jiji and Lily


Ursula's painting

Ponyo on a Cliff

Posted in Anime, Hayao Miyazaki, Studio Ghibli at 5:52 pm by j128

This post is incomplete and is subject to change.

Ponyo on a Cliff is an upcoming anime film directed by Hayao Miyazaki of Studio Ghibli. It’s to be released this summer, 2008, in theatres in Japan, and it will be released in North America in 2009. This review is incomplete and only contains information that I have collected from what I have read on the Internet. As I find out more, I’ll update this post.

This film is rumoured to be Mr. Miyazaki’s final film, however, I am not entirely certain of that, and I don’t believe it. My reason for my refusal to believe this could be his final film is because of a past history: after directing Princess Mononoke, Mr. Miyazaki was supposed to have retired, but he made an unexpected and sudden comeback to direct Spirited Away, from which he gained more critical acclaim and recognition in North America, than he had had from his other films, and which also won the Golden Bear Award – the first animation film to win such a prestigious award.

So we’ll see if he is actually going to retire retire or if he’s just going to take a break undercover as “retired”, then surprise the world again with another fantastic film.

Unlike his previous films, Ponyo on a Cliff, is actually made using water colour art and is described as being charmingly childish. It has been said that Mr. Miyazaki has gone back to his roots in this one – simple but charming children’s films.


The film is about a five-year-old boy, who is based upon Hayao Miyazaki’s son (Goro Miyazaki), and a little goldfish princess who longs to be human, and their adventures throughout the film. It had major success in Japan, and is slated for release sometime this year in North America.


Interview with Toshio Suzuki about Ponyo on a Cliff

Gedo Senki: Tales from Earthsea

Posted in Studio Ghibli at 5:44 pm by j128

Tales from Earthsea

Promotional poster for "Gedo Senki: Tales of Earthsea"

Gedo Senki: Tales from Earthsea is a 2006 Studio Ghibli film directed by Goro Miyazaki, Hayao Miyazaki’s son, and it is based on the books by Ursula K. Le Guin. Initially, many anime directors had proposed to make a film of Earthsea but the author refused. Hayao Miyazaki himself had been interested to make an anime version before Nausicaa of the Valley of the Wind. In 2003, after receiving an Oscar for Spirited Away, he received an approval from the author after she had seen one of Mr. Miyazaki’s earlier films My Neighbour Totoro. Unfortunately by the time Ursula K. Le Guin had given her approval, he was already directing Howl’s Moving Castle, so on the behalf of Studio Ghibli, Mr. Miyazaki’s son took over the project.

Goro Miyazaki had always been reluctant to follow in his father’s footsteps, being more interested in landscaping than anime. However, after producer Toshio Suzuki persuaded the younger Mr. Miyazaki into working at the Ghilbli Museum, he began to be involved in Studio Ghibli and was consequently asked to draw the storyboards for Earthsea and he became director when Mr. Suzuki made his decision.

Mr. Suzuki’s decision caused a rift between the father and son’s relationship, with Hayao Miyazaki stating that he felt that his son was inexperienced with directing a film. Sympathy can be felt for the elder Mr. Miyazaki as the approval to make a film of Earthsea was given to him. During the movie’s premier, the two were seen together, and it seems that now they are mending their relationship.


In the early beginnings of the story, it is explained that the land of Earthsea is deteriorating, some of the early signs of dragons being sighted in the land of men, the dragons are fighting each other, and there is some sort of fever that is taking over the livestock and a small percentage of the human population. Magic is waning as well.

Arren is a seventeen-year-old young man, the King of Earthsea’s son. He is troubled and lives in fear – he is afraid of death. Two female servants mention that Arren is gone and is nowhere to be found to the King but they are silenced by a woman who is supposedly the Queen. She tells the two women that the prince is not a child anymore and can handle himself.

The King goes through a lonely corridor after departing from Wizard Root and a few courtiers, telling them that he is attending to his correspondence. Just as he is about to enter into a room, he thinks he senses something, but shrugs it off – telling himself that he is imagining things. Before he can defend himself, a man emerges from behind a column, brandishing a knife. He rushes in at the King and stabs him before running off with the King’s sword.

