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lsandersonCastles in the Air
Castles in the Air
Miyazaki's Howl's Moving Castle touches the sublime.
By David Edelstein
Updated Friday, June 10, 2005, at 9:48 AM PT
"In the films of Hayao Miyazaki, there's no firm wall between the natural and the supernatural. Miyazaki's work is set in a nature that's positively saturated with spirits, and you can feel that animism in the animation itself—not just in the creatures that materialize out of the shadows, but in the waving of grass, the trees, even the bend of light. It sounds awfully New Age-y, but Miyazaki's pantheism is defensive and plenty angry. His antagonists are the enemies of nature: the industrialists who plunder it, the warmongers who deface it. Although many of his movies—notably My Neighbor Totoro, Kiki's Delivery Service, and the Academy Award-winning Spirited Away—are coming-of-age parables, coming of age means learning to respect the life force in everything—or losing one's soul."
Castles in the Air
Miyazaki's Howl's Moving Castle touches the sublime.
By David Edelstein
Updated Friday, June 10, 2005, at 9:48 AM PT
"In the films of Hayao Miyazaki, there's no firm wall between the natural and the supernatural. Miyazaki's work is set in a nature that's positively saturated with spirits, and you can feel that animism in the animation itself—not just in the creatures that materialize out of the shadows, but in the waving of grass, the trees, even the bend of light. It sounds awfully New Age-y, but Miyazaki's pantheism is defensive and plenty angry. His antagonists are the enemies of nature: the industrialists who plunder it, the warmongers who deface it. Although many of his movies—notably My Neighbor Totoro, Kiki's Delivery Service, and the Academy Award-winning Spirited Away—are coming-of-age parables, coming of age means learning to respect the life force in everything—or losing one's soul."
