T.A.O's: The Classics:

Review:

-When I am given the opportunity to view films of a grand scale, I am often reminded of my most pleasant memories of early childhood. Although personally, I'm not sure why that happens.

Perhaps it has to do with something like how an infant crawls about the vast ground. Which would otherwise seem retrospectively miniscule to an adult; nonetheless, a grand sight to an infant. It remains to be one of an indescribable exploration full of beauty & wonder. Sometimes it may even take until the child grows up before he can attempt to explain such experiences.

The same could be said about Hayao Miyazaki, in one of his best movies: "Laputa: Castle In The Sky", Miyazaki displays a bit of that same kind of wonder & much more. In a story revolving around the spirit of a young boy's adventure, & the wonder of a young girl trying to discover herself.

Being that also, the visual capacity & immense beauty of the film is so grand in my opinion, that I believe the movie should not only receive overflowing technical recognition (Which it already has considerably), but it should probably be classified as one of the "eight wonders of the world" or something (Or was it nine or seven even?--I can't remember anymore). The conceptualization of such works is beyond my very comprehension at times. Which makes them all the more grand to behold.

Miyazaki's vision is a stunning and marvelous one, and also (Not surprisingly) one emanating from his own imagination influences. Playing like the classical 'storybook' remnants of eighteenth & nineteenth century technological dreamscapes & inventions; such as that of Leonardo Divinchi-esque 'flying machines', something which Miyazaki shows off his full admiration & love for in this film.

Capitalizing on the huge commercial success of "Nausicaa: Valley of The Winds" back in 1984, Castle In The Sky was established as Miyazaki & his colleague "Isao Takahata's" first truly commercial Ghibli film to feature the veteran director's signature animation style; which was just breaking ground after "The Castle Of Cagliostro" back in 1980.

The film is foremost the wonderfully crafted coming-of-age story of "Pazu" (Aka: "Patzu" in Disney's new commercial English dub of the movie--which was supposedly to be released on home video back in 1999), an adventurous, idealistic young miner boy who is mechanically skilled and has a big heart (And an even bigger head--Not literally that is.) is the key drive of the film, which also revolves heavily around the mysterious "Sheeta"; a young girl with no past. In the film's very first shots, we see that Sheeta has been whisked away inside a gigantic airship; accompanied by criminals who care only for her mysterious powers.

After the wonderful opening movie credits (Which are played out in the old style of early 19th Century European graphic prints, resembling that of a stylish Japanese 'graphic novel'), Sheeta falls down from high above the sky, utilizing only the power of her luminous pendant to stay floating in mid-air; though Sheeta herself is unconscious. Later, Pazu then notices Sheeta & is there to catch her; a humorous moment follows shortly after as Sheeta's now lifeless pendant shows Pazu, gravity's full effect on the animation world. Next, a mining problem occurs with the machinery near Pazu, as we follow his every move as he aims to fix it.

And thus begins the intro to Miyazaki's film, and it's pacing magic remains forthwith throughout; having little hesitation to get to the climax, which is every bit worth it to stay the course of two-hours. Which doesn't seem like an eternity to us, but rather like a wondrous child's game; which lasts forever but seems to only stay alive for an instant.

And that instant is quite enough for Miyazaki to show us that he is not only a brilliant director, but indeed, a brilliant film maker; with immense imagiantion and unsurpassed talent. Luckily for the audience, Miyazaki doesn't take the issues & messages raised in his movies too seriously. They are foremost at the expense of the many worlds he creates on film, which are left for the imagination to behold, never the intellect.

However, this is not to say that his movies are by any stretch of imagination, not intellectual. In fact, the sheer intellectual wonder of Miyazaki's ideas, which emanates from the great imagination in the movies themselves, are what make his films so fun to begin with. They foremost remain a feast for the mind & the eyes.

Never does that quality display itself greater, than in his most grandly animated film. Which borrows it's text connotation from the reference to Miyazaki's beautiful floating island; reminiscent of the vision from the 3rd section of a Jonathan Swift novel, "Gulliver's Travels" & not the lewd Spannish language denotatum: 'laputa', which describes a woman of promiscuous sexual procurability. More offensively put: a 'bitch'. The title itself plays little importance once you get into the movie and has been corrected in the newer release versions.

One of the most admirable qualities of Miyazaki's movie, is that he respects the fundamental and pertinent reality of his central hero figures. Sheeta & Pazu being main characters of Castle In The Sky, never come off as being that of a pair of misfit wights of an almost steriotypical nature pertaining to plucky Hollywood 'kid-capers'. Miyazaki's movies foremost respect the wonder of exploration, & how such feelings of love and conquest grow with childhood and into adolesence.

An impeccable sense of vulnerability & respect for his young heros and heroines, also keep his movies enjoyable for both children as well as the most narrow-minded, cynical adult minds. However, that is not to say that you don't have to be cynical to not appreciate his movies. One of Miyazaki's greatest strengths is that he foremost always recognizes the first key element in any good forms of film making: escapism.

