My review is spoiler-free! What type of leadership leads to the best results? If I had to choose one, rather than a blend, I would select servant-leadership. That leadership form is exhibited as the most effective in Nausicaä And The Valley Of The Wind. Princess Nausicaä didn't renounce her royalty but her rank didn't dissuade her from doing the menial work alongside her followers, or placing others' lives over her own as she strived to de-escalate conflicts. With humility, she modeled the way for individuals to be alternatively leaders and followers in her community, while other nations' leaders lacked loyalty from their followers since they were treated as servants. Even so, Princess Nausicaä wasn't perfect, just like everyone of us is not. Princess Nausicaä gave in to murderous rage at one point, which clashed with her affectionate demeanor and belief in pacifism (though her anger then, and in other scenes, was justifiable). I believe the film portrayed that righteous wrath's descent into ending aggressors' lives (the killing itself wasn't done to defend anyone) to emphasize her human nature, rather than characterize her as godlike in flawless behavior. Another theme from Nausicaä And The Valley Of The Wind is how fear is often the seed for war, as individuals perceive others through ethnocentric lenses to the point where a nation's self-preservation via hatred toward others is a path to mutual annihilation. Similarly, the justification for imperialism is unmasked as the injustice of a nation's leader to impose their rule over another community's, no matter if the oppressive leader presumes it would be mutually beneficial. Yet learning to exist together as equals with anyone who truly wants to be part of one's community, rather than for communities to isolate themselves from one another (even if they're side-by-side) is the path toward mutual thriving according to Nausicaä And The Valley Of The Wind. That theme coexists with the film's message for us to co-exist with nature instead of trying to conquer it. Finally, A character cries from gratitude. What a refreshing moment that was. P.S. Nausicaä And The Valley Of The Wind is a nice companion piece to Princes Mononoke. ~ ~ ~ ★ Film Details ★ Directed by: Hayao Miyazaki Screenplay by: Hayao Miyazaki Based on: Nausicaä And The Valley Of The Wind by Hayao Miyazaki. Genre: Post-Apocalyptic Fantasy Release Year: 1984 ~ ~ ~ My other Studio Ghibli film reviews:
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My review is spoiler-free!
There are deeds and thoughts that are unequivocally evil, and purely loving, yet to believe that someone is wholly evil or entirely good is to have faith in naivety. The consequences of idolizing or demonizing anyone is a masterfully woven theme in Princess Mononoke; Seeing anyone as an embodiment of flawless morality dehumanizes others, while looking upon anyone as evil personified makes one's own flaws invisible to oneself. For a non-spoilerific example from the film, one can uplift souls who are left to rot (or be used by society), while killing souls that are outside of one's tribe, in an effort to gain more resources to save lives within one's community (this fearful mindset is also a driver of greed). Likewise, individuals from the opposing side can attempt to wipe out every single soul in the other community (or even solely murder the other tribe's leader for retribution, or a preemptive measure, rather than kill in honest defense), whether for a justice-masquerading justice or a traumatized reaction to survive. The irony is that community members can perceive the other as the aggressors. An infliction of trauma generates trauma, until hatred is replaced with love. The filmmakers' message for healing is not a trite one. Love is more than a feeling and it can exist without it. Princess Mononoke's cry for nature and humans to co-exist is meant to be taken literally, but it is also symbolic for all of us in the world to take care of one another, to see one another as more than behaviors personified, to treat lives within and beyond our communities as sacred even as we don't neglect justice, since love cannot exist without it. ~ ~ ~ ★ Film Details ★ Directed by: Hayao Miyazaki Screenplay by: Hayao Miyazaki Genre: Historical Fantasy Release Year: 1997 ~ ~ ~ My other Studio Ghibli film reviews: My review is spoiler-free!
