Tag: ghibli

The Wind Rises

The Wind Rises (2013)
★★★ / ★★★★

As a child, Jiro (voiced by Hideaki Anno) wished to fly planes but he knew his myopia would ultimately hinder him from reaching his goal. In a dream, Jiro’s hero, an aircraft designed named Giovanni Caproni (Nomura Mansai), told him that building planes was even better than flying them. Jiro will grow up to be a plane engineer whose work is to be used during World War II.

Based on the screenplay and directed by Hayao Miyazaki, “The Wind Rises” is initially engaging but it turns into a somewhat drawn out picture about a boy with physical limitations whose determination overcomes his shortcomings. For the most part, it is saved by fine touches that are not found in works of its type.

Despite the medium from which the story is told, the film is a mature work in that the themes it tackles require a bit of thought, far detached from easy lessons meant to remind than to be considered carefully. I admired that the main character’s journey is not so much about how difficult it is for him to reroute his dream and achieve an alternate goal. It is partly that although his life as an aircraft engineer is more about trial and error, a metaphor for how we come to live our lives. We watch in anticipation whether his latest work will finally live up to expectations—maybe even surpass them.

The animation, as expected from a Miyazaki movie, is beautiful. During the first third, there are more than a handful of dream sequences but it takes a bit of getting used to for us to be able to tell whether what we are seeing is a dream or reality. This is necessary given that Jiro, as a boy when we come to meet him, is very much a dreamer, a kid who is thoughtful, kind, gifted, brimming with the potential to be great at something. Although the hand-drawn animation does not fill in every minute detail—say, of a face or an environment—what matters is that we are in the moment, that we are feeling or thinking what the protagonist may be going through.

Although we get to know about two important people in Jiro’s life, such as a friend and a colleague named Honjo (Hidetoshi Nishijima) as well as Naoko (Miori Takimoto) the romantic interest, the connection between Jiro and his sister, Kayo (Mirai Shida), is undercooked. There is a would-be emotional payoff involving the younger sister during the latter half but because she is not a fully established character, she comes across as an element in the plot meant to tug at the heart strings rather than someone who is completely integrated into the story’s fiber.

There are a few interesting details involving Japan being considered backwards at the time from the perspective of its subjects. For instance, oxen are required to pull on the newly built aircraft for days because the airstrip is very far from where the parts are actually put together. Another scene shows that Japanese planes are made of canvas and wood while German planes are made of metal. Jiro represents his country in more ways than one in terms of starting point and ambition.

“Kaze tachinu” is likely to disappoint those who expect magical elements expected from a Miyazaki feature film. Also, it is less efficient compared to such works in terms of emotional payoff. However, there are familiar Miyazaki elements to be found here. It is a more mature work worthy of a slower pace and contemplation.

The Kingdom of Dreams and Madness

The Kingdom of Dreams and Madness (2013)
★★★★ / ★★★★

Director Mami Sunada spends about a year filming inside the renowned Studio Ghibli, responsible for giving movie lovers around the globe masterpieces such as “Grave of the Fireflies,” “Spirited Away,” “Howl’s Moving Castle,” and “From Up on Poppy Hill.” This is where the legendary Hayao Miyazaki creates his memorable works, along with the help of many animators, and the documentary also turns its attention on the process of making his final film, “The Wind Rises.”

“The Kingdom of Dreams and Madness” is a documentary told through a poet’s perspective. It is quite an experience to sit through because it likes to take its time drawing us into the images. For instance, when Miyazaki is working on storyboards, we see what is being drawn or colored and yet we cannot help but squint just a little as to absorb the more minute details of the artwork. I was amused by this because I had seen “The Wind Rises” prior to watching this film and yet I was still inspired to look at the raw images, hopefully recognizing the scene that the images belong to. It helps that the camera lingers for a few seconds in order to give us that chance.

It offers surprising details about Miyazaki: how he works, his perspective on life, and how others view him. For example, he admits that even though he works on the storyboards himself, he does not really know what kind of film he’ll end up with. This sentiment is particularly relevant to “Spirited Away,” understandable because that film offers so many rich, bizarre, amusing, curious images and turn of events.

Particularly memorable is when the man decides to speak to the artists that there is a difference between how the Japanese bow in modern times versus the era of the Second World War. Nowadays, people bow and then return to standing up straight. Back then, people bowed but they kept their backs at an acute angle relative to the ground. Straightening it completely would have communicated rudeness. Since “The Wind Rises” takes place during World War II, the customs during that time must be reflected in the animation. He then mentions that drawing characters glancing sideways while turning around is an egregious mistake. He offers a wonderful explanation as to why.

At one point in the documentary, Miyazaki claims that “what drives animation is the will of the characters.” I thought this insight defines the studio’s work. It continues to release high quality films because it is character-driven first. We get to understand them as much as—if not better than—live actors performing a role. The magic is in the screenplay and everything else, like the quality and style of animation, seemingly happens to fall into place. On a rare occasion that they do not, we forgive easily because it is likely that there is something about the story that gets to our core.

Throughout the course of the two-hour film, it becomes clear that the studio and the people in it are like family—including a stray cat that likes to lounge about but smart enough never to bother Miyazaki while he is working. We see the camaraderie between Miyazaki and his colleagues. Miyazaki is honest about the work and how much effort is put into it. The latter is also given a chance to tell the truth. A handful of people claim—some joke—that the man is tough and has high expectations. Some people happen to fail living up to them. And yet despite these truths, the place still comes across as an awesome place to work, play, and create.