Spirited Away
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Movie Reviews of Spirited Away
Movie Review: Overrated, yet undeniably amazing artistic achievement from Miyazaki.
Summary: 5 Stars
This overwhelmingly gorgeous animated feature from Hayao Miyazaki begins when an unhappy young girl, Chihiro, is moving with her parents to a new town. Along the way, the family is drawn to a mysterious tunnel which leads to an exotic new world. Spotting delicious-looking food on the table of an old restaurant, Chihiro's parents gobble it down gluttonously--and are transformed into squealing pigs. A distraught Chihiro discovers that this new world is actually a haven for spirits and creatures and panics. Then an enigmatic youth, Haku, informs her that she must take a job at the central bath house in order to break the curse on her parents. But the bath house's greedy enchantress, the cackling witch Yubaba, isn't going to make things easy for her. Fortunately, with the help of a spider-like boiler man, Kamaji, and a tough, yet secretly softhearted maiden named Lin, Chihiro might find the key to save her parents from becoming bacon.
What is truly unique about SPIRITED AWAY is its acquisition of the Academy Award for Best Animated Feature Film in 2002. It was a triumph that no one could have anticipated. Hayao Miyazaki's films have been well-known for many years in Japan and by a small underground band of fans, but up until that time, not one animated feature made in Japan has achieved such an honorary award. It's a wonder, too, because the film, despite receiving enthusiastic reviews from almost every critic across the board, was only playing in select theaters. Yet acclaim was so strong that its success took everyone (including Disney, who nonetheless translated and released SPIRITED AWAY theatrically) by surprise. Consequently, America is now receiving more exposure to Miyazaki's works through brand-new, professional translations from Disney. If it weren't for SPIRITED AWAY's success, these films (owned by Disney for several years) probably never would have seen the light of day in America.
That said, I feel that SPIRITED AWAY gets more ballyhooing and hype than it really deserves. Don't get me wrong, I like the film and it certainly deserves the Oscar it won (not to mention my highest rating), but SPIRITED AWAY is NOT the "mother of all Japanese animation", nor is it the "only Miyazaki movie worth watching." The reason I say this is because Miyazaki has made so many other wonderful movies in his lifetime that I feel it is unfair to single out one of his works as a standard for all animation. Especially when there are other animated features which are every bit as worthy of the "masterpiece" status.
Personal gripes aside, SPIRITED AWAY is worth watching for many reasons. The animated atmosphere that Miyazaki creates literally springs to life with imagination and beauty--watching this movie is almost like watching Japanese art paintings moving. The spirits who inhabit the world are a bizarre, yet appealing bunch--including a shadowy, white-masked specter called No Face, who reacts to how people treat him. In addition to which there are lots of bravura sequences which really showcase how beautiful hand-drawn animation can be--my favorite of which is a surreal train journey across a pond of water.
If Chihiro is sometimes a bit too whiney, then her supporting cast of co-stars provide for some interesting character development. Haku, for example, appears to be calm and kind for the most part, but we soon learn that this is only one facet of his character--yet Chihiro seems to believe, no matter what anyone tells her, that Haku is indeed a good soul. Likewise, Lin acts gruff and somewhat mean to Chihiro when they first meet, but she eventually comes to look after Chihiro like a parent. Interestingly, while Yubaba may be greedy and selfish, she's not a one-dimensional villainess; one senses that she secretly admires Chihiro's determination yet won't admit it to herself. Her twin sister, Zeniba, is the total opposite; she lives a simple, pleasant life in a humble cottage yet is totally content with her way of living--although it is hard to tell that at first because she initially appears vowing vengeance on Haku. Characters as interesting as this has always been a trait of Miyazaki's productions, and arguably what ultimately gives SPIRITED AWAY its heart rather than its jawdroppingly gorgeous visuals... although the film's occasional shades of symbolism are a definite plus as well.