The Wind Rises is an acknowledgement of audience members' wisdom. For instance, I never experienced a film whose story seamlessly leapt through time, more than once, with nary a caption to express how many years passed. Nor is there unrealistic dialogue to reveal that answer for each jump in time. Rather, the revelations became gradually known through settings, events, and contextual clues within conversations, even when not quite enough years transpired to reveal a noticeable ageing upon the characters. Likewise, the dreams of Jiro Horikoshi (the protagonist) were thrillingly disorienting since there are no transitions to telegraph when they began. Besides an inspirational figure who appeared at times when Jiro slept, surreal flairs within the environments are clues that those experiences took place in his dreams. Nuance was also reflected in Jiro's disappointment over his failures on the path of fulfilling his dreams (whether he achieved them shall remain a secret here). He wasn't shown throwing tantrums, overindulging in alcohol, or becoming despondent. Instead, the valleys on the path toward his finesse's peak were displayed through his eyes, whether as they happened, or in flashback when we were led to assume all was going smoothly. His response was just a feature of the character's personality, as some other individuals did express tempers as they trekked toward fulfilling their dreams. The subtlety of The Wind Rises is not even sacrificed in the end, when it wouldn't have felt as a betrayal to dramatically focus upon (without a resort to melodrama) the event of a significantly personal event. Yet the quietness with which it's portrayed arguably made it more effective. My stray ponderings on the film: ★ The natural disaster scenes in this movie were frightening. The addition of human-voiced sound effects that accompanied them seem silly in concept, but they made the event more eerie. ★ Theme: Art can sometimes be twisted from the creators' ideal intentions (such as bringing people together through a joyful experience) to deliberately harm others, such as recreational airplanes being adapted to kill people (including the innocent) through warfare (which is delicately presented in The Wind Rises). ★ Theme: Sometimes people have gruff personas to mask their hearts of gold. ★ Theme: Strive to thrive, even if you have grief. ~ ~ ~ ★ Film Details ★ Directed by: Hayao Miyazaki Screenplay by: Hayao Miyazaki Based on: The Wind Rises by Hayao Miyazaki & The Wind Has Risen by Tatsuo Hori Genre: Historical Fiction Release Year: 2013 ~ ~ ~ My other Studio Ghibli film reviews: My review is spoiler-free!
Believe in yourself. This famous theme is one that The Cat Returns employed, and it is a vital message. Sometimes we don't achieve our goals because our lack of self-confidence convinces us that we cannot soar, since low self-worth blinds us to our wings. Fortunately, the filmmakers didn't abuse the theme with a popular notion that relates to positive attraction; That poisoned positivity (which The Cat Returns doesn't support) relays that good experiences for oneself can always be attained through a committed belief in receiving what one desires, while individuals who struggle with their mental health are essentially at fault for their painful experiences, and individuals who are victims of traumatic experiences are basically responsible for their traumas. The Cat Returns rejected that perversion of healthy self-esteem by allowing some characters to not attain what they desired, no matter how confident they were. Having no regret for saving and sustaining lives despite how anyone else treats you (just to be clear, The Cat Returns does not support trying to fix anyone who is abusive toward you), is another message from the film. My scattered thoughts on the film: ★ Unlike its relative, Whisper of the Heart, The Cat Returns is geared more toward young kids and the quite youthful at heart. ★ I prefer those scenes that take place in our world, rather than the totally fantastical realm, since the surreal nature of magic realism better aided the humor and whimsy of the story. ★ I related to the clumsiness of Haru Yoshioka (the protagonist). ★ The fat jokes were shallow attempts at humor and abundant though they weren't mean-spirited. ★ There was a casual juxtaposition of the cats (and their settings) in our world where they appeared big when the scenes were framed in their perspective, and actual size when framed from a humans' point of view. That was my favorite visual style in The Cat Returns. ~ ~ ~ ★ Film Details ★ Directed by: Hiroyuki Morita Screenplay by: Reiko Yoshida Based on: The Cat Returns by Aoi Hiiragi Genre: Fantasy/Comedy Release Year: 2002 ~ ~ ~ My other Studio Ghibli film reviews: My Whisper of the Heart review is spoiler-free!
