Review:

-The incomporable and heroic "Miyazaki" is certainly a legendary film maker in his own right. Borrowing the surprise of myth, the elaboration of pseudo-religious almost inane epilogue and the joyous usage of simple brushstrokes; his life of work on film has produced something of a myth in itself, inherant praise and a seemingly need to facilitate his greater work of being throughout the commercial masses.

In proceeding to write this review, I presently recall (rather proceed to reference) the seemingly endless commercial and critical success of the highly anticipated and much praised "Spirited Away"; known to Japanese audiences as "Sen to Chihiro no Kamikakushi" (Which upon writing this review "this reviewer" has NOT seen). Which has without a doubt become the veteran film maker's most critically acclaimed and commercial success outside its inherant country (Where it has out-grossed the irreparable success of 1997's "Titanic"); a covenant which perhaps should have bestowed itself upon Miyazaki's most ambitious film to date, "Princess Mononoke"; which in fact however did not do so well both ways (for reasons which never cease to amaze even myself--who boasts as the old-timer's biggest fan).

And what an old-timer he is (a term used in the highest respect of a visionary artist), and what better word than "visionary" to describe this man. His pallete ranges heavily, from the beautiful to the absurd; to the whimsical and frightening. To the thought-provoking and timeless. Again and back. Miyazaki's films have retained something which is indeed not inherant to commercial cinema, but indeed, thriving recollections of a dream. His films speak wonders to the eyes and ears, more than they do to the mind or even the word of mouth. However, this is not to say that either one takes the back seat ride.

If nothing else (which is highly unlikely), his films are often artistically inescapable and theological dreamrides, customary only to the man himself who conveys his works with a sense of inherant grace. An immortal quality of being derived from childhood and living in our imaginations. Miyazaki the man's films often following straight-woven narratives of spirit, told from young girls' point of views such as the likes of "Kiki's Delivery Service" and fame of the timeless art that is "My Neighbor Totoro"; the subject of today's adulation.

For if anything from his impressive palette speaks wonders for the man, it is most certainly this 1988 masterwork involving peculiar "forest spirits" and a quirky but heavily curious pair of young siblings; who embark on an emotional journey so complex yet inherantly simple, that we are often unprepared and astonished at what we see on screen.

In what is perhaps even more praised and beloved than his latest film "Spirited Away", (a film which once again recalls Miyazaki's testament to young heroine narratives, which during "Princess Mononoke's" time; took a temporary back seat ride) Miyazaki paints beautifully a lucious and romantic world (once again) full of mystical creatures and impregnated deities. These ones being often giant fuzzy things resembling that of a permutation of racoons and owls. Perhaps an unfitting description to something of such grace and subtlety. The likes of which only Miyazaki himself could bring to life.

The characters in Miyazaki's films are never "real" to us as a viewing audience, and they probably never will be; since we as human wights are so wrought into our basic subconscience that such perceptions of the inane and brilliant fare of the child world of animation, seems to inhibit us from accepting it as anything else (a quality which sadly progresses with old age). This is something which of course makes Miyazaki an even more dignified cultural treasure, whom even artists of Disney fame distend their most humble praise.

If a pure child had God's wisdom for painting, then I would think it would look something like a Miyazaki film. As if recalling precious moments from childhood and bringing them to life via a palette of plastic sheets rendered now digitally to fixated media applications (a process which is not long-lasting in cimena but which will likely not change), Miyazaki is something of a painter for the imagination.

The images in his films resemble glorious watercolor paintings, perhaps more than they do inklings of animé fandom. His work had foremost transcended the bounds of what fans have come to know and love as: "animé-style". Thus creating his own unique techniques and cinematic look. Miyazaki is fearless in the way his distends artistry to conceptualization in the art itself (if this makes no sense to you whatsoever, just see his films).

His 1988 masterpiece and legendary film "My Neighbor Totoro" is perhaps as humble and understated as it is divine and transcending. And is also what I believe to be his greatest achievement to date (possibly the greatest ever in film--NOTE: This does not necessarily mean it is my favorite Miyazaki film; that's an honor humbly bestowed on "Kiki's Delivery Service").

The film is the clever coming-of-age story of two young girls: "Satsuki" and "May Kusakabi" (beloved characters for the anime ages and beyond). Together, they journey with their father to a comely little house on the hills, resting in a prefecture of Japan which states itself to little grace inside our own world. The vistas presented are foremost that of the imagination, not of its historical context (something which the man doesn't deny himself of in his movies, but nonetheless, utilizes as a scapegoat rather than a segue reference).

To comprehend Miyazaki's vision is to enter a realm enlightened by the spirit of a young child, as well as all the accounterments of psyche which accompany the "adults" in all of us. "My Neighbor Totoro" speaks poetry and volumes, and also none of the same. The film presents itself as a joy ride of sorts between two slight-beyond infant wights. Satsuki is about 8 or 10 years old and her younger sister in the story is about 4 or 5 years of age; but Miyazaki displays no prejudice to his artistic renderings of fixation of emotion; which is perhaps why the movie remains relatively timeless in every respect.

