Isao Takahata (1935-2018)

Say no more. Studio Ghibli's one and only Isao Takahata passed this mortal coil in April 2018.



I would be remiss not to mention this tremendous loss to the animation world who passed away the same day as actor Tim O'Connor (Buck Rogers In The 25th Century), April 4th 2018. I can only say this was a remarkable animator and story teller. His truly moving work will remain forever particularly Grave Of The Fireflies (1988) and Only Yesterday (1991). The former will bring you to tears.



Apart from also directing Pom Poko (1994), My Neighbors The Yamadas (1999) and The Tale Of Princess Kaguya (2013) and others he also produced.



Production credits included working with his Studio Ghibli colleague, friend and co-founder Hayao Miyazaki on Nausicaa Of The Valley Of The Wind (1984) and Castle In The Sky (1986).



He would later produce Dutch animator Michael Dudok de Wit's gorgeous and moving The Red Turtle. It would be Takahata's final stamp on the world of animation.

Isao Takahata was 82.

 

Nausicaa Of The Valley Of The Wind

Nausicaä Of The Valley Of The Wind [Kaze No Tani No Nausicaä] [1984] was a true milestone that marked the arrival of Director Hayao Miyazaki and Studio Ghibli.

Nausicaä Of The Valley Of The Wind, a film with an ecological message, was a story that germinated from the mind of Miyazaki and from his own manga adventure tale of the same name. His epic labor was the result of over 12 years of sporadic writing culminating in a text of fifty-nine chapters. The long-running serial seeded and blossomed into a picture that is still considered to be one of his most stunning achievements. It is an unrefined, personal favorites and delivers inspired, unforgettable cinema. Of course, it would be the first to flower in a string of amazing Miyazaki masterpieces over the next three decades from his own Studio Ghibli.

Overflowing with ideas throughout the process of bringing Nausicaä Of The Valley Of The Wind to life, an animating studio was sown and dubbed Studio Ghibli. Ghibli is Italian for the hot wind that stretches the arid Sahara. This wind was a breath of fresh air and it was another crucial moment in Japan's anime history.

Partners Miyazaki and fellow Director Isao Takahata [Grave Of The Fireflies] were looking to make a bold statement. Their vision: create films with a global appeal. Today, Studio Ghibli films spread universally like a forest wildfire, or those self-described winds across the vast desert land.

In the beginning, Studio Top Craft [The Hobbit, The Last Unicorn] was the animating group intricately involved in producing Nausicaä Of The Valley Of The Wind. Upon completion, Studio Top Craft closed its doors. Studio Top Craft President Toru Hara would become Studio Ghibli’s first CEO. Out of necessity, the fledgling Studio Ghibli became a priority so the talented animators could move forward on the equally wonderful Laputa: Castle In The Sky [1986]. With nowhere to turn, Takahata (who produced both Nausicaä Of The Valley Of The Wind and Laputa: Castle In The Sky) ultimately laid the groundwork to get Studio Ghibli firmly established so together they could affect their destiny and make film history.

Takahata and Miyazaki collaborated together as far back as Takahata’s The Little Norse Prince Valiant [1968] for Toei Studios, as director and key animator respectively. Panda! Go Panda! [1972], directed by Takahata, soon followed with a screenplay and animation by Miyazaki. Takahata directed the TV series Anne Of Green Gables [1979] with scene design and layout by Miyazaki. Their fates were irrevocably sealed with lives clearly entwined as creators and friends.

Those early formative months for Studio Ghibli started with a phone call from soon-to-be Studio Ghibli president Toshio Suzuki, then editor of Animage magazine, to Miyazaki requesting an interview. It was Miyazaki’s directorial debut on the TV series Future Boy Conan [1978], in association with Takahata, and the film The Castle Of Cagliostro [1979], which caught Suzuki’s attention and lured him to Miyazaki. Legend has it that Miyazaki ignored Suzuki for the better part of his in-person visit. Suzuki was passionate about Miyazaki’s concepts and their bond strengthened as Miyazaki realized Suzuki’s aspirations were genuine. Suzuki was the determined producer, a rare breed, Miyazaki required and quickly appreciated. Simultaneously, for a time, Suzuki was involved in production at the upstart Studio Ghibli while managing his Animage responsibilities. He was largely accountable for the publication and serialization of Miyazaki’s long-running manga, Nausicaä Of The Valley Of The Wind, of which the film remains quite faithful. The source comic debuted in Animage in 1982 and Animage publisher Tokuma pressed Miyazaki for a theatrical rendition of the manga. Juggling both positions became tricky and Suzuki followed his natural inclination to support the work of Miyazaki and Takahata. Suzuki followed his heart into the world of Studio Ghibli leaving the editorial life of Animage behind. It was Suzuki who fortified the studio vehicle that would become the voice of Miyazaki and Takahata’s creations. The culmination of these events led to years of the most colorful, fantastical and fruitful ideas espoused in animation to delight a planet. The proverbial holy trinity complete, Takahata producing, Miyazaki directing and Suzuki promoting, Nausicaä Of The Valley Of The Wind was their lovechild and to the world it was born giving us both a great film and the official establishment of Studio Ghibli to follow.