It is also interesting to note that for the English language production of the movie, PIXAR guru John Lasseter oversaw the casting of the voices and the scripting. His efforts, as well as director Kirk Wise and script writers Cindy and Donald Hewitt, are very commendable and pay off handsomely. Of the voices Suzanne Pleshette stands out above the rest with her bang-on performance as Yubaba and Zeniba, and is well supported by Susan Egan (Lin), Jason Marsden (Haku), and David Ogden Stiers (Kamaji).
However, I have two issues with the dub--the first of which is Daveigh Chase's voicing of the lead, Chihiro. While she does an absolutely excellent job with her acting, her sometimes shrill screeching is a bit off-putting. The second of these issues is another personal gripe; some folks act as though this is the only dub of the Disney-Ghibli English tracks that is worth watching and that the rest are inferior. This is unjust; each of the Disney-Ghibli dubs have been special and different in their own way and to single one out over any of them just doesn't make sense. As such, SPIRITED AWAY is not the ultimate Disney-Ghibli dub; it's yet another top-class dub.
Disney's DVD release presents the movie in a stunning transfer as well as the English and Japanese audio tracks in 5.1 Surround Sound. And, for a change, there are more extras; although one of them is tedious (an intro with John Lasseter), the others, (especially the Nippon TV special), are fabulous.
All in all, while sometimes overhyped to an extreme these days, SPIRITED AWAY nonetheless qualifies as yet another Miyazaki treat.
Movie Review: Another Masterpiece from Director Hayao Miyzaki
Summary: 5 Stars
Not enough can be said about the greatest animator to come along in the last 40 years. Writer and director, Hayao Miyazaki, is responsible for animated classics such as "My Neighbor Totoro," and "Kiki's Delivery Service." That's not to also mention perhaps the greatest animated feat since Disney's "Fantasia," "Princess Mononoke." At the 2003 Academy Awards his movie "Spirited Away" received the Oscar for Best Animated Feature Film, with help from well over 100 top-ten lists from some of today's most well known critics.Chihiro is the typical ten-year-old; especially when it comes to moving to a new house and a new way of life. Already frightened and unsure about the future Chihiro is confronted with a new challenge when her father misses the turnoff to their new home and winds up at the entrance of a seemingly abandon theme park.
"It's an abandon theme park . . . they built them everywhere in the early nineties. Then the economy went bad, and they all went bankrupt. This must be one of them . . ."
Dusk approaches as Chihiro's parents decide to investigate. They cross a long field of grass and soon pickup on the scent of food lingering in the air. After several minutes of looking they find several steaming dishes of food at a counter. Chihiro's parents decide to help themselves, even at the requests of Chihiro to leave. Paying no attention to her Chihiro decides to go for a walk and shortly after runs into the mysterious young character, Haku, who hastily insists that she leave before dark. But it is too late. Large, ghostlike shadows begin to appear out of encroaching dusk. Chihiro runs to where her parents are eating only to find two enormous pigs where her parents once sat. Horrified, Chihiro calls out their names to no avail. She tries to run away, only to find the field she had crossed earlier, is now a lake.
It is here that Chihiro encounters an enchanting new world that will test her own abilities, and make light of the ones within her.
I know most folks are thinking this is another one of them "coming of age" stories. And maybe you're right. But you're wrong to grade "Spirited Away" by same criteria as the Hollywood same-old-same-old. Yes, the movie is animated, which probably sends most people's thoughts of the movie straight to the "kiddie realm," and I'd have to say you're wrong again. Hayao Miyazaki is heavily credited for re-inventing the definition of animation. Though his characters are drawn, the essence they encapsulate is so much more than people give credit for. His stories are deep, enthralling, and touching. They strike at the very chord of human imagination, and all its capacities.
After the first five minutes of this movie, I forgot I was watching "cartoon" characters and began to see them as real people; which ironically happens in just about all of Miyazaki's films. Miyazaki redefines the genre of animation by giving thought into every aspect of his work. The backgrounds are rich in detail and deep in soul. Every shot has been specifically placed to tell the story in its amazing entirety. In fact Miyazaki personally checks and re-checks every drawing that will be placed in the final cut. Animation allows the plot to shine and Miyazaki's original concepts to surface in a way that has never been done before. This is a man that takes pride in his work, and it is a fact that is strongly evident in every epic he creates.