I related to Whisper of the Heart's protagonist. She was a middle-school kid named Shizuku Tsukishima. I'm a creative writer, a night owl, a vivid daydreamer, an enjoyer of long walks, and an introvert like she was. I felt as if she could have been related to me. Shizuku's passion for being a literary artist is first displayed when she wove her lyrics within John Denver's Take Me Home, Country Roads (a song that I didn't realize my fondness for until I experienced this film). Her unique renditions of that 1974 single reminded me of a time in my childhood where I wrote an unofficial addition to Dave Pilkey's Captain Underpants. My fan-fiction story had an abysmal quality (it was also quite violent for a kids' series), yet none of us (artists and non-artists alike) create our masterpieces on our first attempts. That aforementioned theme is exemplified when someone gifted their constructive criticism to Shizuku's first draft of her novel (also called Whisper of the Heart). They affectionately pointed out her manuscript's rawness (its structural rough edges and blunt emotional expressions), while they honestly expressed their admiration for the story itself, its reflection of the author's heartfelt authenticity, and its supply of catharsis for their heartache. Shizuku thought her story would be awful, but that review lifted her spirits. The critique also gave her courage to improve her novel, and this reminded me that nice but dishonest assessments of our work can lead us to dismay when we know it has some flaws, even as many of us are often our harshest critics. ~ ~ ~ Though Shizuku seemed to narrate her own life, instead of merely talking to herself, as she frequently spoke her inner thoughts and unfolding events while she was alone (my observation of this is a nitpick), I love how she expressed gratitude, even when she was by herself. I'm also a fan of how she was characterized: generally cheerful and not a loner, yet also lonely from not sensing creative connection with anyone. Her loneliness was subtly expressed by some of her Take Me Home, Country Roads lyrics. By the way, her obsessive tendency when she created her first novel resonated with me. One of Whisper of the Heart's themes is this: achieving a healthy work-life ratio is necessary for one's physical, mental, and social well-being. Speaking of which, I admired that creating art is recognized as work in this film. Furthermore, I enjoyed how Shizuku's parents allowed her to pursue her passions (without sacrificing her responsibilities), and I appreciated how Shizuku and her family's cluttered apartment coexisted with their hard work ethic, rather than laziness. Their living quarters is a reflection of being overworked. Whisper of the Heart is charming. ~ ~ ~ ★ Film Details ★ Directed by: Yoshifumi Kondō Screenplay by: Hayao Miyazaki Based on: Whisper of the Heart by Aoi Hiiragi Genre: Coming-of-age Release Year: 1995 ~ ~ ~ My other Studio Ghibli film reviews: My review of The Tale of The Princess Kaguya is spoiler-free!
Empathy cannot exist without sadness. This theme of The Tale of The Princess Kaguya is exemplified in a sequence where some individuals who could not feel sadness threw a festival; They did so in the presence of a family who wept over the threat of never seeing one another again. The souls who lacked empathy didn't have any ill intentions, yet their absence of feeling empathy was reinforced by their music; that tune was involved in what felt like a surreal call and response to the grief-fueled music that played in the background of those scenes. Speaking of music, The Tale of The Princess Kaguya featured a juxtaposition of a song's cheerful and tragic renditions; it was an aching representation of joy and melancholia being two sides of the same coin. Empathy also requires happiness, but even happiness doesn't require euphoria. Rather, happiness can accompany sadness, while it is nevertheless appreciating the beauty of life itself. Furthermore, love for others cannot exist without empathy. Another theme of The Tale of The Princess Kaguya is how parents with the best of intentions can mistake their happiness, and their perception of who their kids are meant to be, with their kids' own passions and authenticity. Kaguya's father makes that mistake as he lives vicariously through his daughter, only to unintentionally drive her into a steadfast depression, even to the point of suicidal ideation. The status that she is thrown into shuts her best friends out of her life (by the way, I love that her best friends are boys. Their love for her, one of their best friends, in all her authenticity contrasts with the royal suitors who objectified her and presumed that her happiness depended on their own). Yet Kaguya still wanted to be accepted by her father (though he would never have rejected her) so she tried her best to comply to his belief in who she was meant to be. Thus, one of the fimmakers' other messages is this: don't rely on others' happiness for your own. The film's accompanying theme is about the necessity of authentic conversations, even when they're uncomfortable, since even individuals with the best of intentions can have mistaken perceptions that may be harmful. The Tale of The Princess Kaguya is an evocative masterpiece. Some other highlights from The Tale of The Princess Kaguya: ★ The visuals are watercolor paintings in motion. ★ Theme: Beauty standards are completely subjective, no matter how popular they are. ★ Theme: Girls sweat and laugh like boys do (you'll understand that statement if you see the film). ★ Theme: Goodbyes can take loved ones by surprise, even to the point where they may not have realized that the last time they would meet already happened. ~ ~ ~ ★ Film Details ★ Directed by: Isao Takahata Screenplay by: Isao Takahata & Riko Sakaguchi Based on: The Tale of the Bamboo Cutter by unknown Genre: Historical Fantasy Release Year: 2013 ~ ~ ~ My other Studio Ghibli film reviews: (My review is spoiler-free!)