Nausicaä Of The Valley Of The Wind is an environmental love letter. It had to be a labor of love for Miyazaki to bring his beloved heroine, the first of many, to life on the big screen. It is a cautionary tale, complemented with Princess Mononoke [1997], concerning the balance of man and nature and the fragility of that co-existence. Kindred spirit Ashitaka of Princess Mononoke is the spiritual brother to Nausicaä.

Miyazaki set the stage here regarding his affection for female empowerment and wisdom. His stories are typically voiced through the courage of the shojo [young girl] as lead protagonist and heroine. Implementing a female in the lead is indeed one of Miyazaki's calling cards.

It is a parable of woman, man and nature within science-fiction fantasy. More specifically, it is the story of a young idealist and her special relationship with a unique breed known as the Ohmu and how their power could ultimately transform a dying world. This is the story of one of anime’s most beloved and shining characters, Nausicaä Of The Valley Of The Wind.

The groundwork for Nausicaä, as a character, drew inspiration from a Phaeacian Princess in Homer’s The Odyssey coupled with elements of an insect-charming princess from Japan’s Heian Period [AD 794-1185]. This was Miyazaki’s template for Nausicaä.

Earth, ravaged by pollution, is not the planet we know. Miyazaki paints a warning. It looks foreign and feels alien. Civilization is infected. One thousand years have passed since The Seven Days Of Fire incinerated the planet. As a result, the proliferation of a sprawling toxic jungle, The Sea Of Corruption, threatens to spread and destroy the surviving human factions and thriving areas that remain. It may arguably be Miyazaki’s darkest cinematic hour next to Princess Mononoke.

The first images we see and the sounds we hear are not the clean, life-affirming winds of the valley, but the gusting whirr of toxicity and twisting echoes of desolation. Skeletal remains and a lifeless, desperate world are met by the calm, soothing voice of Lord Yupa, eloquently spoken by Patrick Stewart. “Yet another village is dead… soon this place too will be consumed by the toxic jungle” concedes Yupa cloaked inside of vital, breathing apparatus. The establishing shots signal an epic tale of fantastic, apocalyptic survival, amidst the encroachment of despair.

The wizened Lord Yupa offers a nice contrast or balance to the wide-eyed innocence of Princess Nausicaä who sees the creatures of the toxic jungle through very different eyes. When we meet her she lays in a field of toxic spores as she gazes skyward into light, willowy poison flakes. It falls white like snow and despite its lethality she finds beauty in it.

Kiki’s Delivery Service [1989] paid homage to the apocalyptic mis-en-scene with Kiki’s own unique bright-eyed opening. In contrast, Kiki lays back to dream in a healthy, vibrant field of green reflecting Miyazaki’s artistic mood five years later.

Like many of Miyazaki's heroines, Nausicaä is tender, selfless, brave, deceivingly mighty and skilled, a truly heroic warrior princess. She lives with her people on a stretch of land upwind from the infestation of the toxic jungle called The Valley Of The Wind. A plethora of large windmills dart the picturesque countryside. It is a naturally shielded location, prosperous and fertile, protected from the deadly spores that permeate other lands. A vast and dusty wasteland and dead seas separate the valley from the toxic forests where mutant insects of all shapes and sizes roam.

The massive, caterpillar-like crawlers called Ohmu often swarm in herds with a predisposition for stampeding. The Ohmu are prone to fits of rage when molested by humans they view as invaders. Nausicaä empathizes and connects with the creatures’ plight. She intuitively knows their pain is misunderstood and utilizes her special power. She is a bug whisperer to bridge the communication gap between their world and ours. When enraged the herds wreak havoc and devastation with bright red eyes. The “insect charmer,” as Lord Yupa refers to Nausicaä, has a special way with all animals illustrated by her calming influence on a feisty fox squirrel that sharply bites her finger. Her patience wins the creature's heart.

Yupa is a legendary sword master revered across the land as an expert warrior who also acts as Nausicaä’s confidant and mentor. Yupa’s quest is to discover a solution to the toxic jungle. The film is filled with rich, beautiful characters and locations.

With Earth increasingly factionalized and segregated [sound familiar?], there is a warring, imperial tribe called the Tolmekian Empire misguided by the stubborn arrogance and hubris of Princess Kushana. The Tolmekians are rapidly asserting their authority across the surviving lands deploying scorched earth tactics despite potentially catastrophic consequences. The people of The Valley Of The Wind witness a Tolmekian ship crash inside their valley. Amidst a fiery blaze, Nausicaä heroically saves Princess Lastelle [in chains], a prisoner of the Tolmekians abducted from her Pejite homeland. Following her extraction from the flames, Lastelle warns Nausicaä the cargo must be burned. The downed, contaminated Tolmekian craft has made matters worse by infecting the valley with spores from its hull. They begin infecting the trees and the water. Think the infestation of bugs and fish from non-native countries that plague nations today.

Exacerbating the conflict, Princess Kushana has unveiled an embryonic sack confiscated from Pejite for her own devices. Inside is a giant, throbbing cocoon, one of the last remaining ancient and powerful warrior gods. These powerful beings once annihilated the planet then turned to stone. Yupa heard rumor of the unearthing of an ancient warrior. It lives, it thrives and it has been brought inside the unsuspecting valley.

