From Up on Poppy Hill

And this week's Friday night movie has been... From Up on Poppy Hill!

Original image located here. Accessed 23rd January 2026

I will admit: I have putting this one off. Because like any Ghibli enthusiast, any title that comes attached with a name that isn't Hayao Miyazaki or Isao Takahata is going to have a tough time.
Yes that sounds cruel given the nature of this fiendishly talented studio, but the question of whether this studio can last beyond it's two creators has been floating around for years - And whether or not someone can rise up to the challenge posed by Ghibli's illustrious catalogue is indeed a monumental one.
And it would seem the public would agree as this marks the second effort from Miyazaki's son Goro - he who made the unlikely leap from gardener to director. And if that move wasn't baffling enough, his first movie, Tales of Earthsea, was greeted with a frosty reception. But this time around Goro has an ace up his sleeve: he's working off of a script provided by his father. 
Some might think that this may be counter-productive given the afore-mentioned uncertainty of Ghibli's future, but maybe there's something worth taking a look at...?

I have previously mentioned that even though Ghibli have become synonymous with their fantasy/whimsical movie, the fact that they can do more realistic-based works should not be overlooked. And From Up on Poppy Hill does indeed join that batch with ease. There are some high quality animation, packed with little details and some accurate representations of daily life. Certainly this movie may be leaning hard into the whole 'small-scale depiction of historical events' but hey, stick to one's strengths. 
So yeah, a pretty good movie and proof one needs to keep an eye on the quiet ones....

The Boy and the Heron

 And this week's Friday night movie has been... The Boy and the Heron!

Original image located here. Accessed 7th February 2025

So when was it that I discovered the works of Studio Ghibli? The year 2000. And much like any other movie connoisseur/anime nerd, it didn't take much to win me over: Stunning animation, boundless imagination, a distinct brand of humanism and a fearlessness when talking about big ideas. How could I help myself but jump on that particular bandwagon.
But I did so at an interesting time. For the years that would follow would prove fascinating for Ghibli figurehead/genius Hayao Miyazaki: Releasing Spirited Away. Achieving worldwide success with said movie. Scoring anime's first Oscar. Going back and forth on retirement. Growing outspoken to the point of becoming a curmudgeon. Losing his friend/colleague/sempai Isao Takahata.
In fact, I think that the success of Spirited Away may have been something of a turning point: Whereas Miyazaki's movies prior were unique in their own way, what has followed Spirited Away (Howl's Moving Castle, Ponyo) seemed to be following the same template of throwing whatever weirdness his imagination can come up with. However one could make the argument that said weirdness can be relied upon too much and can be used as a smokescreen to cover up a weak script. 
Granted it is foolish of me to draw comparisons to previous Ghibli works but given the factors of the uniqueness of each work, the high quality of the studio's output and Miyazaki's advancing years, any instances of repeating one's self becomes hard not to notice. 

As for the movie itself it is extraordinary. The animation is of the typical Ghibli high quality and the afore-mentioned weirdness is at play. And the imagery is inventive and the imagination is, as ever, wondrous. 
But the real heart of this movie is this is a personal work for Miyazaki. All the pieces are in place to explain where he come from: The experiences of his youth, the building of the empire that is Ghibli, the musings of moving on and building something with one's own hands. Big themes to be sure but the movie does address them with flair.

Mind you, watching this movie however I can't help but draw comparisons to The Tale of the Princess Kaguya: The bombing sequence is animated in the same way and both films share a sense of finality running throughout. Makes me wonder just how hard Miyazaki took the passing of Takahata (seriously, watch him give the eulogy at Takahata's funeral: the poor guy is barely getting through it). Still, much like Kaguya, this is an effective way to say goodbye.

Also, props to the English dub for having Robert Pattinson playing the Heron as he seems to be having the time of his life.

Pom Poko

And this week's Friday night movie has been... Pom Poko!

Original image located here. Accessed 3rd December 2021

Yes we're taking another trip into the anime well. And we're casting a look at the distinguished body of work that came from the one and only Studio Ghibli - with one of their more overlooked movies. - but then again this is Ghibli we're talking about and anything that is directed by someone who isn't Hayao Miyazaki is automatically dubbed overlooked.
Still, I have been putting off this movie for quite some time: One of a handful of movies courtesy of Ghibli's other genius/co-founder Isao Takahata. No time like the present I guess...

