Review:

There's an almost cryptic existence, thriving within the 'nooks' & methodical depths of "Princess Mononoke". One being not simply a beautiful film, but indeed an extraordinary one; composed of a rousing palette of vision & profound artistry.

This alone never being more evident than in a key scene involving the forest princess "San", tending to a bullet wounded "Ashitaka". Also, there's the breathtaking opening battle sequence involving the young warrior & an enormous 'boar god':

Hemorrhaged and incensed is the giant beast, charging away in a quiet village's meadow (The likes of which you wouldn't find anywhere by the way)... Left only to defend his home & village is young Ashitaka, a swift and agile warrior among the last remnants of his people the "Emishi Clan" (Sought after for many years as we soon learn).

I'm certain there are many of those out there who have seen the film before, who might pay it no mind to appreciate such early observations about the film. It remains not only as a painstaking display of talent, but also as a freedom to express a plethora of notions onto film effortlessly. Not always intellectual ones, but indeed artistic ones. It's easier to think of it, in the light of notion that Miyazaki's works speak for themselves once you've see them.

Such is proof that "live-action" films cannot achieve the same distinctive clatter found in some art-house theatres, or even anime laden households for that matter if there even is such a thing. Most fans who watch Princess Mononoke however are doing so for one reason, and one reason only; in order to witness the wonderful imagination at hand. An enjoyable feast for the eyes and the ears.

There is not a better film director than "Hayao Miyazaki". Always impeccable, is his ability to render vague notions & empty dialouge void; with vibrant color, & the rendered beauty of subtlety and dynamic simplicity (A gift which is evident in such films as "My Neighbor Totoro").

As a film maker, he carries an unusual & uncanny ability to enthrall audiences again & again. Miyazaki manages to excite the senses, complete with action so pure and simple, that the ability to entertain and delight need only be expressed; never forced hastily.

Rather than resort to commonplace exploits such as violence, Miyazaki has shown audiences over the years that animation can still be contented in mood; fast & zealous in expression, without having to be simply overstimulating or even uninteresting (Wonderful movies like "Kiki's Delivery Service" come to mind). And moreover, proof that great films can be wondrous for all ages.

So what makes his movies so great do you ask? Well, for the average moviegoer the answer is really quite simple, & it's even easier to answer for an animé fan. His films simply make you happy, they are foremost ideal entertainment vehicles in themselves. From the 'get-go' onward, every single one of his works shares the common pattern of artistic perfection. Always noticeable through the mannerisms of the characters & the subtle beauty of dialogue.

Miyazaki's 1997 Japanese blockbuster, "Princess Mononoke" is a technically sound departure from many of the veteran animator's earlier more dignified works. While being a bit more mature & subtle in tone from endeavors like "Kiki's Delivery Service" or "My Neighbor Totoro", the film is foremost a display of sheer professionalism.

In a nut shell, the story is about man's relationship with nature, as well as it's own threat to wipe it out. But to simply describe the story of Princess Mononoke is to enter a magical world full of mythical deities, Japanese mythological differentias (Found most everywhere here & in many of his past movies.) and idle "forest spirits". The numerous 'humans' of the film exist vaguely on the opposing side, which accompanies a narrative of forest gods vs. forest pain-inflicting humans.

Lying on this side of Miyazaki's equation is the "Tatara Ba" ("Tatara Clan"), an iron-wielding civilization bent on clearing the forest & making room for human colonization in the form of various factions and iron-works (NOTE: To describe the opposing elements of this movie is to enter a realm of contradiction. It should also be noted that nothing in this film remains one-sided in the least).

On the other, we have "San"; the wolf girl deemed: "Princess Mononoke" by her 'human' adversaries, as well as the wolf & boar gods. However, it seems that the boars would discover it in their best interests not to associate themselves with the wolf clans of the film; nor do the wolfs deem themselves allies of the boars or humans in any distinct respects.

This is further proof that everything in the movie is intermingled, and at the same time do not intersect one another (It is easier to think of the narrative of the film as an: "Every man for himself" sort of philosophical battle. Again, it simply helps to have Miyazaki's movies speak for themselves).

However, despite all the mettles and habitudes of the forest gods and human characters, the majority of the film involves the drudgery of the brave "Ashitaka"; in his attempts to establish peace to the forest gods and humans. (Ashitaka's efforts may in fact be ill-defined, in both reasoning & in the humain 'human' sense or even 'god'-sense of things; but it just appears as so. It helps to watch Miyazaki's clever fixations play themselves out into more complicated, meaningful context. The result is both simple & beautiful).

It is under this fundamental quality alone, that "Miyazaki" proceeds to drive each and every one of his unforgettable characters, to an intended peek of both disappointment & triumph. It may come off as no surprise that the protagonists in most of his past films have been that of female characters. Miyazaki takes a daring and dramatic turn here with the gallant warrior Ashitaka. Who first comes off as a plot device, but to much avail transforms into a well-rounded 3-dimentional character.

Such factors are of no surprise to any Miyazaki fan. For if there is indeed, such a clientele or basic pattern of quality which follows the man, it is foremost his abundant influence on the animation world. Which spans anywhere from his long time partner & colleague "Isao Takahata", to the antiquated bounds of the "Disney" realm. Miyazaki himself has often been referred to as: "The Walt Disney of Japan".

Judging from his career at an artistic & business standpoint, such mere definitions or labels seem inaccurate alone. Miyazaki himself seems to not only transcend the qualities which are born with innovation, but he also carries such distinctive labels, which would serve themselves much in the similar company of "Osamu Tezuka" (An influential animé figure, who often serves as an inference in manga quality datums. To reference Miyazaki even as a label in this regard is perhaps ill-defined in itself, and should not be taken to note. Miyazaki is not only a successful businessman, but a successful visionary).

Nowhere does this display itself more successfully, than in the simple yet profound style of his animation; which utilizes character designs as a palette for expression. Anything from the basic subtle touches of the character designs, to the often exaggerated countenances of womens' demeanors & independence found in his stories (Commonplace in films like: "Nausicaa", "Kiki", "Castle In The Sky", "Porco Rosso" & "Mononoke").

Miyazaki's own signature style, is foremost different & unique from anything discovered in a "Disney" animated film; or even any other mediums. This is because throughout his illustrious career, "Miyazaki" has done more than simply establish himself & his movies to the point of near wide-"essentialism". He has made his works not only factors & company of the animation world, but indeed an important portion of the industry as a whole.

It's the kind of thing which identifies itself with such big-time veteran honchos of "Hollywood" like "Spielberg". Pioneers in themselves, much like "Miyazaki" who have established an audience which is capable of further imploring them. As an animation & foremost anime fan I can only hope that they continue to do so, and that his films gather even more admirers. Hopefully, more so in the forms of young children, which whom Miyazaki himself has intended for his craft.

In the end, it seems to me that no other Japanese animation film maker has succeeded in achieving this so faultlessly. I as a fan can only hope that the master artist continues to spread his wonderful mold of enthusiam and hard work; as the years progess further. For if & when they do, Miyazaki's palette can only get better and better.

These are the essential things which make his films not only little wonders in themselves, but simply pure magic. If there is proof that age hasn't displayed any sign of this man's talent slowing down, his most ambitious work to date, "Princess Mononoke" is a dignified & solemn example.

~This Has Been Yet Another One Of "T.A.O.'s" New Reviews Of Classic Anime Titles.~