Hayao Miyazaki is one of the greatest directors in the history of film, particularly in the field of animation, at least as far as I and many other people would probably agree. Which is why this review has been one of the more difficult things I've had to write in a long time. In fact, this article has a bit of a narrative of its own. As a hint of what you are to read here, I will first say that upon viewing the film a few weeks ago, I left the theater without much of an impression at all really. Any impression I had honestly leaned more into the negative category. Then, a few days ago, I finally found the time and direction I wanted to go. I honestly go into a groove. I wrote probably about four or five good paragraphs before it accidently got deleted. (As I type this, I will now make sure that I've saved at least up to this point.)
Needless to say, I was pretty angry. Anyone who's been working on something for a period of time, whether writing a piece or some other project, having it all get destroyed that quickly can be pretty disheartening. That fact that I worked and lost something I had been putting a fair amount of thought into (despite struggling to find the passion/motivation to do so) was irritating, to put it mildly.
Even so, I find myself driven to write this article. The truth is that I just didn't like the movie all that much. I was disappointed. Whenever you have an emotional investment in an idea, it's kind of hard to not have any expectations. Miyazaki has made some truly wonderful films to warm the heart and stir the soul. Princess Mononoke is one of my favorite movies of his and I would rank several of his films as some of the greatest ever made. So, naturally I probably had some expectations even though I don't think these were on the forefront of my mind.
Before going to view the film, I didn't really know too much about it. My sister, who had seen the movie previously, invited me to watch it with her. This was her second viewing and she said she wanted my perspective on it. Props to her for not really revealing how she felt, as she didn't really give me any preconceived notions about it. She only gave me impression that it was kind of a surreal movie. I would agree that it does have some of the dreamlike qualities of his previous films but lacking that aspect of wonder or a strong sense of drama at its core.
Probably the best thing about the movie is the imaginative premise which allowing for the plot to take place. This is one of the rare times in which Miyazaki places with sci-fi elements. The ancestor of our protagonist discovered a meteor, which he uses his fortune to build his massive structure. This area becomes sort of a reality warping time bubble, where any person or creature who comes into it affected by his willpower. Basically, he can use the power of his imagination to create his own fantastical world. Much of this is bird themed, such as a civilization of parrots who become sentient and anthropomorphic. It also plays with horror elements, as the birds often want to eat our heroes and the parrot king sort of serves as a secondary antagonist, attempting to make a claim on the old man's power. This is also probably driven by a need to preserve their world, but unfortunately none of this is delved into in any great detail.
One could make the argument that the trappings of this world aren't the point. After all, Miyazaki is excellent at using visuals for world building without really delving too much into explaining details. All the spirits in the bathhouse of Spirited Away make it seem like a truly living place. The war going in the background of Howl's Moving Castle conveys enough for use to understand the stakes. However, one other thing those films have that this one does not is a strong character driven narrative.
I had heard that this supposed to be a more personal story for the director. With the destruction of World War II in the forefront, the loss of childhood innocence and the salvation of a young boy through his imagination within the retreat to the Japanese countryside, it certainly has some of those themes that have become the staple of his filmography. Unfortunately, most of the movie doesn't really explore those ideas in a great detail. This is primarily because we don't really get to know Mahito that well. He sort of falls into this bigger world and kind of gets lost in it.
It didn't really help my viewing in that the main message of the movie was kind of clear to me, to the point that I thought it was almost transparent. Mahito is asked by his ancestor to take over for him (his tools fittingly look like shape blocks young children use, a cool metaphor for early creativity) as he simply can't keep his imaginative world together anymore. Ultimately, Mahito is not the one to take the reins and this world just literally and figuratively falls to pieces. I couldn't help but draw parallels to the director's first attempt at retirement and his son's less successful attempts at filmmaking and how Studio Ghibli having had a difficult time getting beyond the shadow of the man at its center. Truthfully, it just seemed kind of like a downer of an ending in that respect and a blatant echo of sadness and disappointment from the man about his own legacy. It's basically like him saying, "I was hoping would step up and keep this going, but nobody is able or willing. I guess it's time to close up shop."
From what I understand, the movie has generally pretty high ratings, so I think I may be in the minority on this one. That's another reason I was compelled to write this, as I don't understand how it doesn't have a more mixed reception. Part of me suspects that, much like me, some people are so attached to the director that, knowing this will be his last movie, they didn't want to bash it.
Of course, it's possible I missed a few details, and it could benefit from another viewing. I'm also pretty sure that I wasn't in that box of "I didn't get it". I was pretty sure I got it. I just wish we had stronger characters at the center, even if the world isn't as vibrant as some of the others he's created.
To end on a more positive note, I do think the first act of the film is the strongest. Miyazaki has always been good at the transporting people into fantastical worlds, and the establishing elements did work well. Mahito's loss of his mother and struggles after the move are great starting points. The Heron early on is a haunting figure, making the early parts of the movie delve a little into elements of horror. I found myself wondering what deal he is going to make with this creature he obviously can't trust. What tasks is he going to have to do to save his mother's spirit? I really liked the direction this seemed to be going. it reminded me a bit of Pan's Labyrinth, expect with the satyr stand in being perhaps more blatantly malicious in classic folk tale fashion. Once we full on encounter the Heron, the movie goes a very different, albeit more familiar direction. Once we got there, the movie does have touches of that brilliance we had seen in previous films, but never delving in with quite the amount of visual detail.
Ultimately, while I'm happy with the idea of Mahito's journey and growth, it didn't feel earned. It was like we skipped a few steps. Perhaps it would have benefited with a longer runtime to flesh some things out.
Despite my feelings on this, Hayao Miyazaki has nothing to prove to me or anyone. His legacy is in no danger at all. I really respect his work and truly love some of his films. He's made some truly great movies over the years. I just don't think this is one of them.