The next scene shows a mysterious man wandering a desert-like environment and he sees a pack of wolves giving chase. The man follows them and rescues a young man and his horse (which really looks more similar to a llama). The man’s name is Sparrowhawk who is later revealed to be a wizard, and the young man is Prince Arren, who has run away. Sparrowhawk and Arren travel together to Earthsea’s capital Hort Town, where life is corrupt with craftsmen who have abandoned their trades, slavery, and destitute addicts of a drug called “hazia.” Arren is almost taken by temptation to try the drug before Sparrowhalk intervenes and shows Arren what the drug does – while it figuratively leaves a person living in heaven without fear and sorrow, it leaves the body helpless and its soul is lost.

Arren rescues a girl, who was being chased by soldiers and accused of being a witch. If it had not been for Arren’s “dark side” emerging and attacking the soldiers, the girl would have become a slave. Her name is Therru. Shortly afterwards, Arren wanders through the city, and falls asleep. He dreams a dark dream and is abruptly woken up by the same soldiers. They capture him as a slave. Fortunately, he is rescued again by Sparrowhawk and is freed; the other children are freed as well and a few do escape but most of them are recaptured.

Lord Cob is the antagonist and has opened the door between life and death, causing the deterioration of Earthsea, because he seeks the secret of eternal life. He puts on a search for Sparrowhawk, who is an archmage, and sees Arren as a potential as well.

The duo arrive at Tenar’s small farm, who has been a friend of Sparrowhawk’s for a long time. There Arren also meets Therru, who is a scarred orphan girl. Tenar later tells Arren that Therru’s parents were abusive and did many cruel things to her; they burned her as well, which is why Therru has a scar. At first, Therru avoids Arren due to her fear of his dark side but later warms to him and opens up.

Arren tells Therru that he killed his father and that he is afraid of his dark side, his shadow, and if he stays at Tenar’s any longer it will come back. He leaves but his shadow does catch up with him but before the shadow can take him, Lord Cob appears and takes Arren instead after the boy has fainted.

He takes Arren as his prisoner and tricks him into thinking that they can work together and that Sparrowhawk is really a bad guy who wants to find the secret to eternal life and that he intends to murder Arren. Cob also makes Arren drink some sort of liquid, which turns out to be another form of hazia, and under its influence, Arren tells Cob his True Name: Lebbenan. In Earthsea, one has to protect his True Name carefully and doesn’t just tell it to anybody – he has to use it wisely as well. Now that Cob has Arren’s true name, he can easily control him.

Meanwhile the three soldiers have ambushed Tenar and Therru.They capture Tenar as a replacement for Sparrowhawk, as Cob plans to use her to lure Sparrowhawk to him (and this tactic succeeds). They leave Therru at the farm with her hands tied behind her back to the fence and they tell her to tell the wizard that if he ever wants to see Tenar again, he has to go to Cob.

Tenar arrives at Cob’s fortress, where she also sees Arren, who remains indifferent through the episode. The soldiers escort Tenar to the dungeons. Meanwhile, Therru has managed to free herself and tells Sparrowhawk what Cob did. Before he leaves, Sparrowhawk gives Therru Arren’s sword, telling her that he needs it and to stay home.

Sparrowhawk reaches Cob’s fortress, escaping the laid out trap, and gets inside where he meets Cob and Arren, under Cob’s influence, almost kills Sparrowhawk using the same move that killed his father but Sparrowhawk evades the move. He tells Arren that life without death is not life and that to refuse death is to refuse life. Everyone and everything doesn’t live forever in this world but it is mankind alone who has been given the gift of knowledge that we must die. Hardly has Sparrowhawk almost finished telling Arren this when he is caught and taken to the dungeons and literally thrown in the same cell as Tenar.

While this has been happening, Therru has been trying to find Arren to give back his sword. She meets Arren’s shadow on the way and it guides her to Cob. It tells her that she must go alone because he cannot enter the fortress – not out of fear but because he is prohibited. Before the shadow dissolves, it tells Therru Arren’s True Name.

Therru maneuvers her way through the fortress without being detected and finds Arren in his room in a miserable, hopeless state. She tells him that Sparrowhawk and Tenar are going to be killed and that they must do something. Arren doesn’t move – he doesn’t see the point of saving them when they’re going to die anyway. Therru tells Arren the reason why life is so precious is because there is death and that is why it is treasured and that is also why it should be lived to its fullest. Arren is still unconvinced and Therru asks Arren again, to help rescue Sparrowhawk and Tenar, uttering his True Name.