The Tolmekians will stop at nothing to nurture the monster. The king, Nausicaä’s father, is overrun by Tolmekians. Nausicaä is overcome with fury. She ferociously thrusts upon them lashing out, like a feral animal, blinded by rage. Her irrational reaction is one understandably pure, basic, and linked to nature.b She mirrors the response of the Ohmu when threatened; creatures with whom she shares a natural empathy and connection.

At last, Yupa intervenes and calms Nausicaä, like Nausicaa calming the Ohmu. She regains her composure and implores her people to lay down their arms. War is not the answer. The Tolmekians urge the valley peoples to join them in resurrecting the warrior god. Princess Kushana makes clear her intention to use the creature to cleanse the Earth of the toxic jungle. The village elder warns such foolhardy actions will only end in destruction for all. Soon, the Tolmekians begin subjugating the people of the valley, removing their arms and enslaving them, but never breaking their will.

Later, Yupa finds Nausicaä has absconded to a secret place, a secret garden greenhouse deep underground through a concealed passageway inside the castle walls. He is startled to find her shrine of living plants, those found in the toxic jungle, alive and well, healthy and unaffected by the same toxic plague. He inhales breathable air and is witness to her refuge. It is a beautiful scene and a delightful respite and haven from the violence. Her place is irrigated with fresh soil and clean running water.

Flashing a little unexpected fan service. Not really. There's nothing gratuitous going on with Miyazaki folks. Back above, Nausicaä agrees to leave with some of the Tolmekians for Pejite. Whilst among the pillow-like cumulous clouds, the airship is attacked by a Pejite gunship. Engulfed in flames, she boards her own gunship inside the Tolmekian craft’s bay and escapes with Mito and Princess Kushana. Distracted by the sudden site of Princess Nausicaä, the Pejite pilot is shot down into The Sea Of Corruption. Nausicaä and company land in the waters below kept afloat by the buoyant aircraft. The Ohmu greet Nausicaä, but will not harm her. An intriguing flashback sequence from her childhood reveals clues to her special connection with the Ohmu.

The creatures inform Nausicaä the Pejite pilot is alive and she quickly takes flight on her personal glider housed within her Gunship fleeing the hostile Kushana. Kushana is brought back to the valley by Mito. Nausicaä rescues Asbel, the Pejite pilot, from certain death at the hands of the jungle’s creeping critters. He is the brother of Princess Lastelle. Nausicaä and Asbel fall deep beneath the toxic forest into a pristine, pure cavity where they discover life has renewed and the air and waters run clean. The sea has evolved and the trees are now filtering the poisons left by the ills of mankind. It is a terrific example of evolution and nature's ability to rebound.

Asbel and Nausicaä repair the downed glider and return to Pejite. Pejite is littered with the dead. Mangled bodies and bug corpses blanket the burning land. His people inform Asbel that they plan to retake the giant warrior using whatever means necessary including wiping out The Valley Of The Wind. By luring the insects to the valley everyone will die. Incensed, Asbel holds his people at gunpoint and tells Nausicaä to escape and warn her people. Asbel is knocked unconscious. Nausicaä attempts to enlighten the Pejite with the good news surrounding the jungle’s evolution. She pleads with them proclaiming the trees have purified the water, while the Ohmu are merely acting as sentinels to the land. She urges calm, but cooler heads do not prevail and she is taken captive as the Pejite take flight toward the valley.

Miyazaki implements Princess Lastelle’s mother as the life-affirming force of reason that frees Nausicaä so she may escape into the skies upon her glider in the hopes of saving her people. Once again, Miyazaki emphasizes life and salvation through the strength of the woman.

In The Valley Of The Wind, Nausicaä’s people initiate an uprising, commandeer a tank and weapons and begin fighting back against the warmongering Tolmekians. The battle ends in a stalemate as the valley peoples hold up inside an old, impregnable, metallic shipwreck along the seashore utilizing it as their makeshift fortress. Nausicaä races against time in the hopes of staving off certain disaster between the Tolmekians and her people in a deteriorating standoff. Her battered, peaceful people proclaim with dignity, “We prefer the ways of the water and the wind.” Miyazaki never preaches his message, because this is the nature of a people and the philosophy of the living. As Nausicaä fast approaches she spots a stampeding Ohmu herd and is horrified by what incites their wrath. The Pejite have harpooned and brutally bloodied a baby Ohmu dangling it before the storming Ohmu mass as bait to fuel their fury and drive them toward the valley. It's a truly brutal sight.

Mito arrives on the battlefield to warn everyone that Nausicaä, a proverbial herald, is coming to halt the impending onslaught. Despite the warning, Kushana awakens the giant warrior prematurely unleashing the malformed behemoth. Dressed in a red Pejite dress, Nausicaä startles the Pejite pilots and brings the Ohmu baby down. Nausicaä is shot and wounded in the process. She weeps over the baby Ohmu in a truly touching scene.

