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...

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...

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.