Never-Ending Man: Hayao Miyazaki (2016)

Never-Ending Man: Hayao Miyazaki (2016)

Dir. Kaku Arakawa

A TV documentary about Studio Ghibli co-founder Hayao Miyazaki. It begins with an announcement of retirement from a man not suited to retirement, and then shows what he does afterwards, which is go back to work.

Among other things, it explores the making of his short film Boro the Caterpillar (2018), including his openness and frustrations of using CGI during the creative process. The handheld camerawork feels amateurish, resembling something shot on a phone, intended for YouTube more than TV,  but over time (and probably more by accident than design) it captures something close and personal, thanks mostly to being present during moments of insight from its subject: an artisan with a lifetime of true experience.

I feel that what we get is merely a lucky glimpse of a larger, unseen whole, but it's still worthwhile viewing for anyone interested in how an animation studio of Ghibli's calibre does things.

The Cat Returns (2002)

The Cat Returns (2002)

Dir. Hiroyuki Morita

TCR is a spin-off from Ghibli's Whisper of the Heart (1995) film, and while it's not wholly necessary to have watched WotH prior to TCR, it's recommended, nevertheless, because two of TCR's characters were first introduced in WotH. The earlier film is also where you get the back-story of smartly dressed cat Baron Humbert von Gikkingen. If you don't care about any of that, though, you can enjoy TCR on its own merits.

It's the story of high-school student Haru Yoshioka, a young girl who seems to be constantly running late for class. She's often disorganised, has a messy room, and is a little clumsy. But she has a kind heart, is a good friend, and looks out for animals in need, all of which are positive, inspirational traits.

A selfless act at a busy road earns her the gratitude of the Cat Kingdom, which turns out not to be as welcome a blessing as it may sound.

Princess Mononoke (1997)

Princess Mononoke (1997)

Dir. Hayao Miyazaki

There's often an environmental message in Hayao Miyazaki's works, but it's much more aggressive in Princess Mononoke than in any Ghibli film that he'd made prior, and because of that it feels less safe.

It's Nature versus Industry in a war that neither side can win. Trapped in the middle is a village Prince named Ashitaka. The youth is unwilling to take sides, but at the same time is determined to put an end to the conflict. He's even prepared to die, if necessary.

The girl with the warpainted face on the cover is San. She sides with the animals, which gives her a very direct focus, initially, but, for reasons that are too spoilery to go into, she's also one of the more interesting characters.

Whisper of the Heart (1995)

Whisper of the Heart (1995)

Dir. Yoshifumi Kondō

Based on a manga of the same name (by Aoi Hiiragi), WotH is a wonderful coming of age drama set in a typical suburb of Tokyo.

Its primary character is fourteen-year-old Shizuku Tsukishima, a junior high school student who loves books. Shizuku is a voracious reader who makes regular trips to the school library. She notices one day that many of the books she's borrowed that year were checked-out also by one other person.

For the benefit of anyone born after the turn of the millennium, it's important to note the era because before everything everywhere existed in a computer database, checkout cards were a real thing in library books. It isn't something the writers made up, and it wasn't exclusive to Japan. It's a true reflection of what folks my age might call a 'simpler time', before smartphones and social media, etc, and all the negativity that now exists as a result.

Pom Poko (1994)

Pom Poko (1994)

Dir. Isao Takahata

When their peaceful but playful way of life comes under threat by mankind's push for "urban development," a tanuki community is forced to abandon the rundown farmhouse in which they live, a building that was previously abandoned by its human occupants.

To combat the destructive 'modernisation', the critters call upon the past, rekindling the ancient tanuki art of shape-shifting.

There are references to the role of religion and superstition in the modern world, but foremost is the themes of ethics and nature and how both are often trodden on by an encroaching and money-hungry industry.

It's a Ghibli film directed by Takahata, whose work is often more hard-hitting and arguably more daring than a lot of Miyazaki's, so if you're planning to let the kids watch it, be aware that there are some unpleasant deaths.

Ocean Waves (1993)

Ocean Waves (1993)

aka I Can Hear the Sea

Dir. Tomomi Mochizuki

Originally, I considered writing something for each of the Studio Ghibli feature films and presenting them in chronological order, but I'm not a completist and I don't like all of the films, so I'm skipping the ones that I don't want to watch again. Of the selection that remains, the next is the lesser-known Ocean Waves.

Produced by Studio Ghibli but made-for-television, it's a story about youth and maturity, set in a competitive Japanese high school environment and in the wider world.

The three main characters are friends Tako and Yutaka and the girl who turns both their heads, a transfer student named Rikako. She's self-centred and takes advantage of Tako's good nature, but that doesn't stop him pursuing her.

Only Yesterday (1991)

Only Yesterday (1991)

Dir. Isao Takahata

A twenty-seven-year-old Tokyo resident named Taeko takes a summer trip to the countryside. It's a holiday away from city life, but Taeko plans to work whilst there, helping with the annual safflower harvest. What she hadn't planned was that her ten-year-old self would choose to accompany her.