She is pained by its suffering. The baby motions to crawl into the toxic waters, but Nausicaä braces herself between the creature and the sea while acid singes her feet. Digging into the sand she pushes it back to safety. The Ohmu baby ceases its drive and connects with Nausicaä. The undaunted Nausicaä stands steadfast in her charge to bring peace and prevent the mass slaughter of her people and the Ohmu. Still, the enraged Ohmu throng presses onward through Nausicaä and the baby with bloodlust.

On the hilltop the warrior giant emerges dripping with deformity, a symbol of twisted humanity. Despite its weakened condition it projects a lethal beam of firepower laying waste to the incoming Ohmu. Inevitably its shape dissolves into a soupy, primordial puddle.

Nausicaä miraculously calms the Ohmu pursuit, which has surrounded the baby. Red eyes subside and give way to the serenity of tranquil blue. The herd of Ohmu lifts a lifeless Nausicaä toward the heavens with their tentacle-like feelers. The creatures pay an almost religious tribute to their beloved savior who stood before them willing to die. Revived, Nausicaa undergoes a Christ-like resurrection by her multi-legged friends who restore life. Her dress alters from red to blue, once saturated with the baby Ohmu’s blood, accenting the changing, hopeful emotional tone. The ancient writings foretold of a male hero who would come forth and renew life, but the answer to the prophecy was wrong instead giving witness to a young woman named Nausicaä Of The Valley Of The Wind.

Nausicaä is symbolic of Miyazaki’s female ideal and would represent his standard for films to come. She is a selfless herald, the culmination of nurture and nature. Miyazaki illustrates this with a final shot of her blue cap beside a green seedling sprouting from the barren sands. Only through the nurturing touch of a woman combined with nature’s resilience will the planet survive. And so Miyazaki’s tale comes full circle, ending on a note of hope embodied by two key images that contrast to the film’s opening shots of skeletonized death.

Nausicaä Of The Valley Of The Wind is a brilliant action adventure, science fiction fantasy and drama too filled with the kind of heart and social conscience only Miyazaki could pen.

So what were US distributors thinking in 1995? It was originally released in the US as the heavily edited Warriors Of The Wind [1995] like so many Japanese films like those to hail from Toho. Miyazaki was justifiably mortified and ensured that a no edit clause was amended to all future licensing deals. This measure secured the proper treatment of all Studio Ghibli releases going forward with Disney Buena Vista. All studio productions are issued unedited and in their entirety as the creators intended them to be experienced. His film received the grand treatment and a second chance with Disney.

The hand drawn 2D animation is a marvel to behold even more astonishing when considering how old the film is. It has its shortcomings and from time to time frames do lose detail or backdrops get simplified, but most scenes are fantastic - a sign of things to come. For example, Nausicaä’s underground greenhouse is a breathtaking sequence (see clip above). Character designs are exquisite, Nausicaä in particular. Her stylish blue uniform is striking and still holds its own distinct style decades later. Her blue skirt and kinky boots, like the film on the whole has stood the test of time. Let's face it, those boots are made for walking.

Mechanical designs are simple but inventively retro from Nausicaä’s personal glider and flying gunship to the hulking, early steampunk-styled, metallic warships. The steampunk style would be highlighted for Laputa: Castle In The Sky [1986] as well and later Katsuhiro Otomo's Steamboy [2004]. Bandai released a beautiful replica of the Gunship in 2011.

Creature designs are astounding. Nausicaä’s feisty fox squirrel would find its way back to Laputa: Castle In The Sky. The mighty herds of caterpillar-like Ohmu with giant saucer-shaped eyes are magnificent beasts. Finally, the brief appearance of the fearsome warrior god is a classic. In fact, the giant warrior designs, explosions and deeply imaginative heavy tank mecha came compliments of fledgling animator/designer Hideaki Anno in a key animator role. Yes, these designs were by way of the future genius behind Neon Genesis Evangelion and Studio Gainax. Anno does with a disintegrating monster in the film’s conclusion what he would do for a variety of creatures in Evangelion - infuse his ideas with genius, horror and beauty.

Weaponry is ultra retro chic including Nausicaä’s modernized rifle and the Tolmekians’ medieval-like battle armor.

Mattes provided for the toxic jungle are soft in blue and grey colorations. The subdued colors enhance and illustrate Miyazaki’s message of a dying world. The classic look of the spore-infested jungle is like cover art from a 1970s fantasy novel. Be sure to see the film color on Blu-Ray.

Additionally, other techniques were utilized including cut paper methods for presenting the large Ohmu herds. This was part of the improvisational aspect of animation in the day without access to computer technology and CGI enhancements. Due to lower cel counts, at times, it lacks the fluidity of later Studio Ghibli productions, but it is remarkably painstaking in its artistry and holds up against much of today's computer-aided animation.

Composer Joe Hisaishi provides the score. The sweeping, beautiful opening music is trademark Hisaishi that Miyazaki would come to rely upon for years to come. Despite highlights, some of the compositions have not aged well over the years, unlike his later soundtrack work. Time has not been overly kind to this film score due to a slight over reliance on vintage early-80s era synthesizers. Those dated electronic bpms [beats per minute] have a tendency to date the material. Some numbers lack the sophistication of his orchestral, string-driven suites that would flourish in his repertoire later.