Although the movie places a strong emphasis on entertaining the younger crowd, several subtle messages are placed in various points throughout the film. One example would be that of the character No Face who offers those in the bathhouse with gold. We later find that No Face is actuality a monster who eats other spirits. I believe this is representative of opportunities that are too good to be true. If you're not careful they'll take you down with them. Also, Kamaji, the boiler room man, at first tries to dissuade Chihiro from getting a job by proclaiming that there are none left. However, we find that Chihiro's adherent persistence eventually gets her a job. And perhaps the most evident is that of Chihiro signing away her name to the witch Yubaba for a job. Yubaba gives her the name Sen, and as we work our way through the film we find that Chihiro begins to forget her old name until she is helped by Haku. In this way symbolizing the thought that we must never forget who we are, regardless of circumstance.
With this movie Hayao Miyazaki has again teamed up with famous Japanese composer Joe Hisaishi. Hisaishi does a great job at articulating screen to sheet; every note resonates with the essence of the movie. I heartily believe that the movie could not have reached its full potential without the musical direction of Mr. Hisaishi.
This is an excellent DVD set worthy of any cinematic collection that strives for greatness. By far this is the best-marketed and extra-featured DVD that any of Miyazaki's movies have enjoyed in the states.
But perhaps the most enjoyable feature is the Nippon Television Special - The Making of The Film (Spirited Away) on the bonus disc. The television special shows the inner workings of the Studio Ghibli animation company. The Dolby Digital 5.1 Surround Sound gives a more lifelike feel to the film, and the included original Japanese language track is always on the checklist for hardcore anime fans.
The only downside of the DVD set is the "Spirited Away" introduction by John Lasseter at the beginning of the movie. Disney's last hope in taking some credit for Hayao Miyazaki's work. Ah, but I digress the movie speaks for more than itself and is one of the finer things in life that make it so enjoyable.
Miyazaki San, you never cease to amaze . . .
Movie Review: Move Over Disney, Japanese Anime Raises the Bar
Summary: 5 Stars
"You're called Chihiro? That name is too long and hard to pronounce. From now on, you'll be called Sen. You got that? You're Sen." - Yu-Baaba
Soon after the family car carrying an insecure little girl moving to a new town is stopped at the end of a mysterious road in the forest, she and her parents are thrown into a world of magic, danger, and tests, and emerges a strong, assertive young lady. Her name is Chihiro, and she is able to accomplish this successful journey to maturity because she does not lose her own identity to the name-stealing witch, Yu-Baaba. Sen evolves into a true heroine because she never loses the memory of her name, Chihiro, even though she is constantly surrounded by strange characters who have long-forgotten their own names and the importance of being who they were intended to become.
The newest installment in Studio Ghibli's unparalleled collection of animation movies, "Sen to Chihiro no Kamikakushi" (AKA: "Spirited Away", and "Sen or Chihiro in the Land of the Gods") accomplishes everything its predecessors did - seamless animation, an engaging story, and a brilliant soundtrack. Spirited Away is a story about a girl who is stuck in a mythical world of gods, ghosts, and witches - Chihiro must overcome adversity and fear in order to save her parents (who have come pigs) and escape the world that has enslaved her. Director Miyazaki Hayao, head of Studio Ghibli, has managed to craft a cinematic masterpiece, one that will doubtless be considered a classic. Spirited Away takes on an extra level of significance, as Miyazaki has announced that it will be his last film. In retrospect, it can be seen that Spirited Away has amalgamated the best elements of previous Ghibli-Miyazaki movies into one spectacular film about a lost little girl named Chihiro. One of these elements is strong character development, which is evident in the character of Chihiro throughout the course of the movie, and becomes the central focus of the movie itself. As the Japanese title suggests, Chihiro undergoes a significant change of character in the movie under the persona of Sen, but she is still able to retain her own identity, unlike the other characters of the story. As Sen, Chihiro is able to bring out the strength and courage that was deep inside her, becoming more independent and accepting of circumstances. In a mythical world that causes people to lose virtue and become greedy, Chihiro is able to remain innocent because she remembers who she was. Through her unclouded perspectives she is able to grow into a courageous, independent, and adaptable individual.
