15 February, 2006

The Film Works of Hayao Miyazaki

Hayao Miyazaki was born January 5, 1941 in Tokyo, and is one of the most famous and respected creators of anime and Japanese animated films. Hayao is considered to be the “Walt Disney” of Japanese animation. Miyazaki is the creator of many popular anime feature films, as well as some Manga (Japanese comics). Although largely unknown in the West outside of animation circles, until Miramax released his film Princess Mononoke in 1999, his films have enjoyed huge box-office success in Japan and East Asia for many years. Miyazaki's Spirited Away is the top-grossing film of all time in Japan; Princess Mononoke held the same title for a short period until the release of Titanic later in the same year. Miyazaki's films are distinguished by recurring themes, such as humanity's relationship to nature and technology, a lack of “good” or “bad” characters, and the protagonists of his movies are often strong, independent girls or young women. For further purposes here I will only focus on three of Hayao’s films; Spirited Away, Princess Mononoke, and Kiki’s Delivery Service.

Hayao often toys with humanities relationship to technology in his films. The best example of this would be in Miyazaki’s Princess Mononoke, which was released in 1997. In this film, there is desperate struggle and war between the animal gods of the forest and the humans who wish to exploit it. The plot begins as, Ashitaka, the main character in the film, finds himself flinging arrows at a once Boar-God, turned demon. In the process, Ashitaka is touched, cursed, and consequently sent away from his village to beg the Spirit of the Forest (a deer like creature who rules the forest, often said to have a human face) to lift the curse. Along his path he meets tremendously lovable characters, including San, the Princess Mononoke, (a human, adopted by the Wolf Clan) who’s only goal is to kill Lady Eboshi. Eboshi maintains a stance against the animals of the forest by cutting down the trees to extract ore from the ground to make iron. Her people turn the iron into bullets

and high-powered riffles. Mid-way through the film, war erupts between the Gods of the forest, (including the Wolf Clan, Boar Gods, Princess Mononoke) and Lady Eboshi, Ashitaka, and the people of Iron Town. Ashitaka is torn in this film because in one way he wants to be a civilian of Lady Eboshi’s fortress and in another way he wants the forest and humans to live in peace. Throughout the entire film, Ashitaka doesn’t chose either side but stays neutral and helps both the humans and the animals during the conflict. In the end, Ashitaka ends the war by returning the decapitated Forest Spirit’s head back to him. All of Miyazaki’s characters are well meaning in his films, but some still manage to stay balanced on that fine line between “good” and “evil”.

Hayao’s "villains" often turn out to be ambiguous characters with redeeming qualities. For example, Lady Eboshi’s goal is to kill the Spirit of the Forest to end to struggle for resources, but is also guilty of freeing prostitutes from brothels and bandaging the hurt or wounded. Miyazaki is well respected for his use of characters that seem to be neither “good” nor “bad”. In Princess Mononoke, Hayao uses Lady Eboshi as the most antagonistic character. She shoots Gods, rips the forest from the ground, and plots to kill the very spirit of the forest. However, at the same time, she is a highly sensitive woman who cares greatly for her people. In her village it is common to find freed slaves, ex-prostitutes, and those who have been outcast from their towns due to Leprosy. Spirited Away is quite a different film, yet merges similarly on these grounds. This film was released in July 2001. Here is the story of a young girl named Chihiro. The film begins in the car with her and her parents as they plan to move to a new town. Chihiro’s father decides to take a short cut leading them to an abandoned theme park. The smell of food lures her parents to a feast while Chihiro reluctantly complains and dances around nervously. Unaware that they have entered a spirit world, Chihiro finds herself face-to-face with Haku. He tells her to hurry across the river before the creatures of the spirit world see her and her parents. Chihiro runs to her parents only to find that they have stuffed themselves into pigs (quite literally) on the food of the spirits and the path to the car has become a sea of water. Left alone in this “New World” several people and spirits end up helping Chihiro. Most seem to be unruly, grumpy, and even scary towards her at first, but later become very reliable friends. For example, Kamaji is the boiler man