Buena Vista, the distribution arm of Walt Disney, provides yet another sterling Studio Ghibli remastering. Voice talent for the creation of the English dub includes Alison Lohman, Uma Thurman, Mark Hamill, Edward James Olmos and the always commanding vocal presence of Patrick Stewart [Star Trek: The Next Generation].

In the end, Studio Ghibli was official in 1985. Laputa: Castle In The Sky [1986] would follow and was the first official release by the studio. The gorgeous, timeless family classic My Neighbor Totoro [1988] would follow. Nevertheless, it was Nausicaä Of The Valley Of The Wind that became the inspiration for the legacy of Studio Ghibli. There is clearly an elegiac and mournful tone to Miyazaki’s message represented here by the emotional pain and struggle of its characters. The tale closes on a hopeful note regarding the harmony of man and nature beyond apocalypse. Nausicaä is a traditionally heroic female leader and one for which Miyazaki often returns. Nausicaä Of The Valley Of The Wind is a rare, definitively original science-fiction/ fantasy that stands the test of time and rules as a template for the traditional Miyazaki heroine. The film would fortify the relationships of three wise, visionary men, Miyazaki, Takahata and Suzuki, for generations, in much the same way producer Tomoyuki Tanaka, director Ishiro Honda and effects man Eiji Tsuburaya would represent Toho through film, elevating anime and animation to new heights. Come, reap the wild winds of Miyazaki and Studio Ghibli's first true labor of love.

Nausicaä Of The Valley Of The Wind: A-. Writer: Hayao Miyazaki. Director: Hayao Miyazaki.

My Neighbor Totoro

The stunning animation and storytelling of Hayao Miyazaki in My Neighbor Totoro. The Bus Stop scene is one of those great, classic, cinematic moments.

"Hayao Miyazaki's greatest work, and hence probably the best anime ever made." - Jonathan Clements & Helen McCarthy

Rule: Fans of anime are always fans of Hayao Miyazaki. Fans of Hayao Miyazaki [and other Studio Ghibli productions] are not always fans of anime.

Yes, ho hum another Hayao Miyazaki masterpiece of cinema for all the world to adore. It could certainly appear that way. The quality of the work appears effortless. The man is a machine of animating genius and works pure, unadulterated animation magic into every thoughtful story. As filmmakers know, it’s certainly no easy task to come up with one masterpiece, let alone one after another and continue to produce at Miyazaki’s level, but Miyazaki does it every single time. He is one of those rare, elite filmmaking talents that is able to out-Disney Disney itself. In fact, My Neighbor Totoro [Tonari No Totoro in Japan] [1988] may be his most Disney-esque picture, but they all have a kind of magic that lends itself to those comparisons. When you get right down to it, Miyazaki films are uniquely Miyazaki. And thankfully Disney found the good sense to import his special brand of animation that even Disney can't quite replicate. He is special indeed. His pre-Princess Mononoke [and Mononoke included] films contain the elaborate, skilled, hand drawn beauty and majesty often associated with the pictures of Disney. My Neighbor Totoro may be the odds-on sentimental favorite that gets you weak in the knees akin to something like Bambi.

Like Kiki’s Delivery Service, My Neighbor Totoro soars with enchantment and the wide-eyed discovery of a child seeing an animated classic for the first time. Walt Disney would agree by striking a licensing deal with Miyazaki's Studio Ghibli for distribution of each and every one of his works stateside along with other studio productions by the likes of Directors Isao Takahata [Grave Of The Fireflies, Only Yesterday, Pom Poko and My Neighbors The Yamadas] and Yoshifumi Kondo [Whisper Of The Heart].

A tip of the cap certainly goes to Mickey for the move! That said it makes you wonder how a major studio/ company like Walt Disney couldn't have been aware of other anime classics that allegedly may have influenced other Walt Disney productions. The late Director Osamu Tezuka's Kimba The White Lion [19650-1966] was believed to be the uncredited inspiration for Disney's The Lion King [1994]. Nadia The Secret Of Blue Water by Studio Gainax and Director Hideaki Anno bore some significant resemblances to Disney's Atlantis: The Lost Empire. Certainly much has been made of the similarities between these productions, but those are stories for another day.

Disney was wise to recognize one of Japan's greats in Miyazaki by bringing his feature films to the shores of America. Each of these Studio Ghibli productions are given professional voice dubbing treatments and a healthy dose of extras. My Neighbor Totoro is a family gem, pure and simple, because it is a work that timelessly reaches across generations with its wholesome innocence. It is powerfully moving in its understated, simple joys and like all of Miyazaki's work it is loaded with heart. It is considered one of his finest moments. Truth be told, a case for his best film could easily be argued and endlessly debated for each and every one of his cinematic treasures.

Not anime, but rather the classic, simple drawing of a child. You gotta love that!