The masked ghost is probably the most enigmatic character of the movie, and serves to illuminate Chihiro's shining presence. The ghost is essentially an empty shell - his thoughts and actions are tailored to the desires of those around him. Upon entering the bathhouse, he notices that the sight of gold makes the bathhouse workers squirm in greedy ecstasy, and so he seeks to please them with gifts of gold. By successfully ensnaring the giant frog and eating him, he assumes the shape of a frog, which suggests that the ghost takes on the personality and voice of his prey. The frog was probably eaten first because of its non-humanoid features, to show a physical, and implied mental change, which would not be as obvious when the ghost eats a person. The ghost can never manage to tempt Sen, however. Offering her valuable items such as the bathhouse cards and a handful of gold nuggets, she always politely refuses him. A subtle detail about the ghost is what tells the viewer the environment the bathhouse has - every time that Sen refuses the ghost, the ghost turns increasingly transparent. It is almost as if in order to solidify in the bathhouse, one has to be greedy and desire riches (unless one had eaten the bitter dumpling as her parents did before turning into pigs). This idea of solidification is also shown with the arrival of Zeniiba at the bathhouse, where she cannot assume an opaque state. This is probably due to the virtuous intentions of Zeniiba, Yu-Baaba's older twin sister, who is not driven by greed. Although the two sisters look, dress, and talk the same way, the personalities are wildly different. While Yu-Baaba is the owner of an extravagant bathhouse for the gods, the centerpiece of a festive town, Zeniiba lives by herself in a small, isolated cottage with flowers on the doorframe. While Yu-Baaba's world may be one of forgetfulness and stolen identities, Zeniiba's is one of recovered old memories and a strong sense of self. Chihiro is told to treasure her name, and to be assertive of her identity. The masked ghost is also asked to stay at Zeniiba's house to serve as her assistant - in this peaceful and humble environment, the ghost has nothing but kindness to learn from Zeniiba.
Throughout the film, Haku, an intelligent boy who befriends Sen soon after she is left by her parents who have tranformed into gluttonous pigs, unknowlingly guides her back on her strange journey to her former self. When Haku in not outside the bathhouse, he is a tormented flying white dragon, constantly searching for relevance to the reason for his being. Eventually we learn the bond between Sen and Haku, but not before a wild ride through this animated feast for the eyes first.
This film may be too intense for little ones as there are scenes of horror, violence, and blood (including bloody vomitus). Young teens will certainly have a level of maturity to be able to see it and ask questions, and hopefully engage in "spirited" conversation about all things Sen. I've viewed it half a dozen times, and I still get more out of it each time. I'm am certain you will too.