Arren is surprised and asks how she know his name. She tells him that he told her and now she will tell him her True Name: it is Tehanu. They unite and reach where Sparrowhawk is about to be pushed into the sea by Tenar, who was forced to commit the action; Arren and Therru appear and Arren attacks the soldiers. Cob is surprised – he can no longer control Arren. Instead, he attempts to use magic to kill Arren, and he resists and Cob realizes for the first time that Arren’s father’s sword was forged with magic. Arren rushes at Cob and chops off his hand that held his staff.

Cob transforms, revealing he is really an old man, and his hand is fused back. He grabs Therru and a chase begins between Arren and Cob. No matter what Cob does with his magic, Arren overcomes it, and after Therru apparently dies at the hand of Cob, she seems to be resurrected by some mysterious way, and together she and Arren ultimately defeat Cob.

During the process of defeating Cob, Therru transformed into a dragon, and Arren rides her back, flying away from Cob’s fortress. Therru transforms back into a girl and Arren tells her that he’ll go back and make up for his crime and that he’ll see her again sometime. They are greeted by Sparrowhawk and Tenar and the final scenes show the four of them living happily, doing farm-work, and enjoying each other’s company before Sparrowhawk and Arren depart.


The film’s reaction was relatively good in Japanese theatres, reaching up to 900, 000 yen and was No. 1, next to Pirates of Caribbean: Dead Man’s Chest until it was pushed out by the third X-Men movie. Regarding Ursula K. Le Guin’s reaction to the film, she was disappointed as it wasn’t the same and many things had been changed such as the characters and plot, but she did commend the animation and landscapes. She was also disappointed that Hayao Miyazki hadn’t been able to do it due to the circumstances (she said that once she had seen the elder Mr. Miyazaki’s works she firmly believed that if anyone was allowed to do an Earthsea movie it should be him) but she congratulated Goro Miyazaki and stated that it wasn’t her movie, it was his and at that, a good one. (Somewhat similar in a way to Dianne Wynne Jones’ response to the film Howl’s Moving Castle, though there wasn’t as much of a drastic change (in a way) as in Earthsea.) Her son, Theodore Le Guin, saw it as well and said that it was breathtakingly beautiful – especially the landscapes and Therru’s song: it wasn’t at all Hollywood, he said, it was definately Ghilbi.

As well as the positive reaction, there was also some negativity as there are many loose ends in the film. Unlike stories with open ends, which lets the reader/viewer contemplate the possibilities of what could happen with the characters, etc., Earthsea has unanswered questions that can leave the viewer confused, such as why Arren killed his father, why Therru transformed into a dragon, etc. Especially noted is the film’s apparent lack of pace and plot: it just seems to meander with events that seem to have no connection due to the fact that they are not explained. This does not mean it is a bad movie, it is just – in a way – juvenile. However, many agree that it is a fabulous film in regards to the animation and that it is a relatively good start for Hayao Miyazaki’s son….that is, if he wishes to continue in the world of animation and film.


  • The man who offered Arren the hazia looks strikingly similar to Jigo from Princess Mononoke.
  • Many times throughout the film Arren looks like Ashitaka from Princess Mononoke.


The DVD is available in Britain, being released this summer, on Region 2 DVD.

In Australia, the film premiered in Brisbane and will come to DVD either in late 2007 or early 2008. See the Answers.com article for more details (see below).

It is currently unavailable in North America, due to Science Fiction Channel’s miniseries Legends of Earthsea, and thus they hold the rights to it, which aren’t due to expire anytime soon – no earlier than 2009. So expect Tales from Earthsea to come out on DVD somewhere in that timeline, until then…but for those who are impatient to see it and don’t live in Japan, Britian, or Australia here’s a treat: it’s available on YouTube! Anybody can watch the whole film in parts, totalling eleven parts, and they are about ten to eleven minutes in length, except for the last part that is about seven or eight minutes long. It is spoken in Japanese with English subtitles. To enjoy the show, search Tales from Earthsea in the YouTube search engine or click on the link below.

Gedo Senki Trailer (Japanese with subtitles)


Gedo Senki: Tales from Earthsea – Answers.com

Studio Ghibli’s Earthsea summary @ Ursula K. Le Guin’s official website

Gedo Senki: Tales from Earthsea (YouTube) – First part of Tales from Earthsea, spoken in Japanese, English subtitles. You can find the subsequent parts on the sidebar and the slideshow that appears at the end of the clip. The whole movie totals approximately 115 minutes (almost 2 hours).