It's the same person but in two different eras. The adult Taeko (Miki Imai) replays and relives her memories of fifth-grade Taeko (Yōko Honna), reflecting on the trials of youth, the hopes and dreams she had and how they stack up to where she is now in her life. When combined they make one complete story – one lengthy journey toward an unwritten future.

The deliberate undefined edges that some scenes employ suggests that feelings and situations we thought were complete at the time might actually have lines that aren't filled in until years later, provided we're wise enough, and perhaps even daring enough, to make the connections.

Kiki's Delivery Service (1989)

Kiki's Delivery Service (1989)

Dir. Hayao Miyazaki

Tradition dictates that at age thirteen a young witch should leave her home behind, in order to continue her training elsewhere.

For Kiki, it's an adventure that ends up being equal parts hard work; but she's headstrong when necessary, and with the help of her friend Jiji (a cat), she strives to make her mark.

With delicate pacing and timely underpinning it teaches us that each person has a purpose, even if they aren't aware of it or don't consider what they do to be anything special. 

If you dare to rise to a challenge, do your best for yourself and for others, like Kiki, then the rewards can more than equal the effort put in.

It's not action-packed and doesn't need a dramatic setting to be appreciated (you can watch it on a sunny day), but it's refreshingly sincere, and the attention to detail in environments is noteworthy, making the houses feel lived-in, which gives them a beauty all of their own.

There's a scene during the closing credits, so don't turn off too soon, if you want to see it.

My Neighbour Totoro (1988)

My Neighbour Totoro (1988)

Dir. Hayao Miyazaki

I feel it's fitting that Totoro sits large in Studio Ghibli's logo, because it remains arguably the best film the animation giant ever made.

The story is simple, but wonderfully realised, with a sincerity that shines out from every hand-drawn cel, as if even the ink that was used to make it flowed out in celebration.

A father and his two young daughters move into a new house in a rural area situated close to the hospital where the children's mother is recovering from a long-term illness.

While the father unloads the packed truck, the children, Satsuki and Mei, investigate their new environment, which also serves as our introduction to its ambience and mysteries.

Grave of the Fireflies (1988)

Grave of the Fireflies (1988)

Dir. Isao Takahata

The first animation that Ghibli co-founder Isao Takahata directed for the studio is based on a 1967 semi-autobiographical short story of the same name by Japanse author Akiyuki Nosaka.

I've not read the original short, but the film is an immensely powerful story of two siblings, a teenager named Seita and his baby sister Setsuko, as they struggle to survive during the attacks on Japan during World War II.

Their relationship is the heart of the work; it's a heart that beats in defiance of adversity because it's fuelled by love and family values.

The responsibility placed on Seita could crush even the strongest adult, but his feelings for his sister keep him focussed and determined.

For a narrative that's built around heartbreaking tragedy and conflict, there's a lot of joy and beauty to be found in the subtext.

Laputa: Castle in the Sky (1986)

Laputa: Castle in the Sky (1986)

Dir. Hayao Miyazaki

Opportunities don't often just fall from the sky, but sometimes inexplicable events do happen. For Pazu, resident of an elaborately constructed mining town, Sheeta is that event – a young girl with a destiny that he helps to uncover, while trying to keep her safe from a gang of pursuing sky pirates.

Outwardly, Pazu is a typical plucky anime kid, the kind we've seen dozens of times before. Beneath that, however, giving him depth, is a deep-rooted issue relating to a remarkable discovery that his father once made.

Sheeta is quieter, mysterious and harder to read; i.e. a more interesting character. I'd like to have seen more of her past revealed, but in truth the film was lengthy enough as it is.

It's a slow-moving story for a long time, and may even test the patience of some viewers, but the last thirty minutes have a pace that makes everything prior fall nicely into perspective.

Nausicaä of the Valley of the Wind (1984)

Nausicaä of the Valley of the Wind (1984)

Dir. Hayao Miyazaki

It was officially released before Studio Ghibli existed but a great many of the themes and techniques that the famous animation studio is now known for were birthed in Nausicaä.

The residents of the titular valley harness the full power of the wind to survive. It powers their post-apocalyptic machinery, but it also carries poisonous spores from the polluted forests and swamps that cover the Earth. So while it supports life, it also carries death.

The relationship between man and nature is a delicate one that's thrown into turmoil when a neighbouring nation pushes their hostile ambitions too far. The Princess Nausicaä finds herself stuck in the middle, forced to weigh her reverence for all life against the need to preserve and protect the innocent.

The three-decades-old animation is less sophisticated than modern Ghibli, but when placed in its own time it really shines, with the compassionate, level-headed Nausicaä on her glider being especially memorable. The ending is a little too abrupt for my tastes but the scenes played over the credits do help compensate.