My review is spoiler-free!
Though I wasn't alive during 1963, nor have I yet set foot anywhere in Japan, a sense of nostalgia rapidly blossomed within me when I watched From Up on Poppy Hill. Like the best period films that install a sense of wistfulness for a bygone era, this movie features songs from that time, a warm color palette, and adventurous optimism that plows into tribulations; those elements help make audience members who are outside of a narrative's time to yearn a visit there, as they feel a connection to the story through their own nostalgia. Now a misconception about optimistic people is that they're a perpetually cheery bunch, who are ignorant of the gravity of threatening situations and immunized against grief. Yet optimism can be a ferociously challenging perspective to maintain; It is not an easy mindset to fall into, and it isn't reliant on bliss; One can be optimistic even as they feel like they're drowning in despair. Optimism is a refusal to remain down when one gets knocked over. It is acknowledging the severity of problems while discovering the best in situations; It is strategizing on how to be triumphant for oneself and others. The main characters in From Up on Poppy Hill practiced optimism when they advocated against their historic clubhouse's demolition. ~ ~ ~ There's a scene where one debate team wanted to keep their historic clubhouse (a place they shared with the other team), while the other side wanted it to be replaced. A broader issue was soon revealed: one side didn't want to throw out all traditions because one shouldn't throw the baby out with the bathwater (as the saying goes) and one can't really progress without remembering the past. Meanwhile, the other team wanted to throw historic traditions out in the name of progress. This scene shows us that the debate teams desired the same goal: how to sufficiently progress (even when they disagreed on the matter of preserving their clubhouse). Likewise, some of us share the same political goals (if not the same methods) even if we see ourselves as politically opposed. A character in the debate scene also lashed out by calling an opponent who wanted to keep their historic clubhouse (a representation of holding on to some traditions for the sake of progress) an anarchist. This moment shows us that political labels can be unintentionally misapplied in a hilarious manner. ~ ~ ~ ★ Film Details ★ Directed by: Goro Miyazaki Screenplay by: Hayao Miyazaki & Keiko Niwa Based on: Coquelicot-zaka kara by Tetsurō Sayama & Chizuru Takahashi Genre: Drama Release Year: 2011 ~ ~ ~ My other Studio Ghibli film reviews:
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My review is spoiler-free!
Ponyo reminds me of Disney Animation's Pinocchio (1940) and The Little Mermaid (1989). That's merely because the premise of Ponyo's desire to be a human and to be best friends with a human boy resonates with elements of those other films' premises. This film is steadfastly joyful in contrast to those two Disney movies, though Ponyo's characters were also faced with plenty of significant challenges in its unique story. Dare I say that I, who is often drawn to hopeful art if melancholy is at least its undercurrent, found myself charmed by this film? Well, I already said it, and it's true. My adrift thoughts on Ponyo: ★ Theme: Being overprotective of one's children can be fueled by love, but it is the type that is led by fear. Reasonable protection of one's kids is a must, but not allowing them to truly live suppresses their joy. When one is overprotective, a sense of control becomes a burden, while being apprehensive becomes the norm. ★ Theme: Cynicism isn't a form of wisdom. ~ ~ ~ ★ Film Details ★ Directed by: Hayao Miyazaki Screenplay by: Hayao Miyazaki Genre: Fantasy Release Year: 2008 ~ ~ ~ My other Studio Ghibli film reviews: My review is spoiler-free!
Ocean Waves was not my cup of coffee though I am grateful that it was the type of film for others, while others will take a liking to it. I did not find Rikako Muto's frequent manipulation of the protagonist (Taku Morisaki) to be a rewarding experience. While she was never malicious, she strung him along by playing upon his kindness. Rikako's behavior was a form of abuse though it is never glorified, even though it is brushed aside as well. In a similar fashion, they slap one another at one point but that violence is recognized as negative by implication, which is countered by Taku's purchase of candid photos of Rikako in swimwear (it's not clear if she gave permission for candid photos of herself to be sold but it didn't seem like it). Perhaps this story is about flawed individuals finding a way to empathize with one another, as it's revealed why Rikako manipulated others and was stand-offish. However, the focus on wrong behavior, and any lessons that were learned, was upon her. My adrift thoughts on Ocean Waves: ★ My favorite scene was the college reunion scene though we're formally introduced to a character who quickly becomes prominent...only to quickly disappear. ★ There were some background scenes where the characters were still. It seemed like this was done due to budget, time, and (or) for animators' tiredness, but it was interesting to look at, as if they crowd was composed of living statues. ~ ~ ~ ★ Film Details ★ Directed by: Tomomi Mochizuki Screenplay by: Kaori Nakamura Based on: I Can Hear the Sea by Saeko Himuro Genre: Romantic Drama Release Year: 1993 ~ ~ ~ My other Studio Ghibli film reviews: My review is spoiler-free! Only Yesterday shows the necessity of nurturing passions, whether it is in others or within ourselves. Taeko Okajima (the protagonist) worked in a 9:00 to 5:00 office job that paid her well, but her soul withered because her work there didn't match her interests. However, she thrived when she participated in countryside labor. As I learned in my graduate leadership courses, being in an occupation that doesn't align with one's passions will inevitably harm one's mental well-being, and that business will lack productivity when someone's personality and interests aren't being served by the type of job; it's a mutually unhealthy relationship for customers, the employee, and the organization at large. As exemplified in Only Yesterday's multiple heartbreaking scenes, it's especially important for elders to support childrens' dreams. When kids are taught (whether explicitly or implicitly) to suppress their passions and to not stray from the career paths that their parents believe to be the best for their children, then it erodes their self-esteem. Furthermore, not nourishing kids' dreams prevents others from being provided the best fruits of their endeavors before they even reach adulthood, no less so than when that passion is for the arts because experiencing creative literature, performances, paintings, music, etc. is just as vital to all of our well-being as other types of work are. On a related note, one doesn't know whether they will truly enjoy something unless they try it according to Only Yesterday. We should never steal an individual's agency on pursing their dreams by presuming to know better. Similarly, when someone has a unique way of solving a problem, then it should be celebrated. No one should be forced into one way of arriving at a solution because that harms one's ability to strategize, and maybe even empathize since it can impair the adoption of other perspectives. This is emphasized in how a character perceives math problems, as well as Taeko's regret over one of her classmates. One's unique way of processing information doesn't mean that someone has a low IQ (besides, emotional intelligence is at least just as important), and being referred to as stupid certainly doesn't help matters. My other thoughts on Only Yesterday: ★I love how a few of Taeko's childhood memories were framed within the 27 year old Taeko's present. ★ Theme: Cruel words that are aimed at you diminish in power when you recognize your worth as a human being. ★ Theme: Romantic feelings for someone can unfold gradually. Either way, no one should enter a romantic relationship just because it is what others want. ★ Theme: Relaxing and socializing in-person is no less important than working. ~ ~ ~ ★ Film Details ★ Directed by: Isao Takahata Screenplay by: Isao Takahata Based on: Only Yesterday by Hotaru Okamoto & Yuko Tone Genre: Slice-of-Life Release Year: 1991 ~ ~ ~ My other Studio Ghibli film reviews: 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: 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: |
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