I have to admit that Pom Poko is indeed a unique entrant in Takahata's body of work. I know he can do realistic stories with attention to detail (ie Grave of the Fireflies and Only Yesterday) and I know he can do experimental works that take animation into new places and gobble up Ghibli's profits (ie My Neighbors the Yamadas and Tale of Princess Kaguya). So where does this leave Pom Poko?
If anything, it seems to take some of Miyazaki's familiar themes - pastoral landscapes, inventive designs and ecological theme - and place them in a different context. Nothing wrong with that - I mean why not have someone different talk about the same thing? - but there are times when it feels less like a Takahata film and more like one where he was peering over Miyazaki's shoulder and taking notes.
Still, this is a Ghibli movie and has all we come to expect: Humour, imagination, weirdness, high quality animation and some truly heartfelt moments. In fact, I do wonder why this is one of Ghibli's overlooked films as the themes of rebellion and ecological concerns would indeed find an audience in this current political climate...

Earwig and the Witch

And this week's Friday night movie has been... Earwig and the Witch!

Original image located here. Accessed 12th February 2021

Going into this movie I was under the impression that this was Studio Ghibli trying to take on Pixar at their own game. I will admit it's an idea - after all its well documented that Pixar has been looking over Ghibli's shoulder for many years so maybe some cross-pollination could work?

In all honesty this is a difficult movie to assess. On one hand, there are moments of real imagination and the Ghibli standard of 'fantastical whimsy meets mundane' is well and truly in place. And Earwig's impulsive and commanding nature certainly grants her a place in Ghibli's (sizable) ranks of heroines.
But on the other hand, the plot seem under-developed. The ending is abrupt and the movie comes across as incomplete - questions are never answered and it could've easily gone for another half hour. As such, this movie comes across as if there is a full third that got left on the cutting room floor.
I did some research and found that the original text was written by Diana Wynne Jones - and it was her final work before her passing. And as it turns out, the original text is both short and has an abrupt ending. It would've been nice if Ghibli expanded beyond the confines of adaptation but it seems unlikely giving the reverence the studio has for Jones. And as such, the movie suffers.
Its an experiment to be sure, but it does raise the question whether Ghibli can manage without it's esteemed founders.

Anne of Green Gables: Road to Green Gables

And this week's Friday night movie has been... Akagi no An (Anne of Green Gables)!

Original image located here. Accessed 22nd January 2021

Yep, we taking another dive into the anime well - and in this case, the World Masterpiece Theater. And what is World Masterpiece theater you may ask?
From 1979 to 2000, Nippon Animation would annually produce a TV series based on famous work of classical literature. Such titles to get the anime treatment would be Little Women, Heidi, Tom Sawyer and others. Some of these would even get shortened down into a feature length release.
World Masterpiece Theater is also notable for being a early work for future Studio Ghibli founders Isao Takahata and Hayao Miyazaki. And this is one such work with Takahata directing, Miyazaki doing layouts and another Ghibli alumni, Yoshifumi Kondo, proving character designs.

I must admit that watching this movie was a challenge on multiple fronts. Firstly I have no familiarity with the source material so this was going through new ground. Secondly, this is a a one hundred minute movie made up of the first six episodes of a 50 episode strong (!) series, thereby making it a glimpse into something greater. And thirdly, I have found a lot of anime made in the late seventies tend to age quite drastically.
But to view this movie as an early Ghibli work is a fascinating one. Already some of the Ghibli trademarks are in place: Detailed artwork, gorgeous scenery, animation with realistic movement, moments of whimsy, and a female protagonist who is both spunky and charming. And Takahata once again proves to be the master of the quiet moment.
It may not be on par with the future triumphs that Ghibli would bring but from the looks of it., it was already on it's way.

Ponyo

And this week's Friday night movie has been... Ponyo!

Original image located here. Accessed 7th August 2020

Once again, we take a trip to the anime and once again it's Studio Ghibli film.
I must confess: I have always had a degree of caution with Hayao Miyazaki - or to be more precise, everything that has followed since his first final movie Princess Mononoke. Sure I love Miyazaki's work as much as the next person, but for all his movies made after Princess Mononoke and all his announcements of retiring that never seem to last long, there is a sense of how long he can keep going. Are Miyazaki's advancing years catching up to him? Can anyone keep a winning streak of movies up for so long? He's gotta produce a dud movie at some point (thereby proving he is indeed human like the rest of us), right?