My Neighbor Totoro centers on the daily discovery of the natural world by two young sisters, Satsuki and Mei, who move to the country with their father while their mother remains in a nearby rural hospital. The adorably likable, irresistible kids are led into a kind of Alice In Wonderland-like spirit world where joy-filled freedoms, lead to all sorts of unearthings with a wide-eyed wanderlust. The two protagonists or shojos [a Japanese term for young, cute, independent girl] are often the focal point for Miyazaki's films. Author Susan J. Napier makes a terrific point regarding Miyazaki's films playing against a cultural type in Japan in her book Anime From Akira To Howl's Moving Castle. In the male-dominated culture of heroes, Miyazaki's female heroines are a unique take and the male director knows how to work these wonderful characters despite the gender difference. He understands his characters and they are written with a greater depth and realism than most characters, male or female.

Sweet family moments like this one would be sadly considered politically incorrect by today's standards.

Napier writes noting Miyazaki's trademark style, "Miyazaki is perhaps best known for two particular elements in his works, his richly realized fantasy worlds and his female characters are always recognizable Miyazaki creations. His intensely colored animated worldscapes filled with his trademark images of flying machines, soaring clouds, and supernatural creatures take on a breathtaking life of their own while his brave, inquisitive, and risk taking young female characters are far removed from the identity confusion that characterizes many shojo [young girl] characters." This is expertly put by Napier describing these distinctive constants in Miyazaki's characters as "often quite assertive and independent." My Neighbor Totoro is no exception.

It wouldn't be anime without the ever beautiful shot of powerlines. Miyazaki accentuates his message of man and the natural world by offering the juxtaposition of the two in shots like this one.

Mei and Satsuki discover cute, but dirty little soot sprites in their new home. The creatures appear as a kind of natural protector and extension of the forest. Their wise, older neighbor they call Granny smiles upon their innocent delights. She also knows only through a child’s eyes of wonder can these creatures really be seen. Totoro and company play out like fantastical imaginary friends. Mei is the link to a world of fantasy and Satsuki too, both open to the possibilities. It is their first encounter with the forest spirits and the introduction of Miyazaki’s tender theme of harmony within the natural world between man and nature, the past and present; he so eloquently merges into his tales time and again. The sweet adventure begins.

Do you remember the joy of catching tadpoles?

The theme of Forest spirits and the spiritual world are often stunningly represented in Miyazaki’s fantasies [Spirited Away, Princess Mononoke] as a reminder of our living Earth. Through his fearless, young protagonists, the audience is awakened to the ancient past and our precious natural history. Miyazaki allegorically sprinkles Buddhist temples and shrines across his landscape symbolizing his attempts at reconciling the beauty of past tradition with modern culture. Miyazaki’s colorfully painted forest characters represent the children’s mental connection to the natural treasures to be discovered in the physical world.

The fictional world is slowly revealed as Little Mei spots and follows two small mini-Totoro creatures down a proverbial rabbit-hole straight out of Lewis Carroll’s literary classic, Alice In Wonderland, except Miyazaki’s homage is visualized through a rooted grove of bushes tunneling under brush that leads to an incredibly muscular and fantastic Camphor tree. Through a hollowed chute Mei stumbles down inside the tree and is greeted by a warm cavity. It is there Mei discovers nestled and slumbering one gigantic and fluffy Totoro, an almost updated version of Miyazaki's own Panda from Panda! Go, Panda! [1972]. Totoro is a wonderfully over-stuffed beast, a simple but spectacular looking thing. The images in the film are unforgettable and this moment is no exception.

Miyazaki’s further Alice In Wonderland-styled deference comes by way of an immense, orange, magically-propelled, 12-legged, grinning cat bus that looks eerily like the infamous Cheshire cat from Carroll’s story or to some extent the one from the Walt Disney film version. It's a beauty.

As an aside, in 2003, Miyazaki created a film short for the Studio Ghibli Museum called Mei To Konekobasu or Mei And The Kitten Bus exclusively for visitors at the museum along with eight other exclusive shorts. More reasons why I must go to Japan.

Totoro may be one of the most endearing and lovable animals ever imagined for the screen. The furry, plump giant with striking, thick claws is a goofy, strange beast. Overcome with her great discovery, Mei proceeds to grab the massive, cuddly, bear-like Totoro with innocent, eye-popping wonder and ever-trusting zeal. The innocence of a child as they say. When Totoro’s big eyes meet Mei’s big, sweet smile, it’s not only love at first sight for them but for us too. They bond instantly. Totoro bellows and flashes a wide-toothed grin as only a forest god welcoming pure goodness could. This scene is a classic in the annals of anime moments. The scene leaves you smiling from ear to ear and there are many other moments like this.

The rainy bus stop sequence featuring a clever and memorable interplay between Totoro and Satsuki holding umbrellas is another remarkable one. That moment is frozen in time. Fortunately for Satsuki she remains young enough that these forest spirits speak to her as much as they speak to Mei, and thus, unlike adults can see Totoro. In other words, Satsuki has not been damaged by man and society. She remains open, but that change is coming. The coming-of-age often brings with it a loss of wonder and that reality closes us to the possibilities, the possibilities that clearly still exist for Satsuki.

The girls’ playful childhood existence is made all the more magical by chasing down golden acorns, growing trees with Totoro, mini-Totoro and itty, bitty wee Totoro and gliding through the sky winds above the beauty of the forest. They learn to enjoy and respect their new surroundings with their new found friends. This is the stuff of dreams as a child and Miyazaki brings these feelings to life.