The movie is simply about the wonder of exploration, its inherant scariness and wonder. Together, Satsuki and May encounter the lovable forest spirits known as the "Totoros"; whom are explicitly presented as deities but instead carry a charm unbeknownst to anything reasonable or logical outside the bounds of context. They are quite simply, single facets of the man's imagination.

There are a plethora of themes resonating in the film. It may be an impressive display of visual talent, but the film is also a roller-coaster (if not a slow-paced one) of ideas and morals, which carry a weight of themselves to humble extents beneath the breadth weight of it all. There is of course a definite theme of courage and friendship, loyalty and love (eminent in all his movies, but which carry a kind of dignified grace here). It's as if several humble and delightful elements of fable fancy all gathered themselves into one light of a film, bursting with lovable pureness and simply inane fun. Here is a film which shows no bounds to its plethora of onlookers, children and grown-ups alike, who cannot easily forget what it simply means to behold and wonder; Miyazaki brilliantly reminds us all with simple brushstrokes and slow-paced, ethological storytelling of an induced greeting-card like apprearence.

The narrative of the movie is a simple one. Satsuki and May carry off into their tiny misadventures within the confines of their own new home and neighborhood (Hence the show's title). This neighborhood however is one which you might not come to expect outside the bounds of American movie fame. My Neighbor Totoro, like most anime titles, does not easily forget its Japanese roots; and also like most anime, it's a quality that is seeped in Japanese differentia. Evident everywhere from architecture to beautiful and simple landscapes (such as the elaboratly drawn rice paddy fields which May and Satsuki marvel at in child-like wonder).

The film's story is a cascade of short and simple events which merit themselves wonderfully in the story, one which eventually leads Satsuki and May to the Totoro's themselves. Quietly and majestically sound, they aid May and Satsuki in a series of conflicts and issues (which are only conflicts in the "movie" sense of things--but which present themselves as simply real life situations).

In one emotional instant, the two girls' mother whom they periodically visit at the local hospital is thought to have some medical complications. This not surprisingly plays out through the climax of the film, in which young May and Satsuki proceed to help their mother with the aid of the Totoros. The movie is foremost not a kid-caper or child moral issue adventure. It proceeds to enlighten us with a series of random scenes which play like beautiful vignettes such as the one's involving a lapse in story time; such are the timeless bus-stop scene in which the largest Totoro displays his love for playing a jumping game inducing an array of rain-drops.

Miyazaki handles the craft to fantastic emotional resonance, which often imposes elapsed silence and backdrops in order to convey both a sense of realism and surrealism. Such images are sublime and profound in tone, such is the scene when young May first encounters the gigantic Totoro (Which seemingly cannot be seen by the adults in the story). Young May is neither afraid nor astonished by the great creature, but there is indeed some other quality which thrives in Miyazaki's conveyance of such scenes from a directorial standpoint. It's something which goes deeper into the heart and soul. Peering down upon the audience as do the Totoros to young May and Satsuki; like mystical guardians or even facets of the young girls. Such mastery in film making and timing is quite simply: unsurpassed (the scenes involving the "cat bus" are quite simply unforgettable).

My Neighbor Totoro has been praised in past years as one of the greatest family films of all time, and there's good reason for it. The movie in all it's shapes and guises never forgets it's most basic and inherant quality. As foremost a family movie which shows no age bounds to it's audience, and also one that cleverly, magically employs a sense of basic fundamental realism and feel. This is never more evident than in key scenes involving detail, the most simple of images like a water stream or simply the facial expressions of characters. A technique which the master animator has immortalized, more and more with the progessing years.

After the critical success of his films into the early 90s, and the overwhelming success of "Princess Mononoke" back in 1997 through 99'; such a project was said by the man himself to be his final film journey; which was quite a worthy testament indeed, which instead housed a welcome into the realm of his next big project: 2002's "Spirited Away"; which has racked up multiple awards outside those of the lifetime achievment benefits of the man himself, and on that note, deserving of a great deal more.

However, the ultimate mystery remains, as to why in fact his movies are so great to begin with? And while it is highly unlikely that they may not be great to most people (something which history has thankfully proven quite wrong), they are always and most certainly basically entertaining; in it's most purest form of imagination. I have seen films like "My Neighbor Totoro" countless, countless times. Again and again. And perhaps of all the basic fundamentalism and implied psychological colloquy I can muster; one thing remains quite clear to me. His movies simply cannot be described any other way, other than the fact that they must be seen to be believed.

Lastly, I'm not afraid to say that "My Neighbor Totoro" is the single most moving animated film I have ever witnessed. And while animation fans bear in mind that I do not easily throw aside the man's colleague's own "Grave of the Fireflies"; filling the same release year as this film; it's an entirely different kind of emotional experience. One which foremost easily merits one's own childhood, and transports us to places unbeknownst even to ourselves. Few film makers throughout history have achieved this great task as Miyazaki has many times over. And on that simple note, even far less animators.

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