Well it won't be this time around. Okay, so yes this may be aimed at a younger audience, yes there are some issues around the plot, yes there are some abrupt developments narrative-wise but I am willing to forgive all of this for the truly wonderful animation. As expected in a Ghibli there are some astonishing high level of animation with some staggering attention to detail.
Is it a dud? No. Is it one of Miyazaki's lesser works? Yes. Is it ultimately a blotch on an otherwise illustrious track-record? of course not.

The Wind Rises

And this week's Friday night movie has been... The Wind Rises!

Original image located here. Accessed 17th July 2020

We're heading back down to the anime well this time. And in a way encountering this movie was inevitable. It's a Studio Ghibli, directed by Hayao Miyazaki and it's a..... biographical picture? Well this is a new trick.

I've watched a lot of anime over the years and, as such, I've found that it's a medium where biopics are rarely touched upon (or least the one's I've found). So to have the legendary Studio Ghibli tackle one is cause to raise an eyebrow. And in this case, we have a movie on Jiro Horikoshi and his life as an aircraft designer

Of course, this being a Miyazaki movie there are elements we've come to expect: Flying sequences and a high quality of both animation & story-telling. All are present but there are new some tricks at play: Firstly is it's nature as a biographical film. Secondly, Miyazaki's imagination/whimsy takes a backseat to a more realistic approach. Sure there are some flights of fancy but here they are shown to be few and far between. And thirdly, Miyazaki's trope of female characters isn't in play here. Granted this is down to it being a biographic movie but I can't think of any other of his movies where a male character has such a dominating presence.
Seems you can indeed teach an old dog new tricks.

Ultimately, Miyazaki's touch is as sure as ever. The Wind Rises is quiet, thoughtful and beautiful.
Much has been said how this was the last movie that Miyazaki will be working on. So is it the curtain call that Tale of Princess Kaguya was? Maybe. I never got the impression that Miyazaki is saying good bye - There is some discussion on seeing dreams come to fruition but the most explicit sense of saying goodbye is the conversation at the end.
Wait, Miyazaki is working on yet another final movie? Oh well, never mind then...

When Marnie Was There

And this week's Friday night movie has been... When Marnie Was There!

Original image located here. Accessed 17th April 2020

Being the Studio Ghibli fan that i am, it is fair to say that I would inevitability come to this movie - largely through the influence of the gf also being a Ghibli fan. Personally, I think any Ghibli movie that doesn't have the involvement of Miyazaki has an uphill battle to find a wide audience. But I am willing to give such a movie a chance.

Perhaps the choice of the words 'uphill battle' is a fitting one because this is indeed a challenging work.
On one hand, the art is up to the Ghibli standard (very high), the middle section is interesting, the building of suspense surrounding the mansion is engaging, and if this is Ghibli's attempt at a ghost/haunted house mystery story then it's remarkably effective.
But on the other hand, Anna is a hard character to like. Sure the pain of being the outsider can be relatable but lashing out people who try to help is not an endearing quality. Other characters seem either inconsistent (ie Marnie) or just.... there (ie Hisako). And the twist ending, as well as the exposition dump about Marnie, could have been handled better.

Was I expecting too much from Ghibli? How could I not given their staggering legacy?
So in the end I know some people love this movie but to me, it is hard to do so.

Isao Takahata and His Tale of the Princess Kaguya

And this week's Friday night movie has been.....Isao Takahata and His Tale of the Princess Kaguya!

Original image located here. Accessed 7th December 2018

Well I saw The Tale of the Princess Kaguya last week (as well as The Kingdom of Dreams and Madness earlier this year) so seeing this was inevitable.
As mentioned last week, I'd always felt that Takahata tends to get overlooked by Ghibli fans so seeing this documentary, focusing on the man himself is welcome indeed. Much like the aforementioned The Kingdom of Dreams and Madness, we see the trials and tribulations going into making a movie at Ghibli and the approach the director takes - but in this case the approach is completely different from Miyazaki.

Thus we see Takahata pushing the envelope as to what animation could accomplish (largely to compensate for his inability to draw), a real trial and error approach to completing a task and facing down a monumental workload. And despite the frustrations caused, Takahata remains funny, passionate and a contrast from the Grumpy Old Man that Miyazaki has become known for in recent years.
I think some of the best moments in the movie come from seeing both Takahata and Miyazaki together and watching these two personalities bounce off each other. It looks natural and a delight to see two long-lasting friends and creative talents together and the bond they clearly have.
A bond that has sadly since been broken

The Tale of the Princess Kaguya

And this week's Friday night movie has been.....Kaguya-hime no Monogatari (The Tale of the Princess Kaguya)!