The film’s only restlessness and unease comes when Mei disappears in an attempt to visit her ailing mother. Totoro and the cat bus become Mei and Satsuki’s saviors. The film gradually unfolds and offers us a window into the lives of Satsuki and Mei. The message is clear, but it never intrudes on the simple fact that My Neighbor Totoro is a lovely, vibrant picture that entertains over and over again. It is a mostly sweet, meandering tale. It has a laid back quality that never fails to engage with its many colorful characters. When it's over you’ll be wishing the world were filled with neighbors like Totoro, Granny, Mei or Satsuki. My Neighbor Totoro is all heart.

Miyazaki places many subtle messages throughout his work combining quality film entertainment with important thematic elements. The strong bonds between Satsuki, Mei, their father and mother will make you laugh and illustrates Miyazaki’s important message of respect and love for one another and for our environs. The message is subtle, but it resonates profoundly. When Mei reaches out to her father to express to him what she has seen in the forest, he listens to her rather than discarding her pleas as nothing more than the rants of a young child. The girls, led by their father as teacher, stand before the great camphor tree and pray. “Magnificent tree, it’s been around since long ago, back in the time when trees and people used to be friends. When I saw this tree I knew this would be a good place for our family to live… so let’s give this tree a nice greeting… thank you for watching over Mei and making us feel so welcome here. Please continue to look after us.”

Further, Mei and Satsuki's mother is bed-ridden in the hospital and it isn't clear whether she will die or not, but Miyazaki could be gently reminding us here that we all leave this Earth behind for the next generation's care. We need to remember these things.

The film reminds us of those moments from our own spirited upbringings. It captures the feeling of those liberating early years running unhampered through the yard or field with overactive imaginations and only the wonderment of boundless discovery. He manages to create storybook films that not only entertain, but enlighten. Miyazaki demonstrates a deep respect for heritage and reverence for the land and harmony within it. His experiences easily translate universally, which is why so many connect with his films.

Miyazaki’s enchanting tales also execute an acute sense of place given his strong adherence to Japanese tradition. Each and every one of his films has a refreshing Japanese flavor alongside his many original and fanciful ideas some with European influence. It’s just refreshing to experience actual location shots from another part of the world and see a director remain true to his vision. Of all his films, My Neighbor Totoro feels the most definitively Japanese.

Napier alludes to the messages incorporated in Miyazaki's films, in essence, treasuring the natural world before it is "lost." She writes referring to "what is lost," as "a world in which nature is not yet dominated by humanity and exists as a powerful force in itself, strong in its identity as the nonhuman Other." Look no further than Nausicaa Of The Valley Of The Wind, Princess Mononoke and My Neighbor Totoro as evidence of "Miyazaki's privileging of forests and trees."

The Pixar-favored filmgoer may need a little coaxing, but there's nothing more beautiful than the hand drawn 2D animation of Hayao Miyazaki. Like the earlier Disney animation, these Studio Ghibli pictures are inspired works that are sure to broaden the horizons of any cinephile. This is the beauty of film isn’t it? The gift to bring the world to your home when you can’t take your children there.

My Neighbor Totoro was never on my radar at all, yet it was one of the finest animated family pictures I've ever seen. The script is beautifully written and never insults its audience with the kind of potty humor associated with many of the animated American films including Toy Story. That formula is tiresome and entirely unnecessary and it’s just not funny. My Neighbor Totoro took us all by surprise. We were blown away. It easily rivaled Kiki’s Delivery Service, another favorite with the Girl Wonder. It may have something to do with appealing to the inner child and the child-like wonder that permeates every cel of this film. It amplifies every thing great about being a kid and the explosive joy to explore bursting from every fiber of their being. Kiki’s coming-of-age adventure is equally inviting to youngsters. Totoro is for those who still remain the child at heart. It’s timeless animated perfection.

The animation is warm and the pastoral scenery is filled with lush, rolling green hills, bushy trees and blue skies. It’s like a watercolor canvas come to life. Miyazaki’s gorgeous, hand-painted backdrops always take the breath away like staring out at the vast sea or a mountains skyline. The details are astounding from tree roots to bugs on a plant stem. Key animation contributions apart from Studio Ghibli came by way of upstart Madhouse in the day. Madhouse Inc. is the studio behind the works of the late Satoshi Kon on Perfect Blue, Millennium Actress, Tokyo Godfathers and Paprika, as well as The Girl Who Leapt Through Time [2006]. The company also collaborated with Studio Ghibli on Spirited Away [2001], Howl's Moving Castle [2004], Ocean Waves [1993] and Gedo Senki [Tales From Earthsea] [2006]. Walt Disney lovingly transfers the color palette to its rightful splendor.

The concept of voice dubbing Japanese animation is a particularly tricky proposition for fans. Most true fans often love the original Japanese audio tracks. There are exceptions where the English dub somehow manages to work better than the original. I'm a fan of listening to both. There are nuances and differences in tone and sometimes even content that make the translations interesting. The dubs provided for the Studio Ghibli films are really top shelf with solid casting by mostly professional actors. Personally I love voice actors that work in the business whereby voice acting is their stock and trade. Tiffany Grant comes to mind, the voice of Asuka in Neon Genesis Evangelion [1995]. Actors and actresses like Grant are a pleasure to hear. In the case of My Neighbor Totoro the English dub is splendidly cast by selecting sisters Dakota and Elle Fanning to play the parts of Satsuki and Mei respectively. I'm afraid I have not heard the Japanese audio track though I suspect it is very good. The Fannings offer genuine, natural chemistry to the two sibling protagonists' banter. It's another reason these Disney releases spared no expense.

