Shaping the Ocean
Ponyo is a film about a fish, similar to The Little Mermaid, so naturally there is a lot of water involved. My favorite visual moments always involve how the animators have shaped the water into various forms. Here, the entire ocean, mostly its waves, takes the shape of a particularly large school of particularly large fish, which act as a sort of transportation for young human Ponyo. I've talked a lot about Pixar's water animation, especially for Finding Nemo, but this movie takes that so much further. It's gorgeous and, though not the realistic CG many animation fans have become accustomed to, this feels so much more real as it visually strikes the audience.
Jiro's Dreams
In Miyazaki's beautifully rendered biographical film on aeronautical engineer, Jiro Horikoshi, Jiro has several dream scenes featuring his inspiration, Italian aircraft designer Giovanni Battista Caproni. Each of these dreams helps Jiro when he finds himself at an obstacle or some sort of crossroads. Most importantly, though, each dream is gorgeously animated, featuring extensive skylines with the myriad of colors we see above day by day. The writing, too, is poignant, wise words for anyone up against tough decisions or fighting for their creative pursuits. The Wind Rises is a near-perfect film, and the dreamscapes only prove how breathtaking Miyazaki has helped Ghibli's films become.
Totoro's Umbrella
Princess Mononoke and Prince Ashitaka
Princess Mononoke is a tough film for me to watch, similar to Nausicaa, but it's really beautiful. Much of the film centers, among other common Miyazaki themes, around the relationship between Princess Mononoke, a girl raised by wolves, and Prince Ashitaka, the last Emishi prince. Their relationship really is quite fascinating to watch in action, because she's so terribly strong and emotionally driven while he's so incredibly understanding of this. This moment above, especially, where her first instinct is to punch his chest - he could defend himself if he wanted to, of course, but he knows she needs to let out all of her fear and frustration and anger in one of the only ways she knows how. Many people reference their first real meeting - when she pulls a sword on him and he says "You're beautiful" - but the silent emotional understanding in this scene feels so much more important for their relationship.
Sheeta's Crystal
Castle in the Sky is my favorite Ghibli and Miyazaki film. Perhaps not quite as acclaimed as others, I always loved the simplicity of it and the true strength of the characters. The writing always felt perfect, and the creation of Sheeta's crystal supports it. The audience sees the crystal's power at the very beginning of the film, here when Sheeta's has fallen from the airship. Pazu, the adorable helper he is, catches here as she comes down. Once she's under gravity's control again, of course, she's heavier but he still makes himself carry her to safety (as much as he can) and covers her with his vest, not significant coverage but it shows a level of care. The next scene she's at his house, and maybe my third time seeing this I realized he must have carried her most of the way there. And he tucked her in. And he made her breakfast. The crystal works hard to keep the two kids together, and that's because Pazu is very much Sheeta's rock; he's a nurturer, and she's a bit lost in the world - on the run from nearly everyone else - and she needs someone who's more interested in her than her necklace.
"You Who Swallowed a Falling Star..."
Howl's Moving Castle is a mass favorite among Ghibli and Miyazaki fans. Many of those fans may have chosen Howl's transformation scenes, or even some of Sophie's, but the falling stars in a later scene of the film always captured my attention most. The characters, of course, are wonderfully written, but the animation here as the stars transform from stars into fire demons like Calcifer is truly beautiful. From blue and white to rainbows of color that transform into little ghostly men as they reach the ground or the surface of the little pond, so much thought went into creating these beings for what was maybe five minutes of screen time. Miyazaki could have had them simply fall, Howl catch one, and Sophie watch what he does, but he endeavors to prove their lives, that they live. And so the audience watches them fall, watches one sprint across the pond hoping to reach shore, only to fail and sink into the water, a now blackened form, before we even see Howl. The sheer detail that Miyazaki insists upon is awe-inspiring and the mark of true passion.
Bonus: Miyazaki's Cat
There are so many important Miyazaki quotes about the world, about animation, about so many things. But the quote that always sticks with me is when he takes a moment during an interview to look at his cat and say: "Look how carefree she looks. You have no schedule." It's such a real moment, because haven't we all done that? Haven't we all turned to our pets and said "You have no idea how easy you have it," or "I wish I could lay around all day like that"? It may not be his most poignant or prolific quote, but it is one of his more important to me as a sweet and simple moment.
Stay tuned for news, and a new Film of the Week! Be sure to vote on the poll for your pick for the Annie Awards' Best Animated Feature.
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