September 12, 2006

Princess Mononoke

Posted in Hayao Miyazaki, Studio Ghibli at 2:49 am by j128

Princess Mononoke poster

Japanese promotional poster for Princess Mononoke

Princess Mononoke is a Japanese animated film, directed by Hayao Miyazaki of Studio Ghibli, and was released in Japan in 1997 and the US in 1999. The plot is about a constant battle between animal gods protecting a vast ancient forest and the humans who border this forest who want to burn it because of the value of iron. Mononoke is a title, not an actual name, meaning ‘spirits’ thus ‘Princess of the Spirits/Spirit Princess’.


The protagonist is Prince Ashitaka of the Emishi tribe. After being cursed by a cursed animal demon, later discovered to be the Boar God Nago, Ashitaka leaves the Emishi tribe forever who have not set foot in the outer world for five hundred years since being exiled. A ball of iron was found in the boar’s body and the Oracle believes it to be the source of the curse. Should Ashitaka be taken over by rage or hatred, black tendrils will emit from his right arm, which was touched by the demon, and there is the possibility that he might also curse others. His mission is to see the world ‘with eyes unclouded by hatred’ and to also seek a cure for his curse. The Oracle also says that eventually the curse will spread over Ashitaka’s entire body and kill him; thereby the reason to find a cure.

With only a few provisions and Yakul, Ashitaka’s loyal red elk, they leave the Emishi tribe and begin on an epic journey that leads them from the Emishi tribe all the way to Irontown, which derives its name from what they specialize in: iron.

In the beginning the people of Irontown raked the sands nearby of all the iron. There was none left. However, there was the ancient forest bordering Irontown, but no one dared enter because there was the Boar God Nago, who was the master of the forest and he was ferocious. But then Lady Eboshi came along with her guns and some recruits. They burnt down the forest, but not entirely, only enough to reach a certain percentage of the iron. While doing so, Lady Eboshi shot the Boar God Nago with an imishyi gun and blinded by pain and hatred, Nago bore down upon everything that was in his way and by this made his way to the Emishi tribe and would have continued his disasterous rampage had not Ashitaka killed him.

Within the ancient forest lives a feral child, known as the Princess Mononoke or called San by her ‘brothers’: the Wolf Goddess Moro raised San as her own when her parents and a few other humans intruded and threw San at Moro’s feet as a sacrifice for their own lives. In probability of her past, San hates humanity with a passion, maybe even more than Moro. Princess Mononoke constantly attacks Irontown on the back of at least one of the wolf pups with the other following burdenless and her goal: to kill Lady Eboshi. Princess Mononoke attacked Irontown while Ashitaka was there and he witnessed it; he also saved her and she in turn saved his life by taking him to the Deer God when she saw he was dying because of a fatal bullet wound accidentally shot by one of the Irontown people.

Ashitaka tries to make a way for the two separate sides to work together, but does not succeed, or at least did not succeed in time before the war broke out between man and animal. The Deer God’s head is severed by a gunshot by Lady Eboshi, (due to a myth surrounding the Deer God saying his head will grant immortality) Moro’s severed head bites off Lady Eboshi’s right arm rendering her to never shoot a gun again, and San and Ashitaka succeed in returning the Deer God’s head back to its proper owner. As a final gift, the Deer God blows a great wind as it disappears burning out the fire consuming Irontown, removing the remainders of the samuri camp, and leaving behind a field of grass, flowers, and shoots of trees.

It is by far the most complex film that I have ever seen directed by Hayao Miyazaki and I agree that it is an epic. While I don’t fully understand the part about how it could be an ‘animated Star Wars‘ (it shows no resemblance at all) it is an ecological message: the greed of humanity for more power with the subsequent sacrifice of nature either by destroying, endangerment, and other ecological-related issues. While I am no ecologist, I do believe that we ought to use our available resources wisely and not to waste a single thing.

Princess Mononoke


Princess Mononoke – Detailed article about Princess Mononoke, including production notes, casting, character descriptions, and external links. The external links include an official website of Princess Mononoke.

Kodama– A brief summary of what a kodama is: the cute little humanoid spirits featured in Princess Mononoke.

A fan’s review – A fan’s website with info about Princess Mononoke. Also includes links on the top of the screen to other areas of the website about Hayao Miyazaki’s other films.

The full-length Princess Mononoke is no longer available on Google Video but it can be seen in a total of fourteen parts, in English, on YouTube. Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8 Part 9 Part 10 Part 11 Part 12 Part 14

Princess Mononoke Genesis – the making of Princess Mononoke





Next page