As far as composers of choice for directors, Mamoru Oshii often turns to Kenji Kawai [Patlabor, Ghost In The Shell], Hideaki Anno to Shiro Sagisu [Evangelion, His And Her Circumstances], while Miyazaki turns to mainstay confidant Joe Hisaishi [Spirited Away, Ponyo, etc.]. He pumps up the jubilation factor with a wonderful score and two bouncy, breezy numbers compliments of effervescent country pop singer Sonya Isaacs [not sounding 'a little bit country' here]. These songs are the English translations of their Japanese counterparts. Unfortunately, these gorgeous Disney-sponsored Studio Ghibli theme songs are unavailable for purchase anywhere, and the film lacks a 5.1 Dolby track. It would have been terrific to hear the rain falling, the cicadas singing or Totoro bellowing those enormous growls in a booming, layered, punctuated surround sound environment.

Trust me, even without children, you'll enjoy spending time and smiling with My Neighbor Totoro. Remember, when those winds blow against your face and through your fingers, give pause to those friendly forest spirits that surround you.

My Neighbor Totoro: A

Writer: Hayao Miyazaki

Director: Hayao Miyazaki

Additional commentary on My Neighbor Totoro: When the initial pitch was made for My Neighbor Totoro it was actually rejected by Studio Ghibli's financiers. The second pitch was accepted. This second pitch included the double bill with Studio Ghibli’s Grave Of The Fireflies by Director Isao Takahata. Producer Toshio Suzuki was desperate to get backing. Two different publishing houses supported the films. Both films needed resources. There were two production teams and two promotional campaigns. Both films miraculously competed despite their dramatically different tones and both were immensely successful. They pushed the envelope of artistic boundaries and expectations set previously within the industry. Grave Of The Fireflies is a harrowing, hardcore depiction of two children starving in Japan as a result of a shortage in the food supply during World War II and those responsible turning their backs on them. You don't get a much starker contrast to My Neighbor Totoro. Roger Ebert was a fervent advocate of Grave Of The Fireflies, but also praised My Neighbor Totoro as “one of the most beloved of all family films.” Nevertheless, they are two masterstrokes of animation. Despite their differences, the films offered an interesting juxtaposition painting powerful portraits of life in the Japanese countryside based upon a significantly dissimilar set of variables. One thing is sure, two classics were born.

The following two images while strikingly similar in their presentation of a boy and young girl inhabit worlds in stark contrast. Takahata's Grave Of The Fireflies and Miyazaki's My Neighbor Totoro, respectively here, played on a double bill. The strength is in the storytelling of these distinct pictures.

Writers Jonathan Clement and Helen McCarthy called My Neighbor Totoro Miyazaki's "greatest work and hence probably the best anime ever" in their book The Anime Encyclopedia. That is a bold statement given all of the wonderful competition surrounding the film not to mention the variety of presentations whether it be film, OVA or TV series [the three Japanese formats]. There's certainly a case to be made for it as much as there are case to be made for others utilizing similar statements. Given all of Miyazaki's work this statement could easily prompt debate among fans of Miyazaki alone. With all of the wonderful works to choose from some would hardly consider My Neighbor Totoro his best. I suspect it would be unfair to denounce My Neighbor Totoro as a mere children's film. There's so much going on in the film and there is so much detail and heart that one simply cannot reduce My Neighbor Totoro's qualities given its widespread appeal to children. It would be easy to place Spirited Away or Princess Mononoke ahead of this work, but My Neighbor Totoro is equal parts substance immersed in beauty. It is a subtle, strong film that should not be discounted by its delicious surface aesthetics, though they are immmense. Clements and McCarthy aren't wrong.

The writers note this is a personal film for Miyazaki in his love for the Japanese countryside and the history of a land that permeates it. The feel good strenth of the film may not appeal to those preferring a darker edge, but the fact of the matter is My Neighbor Totoro is a hopeful, spirited picture. Clements and McCarthy nail the film's jubilant spirit by noting the film is told "through the unquestioning, uncritical, undaunted eyes of a child." And honestly, what's wrong with that?

Director footnote: Hayao Miyazaki [1941-present]: Director/ Screenwriter/ Animator/ Artist/ Character Designer Miyazaki is legend. He founded Studio Ghibli. His works are many and these are some of his best: Nausicaa Of The Valley Of The Wind [1984], Laputa: Castle In The Sky [1986], Kiki's Delivery Service [1989], Porco Rosso [1992], Princess Mononoke [1997], Spirited Away [2001], Howl's Moving Castle [2004] and Ponyo [2008]. His hand can also be felt on a number of other Studio Ghibli productions including Whisper Of The Heart [1995] and Isao Takahata's Pom Poko [1994] and Only Yesterday [1991].

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