Movie Review: Really 4 and a Half...but Excellent all the same
Summary: 5 Stars
'Spirited Away' was the first Miyazaki film I had ever seen so, in a positve sense, I had none of his past work with which to compare it or to influence my opinion. It was recommended by a friend who is a fan of some of Miyazaki's films and also by the numerous radiant reviews I had seen in this latest film's regard. I was not disappointed. Immediately, without any preconceived notions derived from Miyazaki's prior works, I was captured by the sense of wonder evoked by Miyzaki-san's truly elegant and unique approach to animation. The motifs present in every frame, the peripheral details in his frames that really are *not* so peripheral, the simplicity yet relevance of his modern characters -- all of these things made for instant interest, and then outright enchantment. Miyazaki proved himself a maestro, a deft conductor of a well-assembled orchestra from the very first moments. Music, exceptional use of color, brooding angles, and restrained dialogue strike a simultaneous chord of melancholy from the first moments we glimpse the dilemma of Chihiro in the back-seat of the car as her family is obviously in "transition." Every sight and sound is calculated with care and delicacy as the story moves quickly to the point where the family's "off-the-beaten-path" detour takes them to a mysterious but beguling sanctuary (of sorts) in the middle of a woodland. There, Chihiro's parents decide to have a carefree look around the lonely ruins, while the child-figure, Chihiro, senses trouble immediately. This establishes a powerful foundation for what I perceive to be Miyazaki-san's overall theme -- the Child, without guile or guide, often has the best instincts...despite having the least power, choice, or control with which to act upon those instincts.Chihiro relcutantly follows her parents into what appears to be a crumbling, abandoned theme-park. The eerie, lonely tones continue until the motif of delicious FOOD is planted smack-dab in the middle of the plot. The tones change, for the glorious, freshly-made "feast" brings both a sense of satisfaction and familiarity that plays nicely around the child's persistent apprehensions and the viewer's niggling sense that something simply CAN'T be right in this desolate landscape.
What happens after Chihiro's parents dismiss her misgivings and settle down for a gluttonous meal is nothing less than a rip-roaring, non-stop explosion of magic, color, danger, mayhem, surprise, haunting imagery, and all-out bizarre (but morally "thematically" realistic) animation. The "abandoned theme park" turns out to be a "Bath-house" for the ancient Gods and Spirits of Japan -- abandoned by light of day, but magically transmogrified by night into an alternative universe where these spirits come to refresh themselves in ways that are at once human and decidedly immortal.
The whole place is "managed" by a jaded and crabby old sorceress named "Zeniba" -- a character who must be seen to be believed, and both her clientele and her slave-driven employees never fail to disappoint the viewer's senses. There are a GREAT number of derivative qualities to Miyazaki-san's overall work -- shades of the Wizard of Oz,Alice in Wonderland, Never-Ending Story, Beauty and the Beast, and even an obscure Godzilla film make their influences known-- but these thematic borrowings and motifs serve the universal quality of the story with a very functional integrity. Even more poignant is the subtle sadness with which Miyazaki notes that the Japanese are fast trading the magic and mythical tradition of their ancient culture, in its entirety, for the irrepressible gift of Modernity.
There's a love story here (or rather, a story about the primacy of love), and the truly empowering theme of a moody, spoiled little girl who is suddenly thrust into the madness of REAL magic and who must find a way to rise above her immaturity to save herself, her parents, and the balance of the seen and unseen worlds, is very inspiring. Essentially, Miyazaki-san is telling us how adaptable we are to frightening, frantic change in this world...and how adaptable we must be in order to survive. The fact that this lesson is learned best in his story by a *child* opens the door to many serious questions about what our modern cultures are now demanding of the very young.
These underlying brushstrokes aside, the whole film is a work of brilliance on the part of Mayazaki-san and his animators. The American dubbing is impeccable -- particularly Suzanne Pleshete as Zeniba and her "alter ego." The sight, story, and fate of the "Stink Spirit" alone is worth the purchase of this DVD. 'Spirited Away' is definitely an adult film in that it will appeal to fans of *anime* and will thrill the sensible adult mind as effortlessly as it will captivate the child, but some of the calibrated images are spooky and indelible; kids under six will have a couple of toss-and-turn nights, perhaps, after watching the film. Overall, though, this is a goldmine for the entire family, the ageless and proverbial young-at-heart, and one of the best Japanese films to emerge in recent years -- as evidenced by its big box office in Japan and in American art-house venues. The extras on the disc are notable for the original Japanese dub and moreso for the documentary of how Miyazaki literally "hand-crafted" this film the old fashioned way and emerged with a jewel that is every bit as breath-taking and eye-catching as the digital creations being churned out by contemporaneous production companies. Four and a Half Shooting Stars and kudos to Miyazaki-san. The half-star is detracted only because themes are just a mite too OBVIOUSLY derivative -- but just a mite. This one's a keeper. Buy it and treasure it.