One of Sheeta & Pazu's greatest strengths, is not that they seek divergent retribution toward one another (Or themselves for that matter); but indeed, that they co-exist in clear basic supervenient ideals. In short, the roles of Miyazaki's characters, whether good, evil or neutral, exist for clear purposes outside the distinction of plot-devices. Which is the sole reason why his films come off as being so simple, & yet profound and intellectual in their execution. There is simply no other way to describe them if you haven't seen his movies. They are also in essence, pure visual delight.

Castle In The Sky is also one of the only Hayao Miyazaki movies that can be said to contain a truly uniformed central villain character. One of the direct decendants of the great Laputa empire, "Mushka" is also an evil government agent who seeks the power of Laputa for his own purposes. And not a single trace of positive emotion towards the all-inclusively important Sheeta lies in this character's heart. The technique works wonders in the narrative, as Pazu must rise to the challenge in order to stem the evil villain's demands. Miyazaki plays out the screenplay as not a redundant plight of revenge or redemption, but one of spirituality and inner-emotion.

In one key scene (About half-way through the film), a disappointed and physically exhausted Pazu is compensated for the military factions' and Mushka's lengthy pursuit of Sheeta's pendant; which they need to activate the castle in the sky's unimaginable powers. The scene when Pazu angrily throws down the gold-coins onto a road path, but then apprehensively but quickly picks them up is almost heartbreaking, but nonetheless is played as a plot-seguey. The direction in such scenes is unsurpassed.

The majority of the film is like one lengthy chase sequence in order for the characters to reach their destination, which they are not always aware of. Particularly, there are a few standout sequences; mostly involving that of the "Dola gang". A band of misfit but big-hearted pirates who fly in airships, providing most of the comic relief of the movie head by a self-magnanimous, pensioner; who has the spirit of a sly fox and the body of someone fifthteen years younger than her. They call her "Ma Dola", and she is the mother of the Dola boys. Whom in one very humorous scene, romantically attempt to come onto Sheeta (In an innocent & polite manner) after Ma Dola takes Pazu & Sheeta under her wing in order to find the castle before Mushka and his men can grasp it.

Miyazaki foremost understands the spirit of a great adventure flick. He is clearly a master of animating action sequences, as he displayed in The Castle Of Cagliostro; his ability to render a series of environments seemlessly in sequence as to appear to be progressing forward. The movie's camera's eye gazes effortlessly into each situation as if a chapter in a colorful children's storybook.

Utilizing many prolate zooms and steady, equilibrated panning shots; he masterfully creates the illusion of the first-person view; observed through a mere breadth-length. The result is something very easy to look at, especially considering the huge level of vistas appearing in the film throughout (Which are immensely rich in color & detailed). The audience is never lost. But then again, has anyone ever been with this man's movies? I for one, certainly have not.

Sheeta and Pazu also evoke a humble but glorious adolecent romance, which exists not mostly for amusement but for sheer unconstrained affection & admiration. Miyazaki gives the two characters a divine purpose, which they are not ready to accept, but readily await; as their friendship is tested at the hindmost of their journey, which ends with the destruction of the castle's abstract technological remnants of lost time.

The sight of the castle itself, when the audience is finally able to see it, is not so much a castle in the literal sense but a both complex and gorgeously simple (Not to mention huge) structure of gigantic trees and antediluvian architecture. It is foremost a wonder to behold & should not be missed. The level of detail Miyazaki places into objects like the comely ancient robots and the tiny creatures is apsolutely sublime. So beautiful and detailed in fact, that it almost brings me to tears when I see it. It's the kind of admiration that makes you think things like: "Wow, that's so awesome!". To say that about this film is an understatement.

"Joe Hisaishi's" brilliant musical score for Castle In The Sky also deserves as much praise as Miyazaki's vision, as well as enough acknowledgment as it emanates the thought of being emotionally moved. Like a pro, Hisaishi works the emotional twists & turns of the movie perfectly. Action sequences are perfectly accompanied by great compositions, as his main theme for Laputa is nothing short of mesmerising. It's also incredibly moving, and some of the best music written for a film I've ever heard.

Miyazaki displays a side of himself in this film which remains unique from any of his other projects. His great love for flying machines, emanating from influences of early science and literature; among other things the desire to create an epic sense of wonder (Which remains very 'real' in the divine sense). Likewise, I feel Castle In The Sky is like a combination of Miyazaki's many works. His timely visions of technology and nature, echo through the confines of our thoughts & are allowed to seep out through his characters. Which take audiences on unique emotional rides, impossibly attainable in the live-action realm.

Miyazaki the man is also quite brave for allowing us to see that side of him, which he displays through cryptic emotion. His other works may have allowed us to open the door, and creep inside his mind & his heart. In "Castle Of The Sky", Miyazaki allows us to look into his soul; if only for a brief moment. It's only around two hours, but it's an experience that's enough to last an entire lifetime. The best part of it all is that it's his life we're gazing at.

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