Perhaps my grandest dislike in experiencing a story is boredom, a spell that turns the swift rivers of time into stone. Earwig and the Witch is not one of those tales fortunately. Not once did I stop it to liberate time, even though Earwig's arc of manipulation (she was manipulative even before she met her cruel adoptive parents), a dipping of her toes into empathy, and jumping back into manipulation was disappointing to this reviewer. Earwig's disheartening yet interesting mini-boomerang type development is moderated by her consistent display of care for others, while that is tempered by its subservience to her interests since the issue is bratty behavior rather than cruelty. I also found it interesting that Earwig's adoptive parents are alternatively distant and labour abusive to her while proving a capacity of kindness by providing her with tasty and plentiful food, as well as her own comfortable living quarters. I wonder if a theme of no one is wholly evil or good was intended? That's fascinating if so, and I think the narrative would have appealed to me more if Earwig learned to embrace her empathy, while still having flawed behavior, even as at least one guardian who loved her took her in (whether she eventually gains no less than one loving parent shall remain a secret here). The ultra-clean 3D animation aesthetic didn't take my fancy but Earwig is a funny name and I'm glad that the script pokes fun at it without turning it into a running gag (that would have ruined the moment for me). ~~~ ★ Film Details ★ Directed by: Gorō Miyazaki Screenplay by: Keiko Niwa & Emi Gunji Based on: Earwig and the Witch by Diana Wynne Jones Genre: Fantasy Release Year: 2020 ~~~ My other Studio Ghibli film reviews: (My review is spoiler-free!)
Isao Takahata's screenplay is a bridge between adult appeal and childhood sensibility. This accomplishment is due to its treatment of adults as being prone to at least just as much fear, selfishness in the face of inconvenient responsibilities, and risky distractions as kids. The other side of the coin concerning his script's brilliance is this: it doesn't treat kids stereotypically as easily frightened, or without wise perspectives. Some other highlights: • The minimalist watercolour animation that flows from scene to scene when it serves the narrative. It's complimented by lush classical music. • A scene where someone sees troubles as physically bigger than they really are. This is accompanied by a daydream of fearlessly confront a problem as a superhero. • The film's message to be aware that family divisiveness often breeds (by simmering in seeming harmony while complaints build up unspoken; communication is left unwatered) when life seems to be going well; while bonding often happens when life punishes all members together. ~ ~ ~ ★ Film Details ★ Directed by: Isao Takahata Screenplay by: Isao Takahata Style: Short Stories that Feature a Family Based on: Nono-chan by Hisaichi Ishii Genre: Slice of Life/Comedy Release Year: 1999 ~ ~ ~ My other Studio Ghibli film reviews: Poster by phase_runner. ★ My spoiler-free review of The Batman ★ The Batman is an expertly crafted haunting movie, and I'm pretty confident that it's the most thematically complex Batman film to date. It also features the most frightening Batman since it presents the criminals' perspectives on a nightmare entity, whether he slowly emerges from the shadows or pursues them relentlessly with fiery rage. Speaking of which, the film features some of the most thrilling action that I have experienced in any film, though this comic book movie is a refreshing psychological drama and thriller that's patiently paced, rather than an action flick. It's the most melancholic Batman film too, one where Gotham's silent cry for healing through love, hope, trust, and justice (amidst the city's abusers) is amplified by its contrast with a through-line of trauma. The Batman expands on the Dark Knight's themes of institutional corruption and the mutual escalation between law enforcement and law breakers during a war on crime with nuance and much subtlety. The film also presents a deep thematic dive on wealth inequality and the systemic privilege of being wealthy (and the responsibility that the fortunate have to help people who are oppressed). Likewise, The