character in this film. Kamaji is a octopus-type character, part human, part spirit. His demeanor is intimidating and bitter. He is the first person after Haku to help Chihiro find her way to Yubaba (the ruler of the bathhouse that cleanses the spirits). He seems hesitant at first and avoids acknowledging her request for work, but later grows fond of her and points her to Lin who also treats her harshly. Lin is human-like, but like all the characters living in the spirit world, is something other than human. Lin, however, also grows fond of Chihiro and helps her safely get to Yubaba. When Chihiro finally contacts Yubaba, she repeatedly denies giving Chihiro a job. A job is the only way Yubaba can keep Chihiro in the spirit world without harming her. Finally, out of frustration and impatience Yubaba gives in to Chihiro’s requests and gives her the most difficult job that she has. As the film progresses, Yubaba takes a liking to Chihiro when she earns money for the bathhouse and earns the right to free her parents from being eaten as pigs. Yubaba’s two main concerns are her son and the money that she makes from the bathhouse. Her character is quite fun. When a wealthy spirit comes in and makes the night rich with gold, Yubaba celebrates with “dinner on the house” for everyone. Yubaba is a fair villain and in the end of the film gives Chihiro the chance to save her parents as she promised all along. Despite being antagonists, Hayao’s villainous characters still seem to have a “good-interest” at heart, much like his use of main characters.

Hayao uses mostly strong, independent woman as dominant characters of his films. Princess Mononoke has San, the Princess of the Wolf Gods, and Lady Eboshi, the ruler of Iron Town. In Spirited Away Hayao uses Chihiro, a vulnerable, little girl lost in a world of spirits. Finally, In Kiki’s Delivery Service Miyazaki uses a young witch in training named Kiki. The film begins as Kiki is lying on the ground watching the night sky. Her radio reports a clear forecast and a full moon. Kiki is thirteen and must leave her home for one year to train as a witch in a new town on her own. She decides to leave that night with her faithful, black cat, Jiji. Kiki is an insecure character, unsure about her place in the world and unable to fit in with the girls her age. When she finally picks a town it turns out to be very un-welcoming and very intimidating. Kiki finds a place to stay with a pregnant bread-maker and her husband. Kiki is constantly judging herself and comparing herself to the other girls in the town. She stays emotionally strong while

working her own delivery service and making friends around her new environment. At one point, Kiki loses her ability to fly, and she experiences a dramatic re-development in herself. She must begin to understand why she fly’s and what gives her that inspiration. Kiki also learns that being different isn’t necessarily a bad thing. The film winds to a conclusion as Kiki regains her flying ability when a boy she has befriended needs rescuing from a dirigible accident. Kiki’s character is by far one of the strongest Hayao uses in his films. She wrestles not only with the world around her, but also her own self worth.

Miyazaki's films are distinguished by recurring themes. Hayao uses humanity's relationship to nature and technology in many of his films. In Princess Mononoke the future of Iron Town and the future of the forest come to a head. Ashitaka must fight the anger growing within his cursed arm to stay neutral in the war between man’s desire for wealth and the beasts of the forest. Hayao enjoys characters that walk a think line between “good” and “evil”. In Spirited Away, Yubaba tends to play as mean as she can but exposes her weakness for Chihiro’s vulnerability in the end. Lady Eboshi from Princess Mononoke also has the best interest of her people at heart when she decides to go to war against the Gods of the forest. Finally, the protagonists of his movies are often strong, independent girls or young women. Princess Mononoke, Kiki, San, and Chihiro are all strong, independent women in Miyazaki’s films. Chihiro is suddenly thrown into an unfamiliar world and has to overcome her situation to save herself and her parents. Kiki, a little, thirteen-year-old, has to leave home for a year and discover who she is as a young witch. Hayao’s films are entertaining, enlightening, and a joy to watch. His characters are lovable and his stories are fascinating. Hayao deserves his reputation as the “Walt Disney” of Japanese animated films.