Original image located here. Accessed 30th November 2018

I've always had a soft spot for Isao Takahata. Whilst Hayao Miyazaki has become synonymous with Studio Ghibli, it unfortunately results in the other movies and filmmakers in that collective being given the shaft. Which is shame because a lot of said movies, are superb works, worthy of standing both on their own two feet and emerging out of the shadow of what Miyazaki's imagination can cook up. I mean Takahata is the co-founder of Ghibli so that must count for something right?
In any case, Takahata left this earthly plane earlier this year so now is a good time as any to visit his final movie.

Let me say this up front: It's going to be impossible to divorce this movie from the creator. It's going to be impossible to vie this movie as the accumulation of what Takahata's been doing over his career. It's going to be impossible to see this movie as a meditation from someone who felt his time was approaching.
So what is this movie then? It is perhaps the most beautiful movies I have ever seen, animated or otherwise, and easily capable of standing tall as one of Ghibli's strongest works (which is indeed saying something).
And I will even admit a particular poignancy to seeing the final credit of 'Directed by Isao Takahata' fading in before fading to black.

Panda go Panda

And this week's Friday night movie has been.....Panda go Panda!

Original image located here. Accessed 14th September 2018

This feature is a pair of anime half-hour shorts. Its not well known outside some circles but it is notable for being an early collaboration between Hayao Miyazaki and Isao Takahata before they founded the legendary Studio Ghibli. With these shorts, Takahata directs and Miyazaki provides the script, design, layouts and animation.

So what we have here is clearly Studio Ghibli in it's Mesozoic era. The artwork is indeed a far cry from what would come in the future (this was made in the early seventies) but all the familiar trademarks are already in place: An eye for detail, expressive animation, humor, charm for both adults and children alike, an interesting heroine and, in Papa Panda, a progenitor of Totoro.
It may not be on par with Ghibli's finest but that doesn't mean it's without it's charms.

The Kingdom of Dreams and Madness

And this week's Friday night movie has been.....The Kingdom of Dreams and Madness!

Original image located here. Accessed 24th August 2018

Yes, it's the documentary on Studio Ghibli, documenting the process behind the development of both The Wind Rise and The Tale of Princess Kaguya. Granted I'm cheating somewhat as I have (at time of writing) yet to see both movies but with Isao Takahata passing away earlier this year and more recent revelations been made about him being difficult to work with, now would be good time to watch it.

What i found interesting is that on the DVD cover (see above), there's Hayao Miyazaki, Toshio Suzuki and Takahata - yet in the movie itself, Takahata gets little screen time. In a way it;s not surprising knowing what we all know now (and the fact that he got a separate documentary all to himself with his work on Kaguya). Which ultimately means that the documentary's focus then falls on Miyazaki and Suzuki.
While we do see Miyazaki at work and see what is involved whenever he makes a movie, the real surprise is what Suzuki has to go through with facing the press, having to make uncomfortable announcements and dealing with clashes with staff.
I was expecting this movie to the complete picture of Studio Ghibli but what I got was a reinforcement of the notion that making any movie is near-miracle in itself. And quite frankly, this documentary is all the better for it.

Only Yesterday

And this week's Friday night movie has been.....Only Yesterday!

Original image located here. Accessed 17th February 2017

Hayao Miyazaki may have become synonymous with Studio Ghibli but that does present a problem: Ghibli's other works (you know, the one's not directed by Miayzaki and/or not feature fantastical whimsy) may find themselves getting the shaft. Which is a shame because some of them are pretty good in their own right.

Which brings us to Only Yesterday. Once again, this is an anime movie that shows that Ghibli can do 'Slice of Life' anime really well. The art direction is astonishing and could well be the most beautiful of Ghibli's works - which is certainly saying something.
But I have to admit this movie does come with a degree of resonance for me: It is a reflection on a life lived and how one's choices can shape one's self - and how they can never hold anyone back. It's something for me to consider as I limp through my mid-thirties, and posting reflective Notes in this corner of cyberspace. Thus, if a movie has had such a profound effect then it must've done something right
Oh and special mention must go to the end-credits sequence - truly a thing of beauty.