Batman also deals with vengeance, poverty, and hopelessness being major forces for terrorism, as well as social media's role in terrorism's growth. I emphasize that I'm a fan of this film. Poster by Khoa Ho. ★ Who is my favorite Batman? ★ Robert Pattinson is the best Batman, because his Bruce Wayne truly is Batman, and he has no other persona, even without his literal Bat mask; His version is a ferocious yet life-preserving, traumatized but fear-lacking, frightening (to others in Gotham) yet heartbreaking, exhausted but vengeance driven, and flawed yet ultimately inspirational Dark Knight. His version seems as if it's the most realistic psychological portrayal of the Batman character in film. Furthermore, his stellar action features some mistakes and physical trauma for him, which recalls (but doesn't imitate) James Bond's action in Casino Royale (2006), which felt more real for the franchise. Christian Bale still provided the best authentic Bruce Wayne in my view. Batman was ultimately his mask, his burden to bear for a while, while his Playboy persona was a bit over the top (though entertaining). His true Bruce Wayne personality was fearful yet driven to use his fear to ultimately protect others and inspire them to lift one another up (no matter how many times he fell), even if it meant he had to embody a creature of the night to accomplish his end goal. Michael Keaton's portrayal of the playboy persona of Bruce Wayne continues to be the best. It's an eccentric persona which fits the eccentric version of Gotham in Batman (1989) and Batman Returns, a city whose melancholic and barely contained chaotic architecture contains many larger than life characters. Adam West's portrayal of Batman remains the best parody of the character. The brilliance of his portrayal is that it's of a Batman who is unaware that he's hilarious and in a comedic world. Poster by hamletroman. ★ Some of my nostalgic Batman memories ★ Batman & Robin was the first Batman film I saw and I enjoyed it immensely as a kid...it was a live action Saturday Morning cartoon. I haven't seen it in nearly 2 decades but I still remember that unintentionally laugh-riot of a line from Mr. Freeze before he unleashes his freeze gun. Mr. Freeze: "What killed the dinosaurs? THE ICE AGE!" He said it with so much confidence and seriousness, as if it was the final heroic one-liner that a villain hears in an epic 1980s action film. Later on, around the year 2000 (I was about 7 years old), I discovered a VHS tape of Batman (1989) at a flea market (by the way, the video cassette was in a Blockbuster store sleeve). My parents got it for me, and they were also eager to own a copy of the film since they were fans of the movie. I was blown away when I saw it and it ignited in me an eagerness to experience the rest of the original Batman film series. Though I prefer thematically dark Batman stories, The Adam West starring Batman series and film hold a special place in my heart; it's one of the greatest parodies of all time, whether it was wholly meant to be or not. By the way, my sister and I were familiar with the film but when we discovered that one of our TV channels was showing a re-run of the series several years ago, we tore through the episodes that aired while we laughed our heads off. It was amongst the last rounds of experiences we shared as siblings who lived together and I'm thoroughly grateful for it. 🙂 ★ End ★
𝗔𝗽𝗽𝗿𝗲𝗵𝗲𝗻𝘀𝗶𝘃𝗲 𝗣𝗲𝗿𝘀𝗽𝗲𝗰𝘁𝗶𝘃𝗲: "Literary travellers who traverse 𝑪𝒚𝒄𝒍𝒆𝒔 𝒐𝒇 𝒕𝒉𝒆 𝑷𝒉𝒐𝒆𝒏𝒊𝒙, live a journey whose heart radiates with ambition, its pages naked with pus filled fractures."
𝗢𝗯𝗷𝗲𝗰𝘁𝗶𝘃𝗲 𝗣𝗲𝗿𝘀𝗽𝗲𝗰𝘁𝗶𝘃𝗲: "𝑪𝒚𝒄𝒍𝒆𝒔 𝒐𝒇 𝒕𝒉𝒆 𝑷𝒉𝒐𝒆𝒏𝒊𝒙 is an empathic odyssey whose every story bears my passion, woven in their DNA. This book of interlaced short tales is also recieving overall acclaim despite its faults, a testament to its power of transcending even its greatest flaws. Furthermore, not even the most eminent artists' creations are synonymous with perfection as the critic who is most aware of a composition or performance's perceived fractures is often its creator, whose inspired art is born from an immense endeavor and love; whose sight is occasionally lost from their creation's reflection of their own wonderful soul." ~~~ |
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