Movie Review: Tips For Non-Japanese Speaking Fans: This Is A Masterpiece
Summary: 5 Stars
Released on July 20th, in 2001 in Japan, "Spirited Away" stayed in theaters for almost 10 months, breaking all the previous box-office records in Japan, including that of "Titanic" and "Princess Mononoke" by the same director Hayao Miyazaki. With this astonishing film about a girl's spiritual journey, Mr. Miyazaki again showed that he is one of the best directors living in the world. This animation film was also awarded prestageous Golden Bear Prize in Berlin Film Festival, and that is not a surprise at all, after you see this movie.The story quickly is established, so don't ever be late for the show. It traces a girl's strange and fascinating life in another world, where her parents are accidentally magically transformed, and she has to survice herself and return to her own world. To do so, this pudgy-faced little girl Chihiro, now deprived of her name by a greedy witch Yu-baba, has to work at the baths where gods and sprites all over Japan come to take a rest. Chihiro's life is full of wonderful (and often hard, even terrifying) things, and through her experiences she learns how to live, gaining the true will and power, changing from a sulky girl languidly lying on the backseat of a car, into a lively and truely courageous girl.
That's all you have to know: you don't need to see its trailer (English version trailer is a bit misleading), and just watch this masterpiece. Though there is a character called "Kao-nashi" (meaning "Faceless"), who out of loneliness does something harmful to the place; and there is an episode about a very stinking monster who turns out something very different, there are no villains, no heroes, and no so-called actions. And another strength of the film comes from its designs of the baths. It is based on a mosaic of Japanese and Western traditions (the witch's office looks obviously Western while Chihiro and other female workers room is inspired from the texitle factory girls' residence 100 years ago) Incredibly, some part are even from Chinese style.
The story, some say probably rightly, goes slower in the latter half (of the film that runs more than 2 hours), but "Spirited Away" never lets you down. It's time for any American audience to know Miyazaki's name, and that animation films are not meant for only kids, but for adults.
[The following might hopefully help understand some part of the film. No spoilers contained, but you might read them after watching them. Al the names referred to are from Japanese original print.]
[1] The name "Chihiro" is, when written in Chinese letters, divided into two parts: "Chi-hiro." The first part "Chi" has another way of pronounciation, "Sen," which becomes her temporary name.
[2] Chihiro's real name is "Chihiro Ogino" which is briefly seen on the contract paper she signs.
[3] The handsome boy who offers a help to Chihio is called "Haku" which means in Japanese, "white."
[4] Haku's real name is "Migihayami Kohakusui." All the Japanese audience, as Chihiro in fact was, would be surprised to hear this long and old-fashioned name, which clearly suggests his ancient and aristocratic origin.
[5] The witch's spoiled baby is called "Bou" (and his name is written prominently in a Chinese letter on his clothes). This is shrewd naming because the word "bou-ya" (which is used to call, affectinately, to baby boys) implies too much fondness to the babies on mother's side.
[6] Chihiro's father, at the diapidated red gate, talks knowingly about the posibility of a disused theme park. It is true that Japan saw economic depression after the boom of the 80s, and his remarks, though half telling of his too much confidence, have some ring of truth.
[7] For Miyazaki's fans, there are some extra fun: see, for example, the re-appearance of "Susuwatari"s, tiny black speck-like creatures that carry coal in a boiler room. As fans know, they are also seen in Miyazaki's delightful film "My Neighbor Totoro." And check out one of the "guests" at the spa who looks and moves exactly like Totoro.
[8] And those harmless "Susuwatri"s eat Japanese traditional, very sweet confectionary called "Konpeitou" made from sugar. This is the part Japanese viewers smile because of the unexpected combination.
[9] In the same boiler room, the spider-like veteran master gives Chihiro "Kaisuu-ken," coupon-style tickets for train. This is also the part we would smile because we all somehow share the same experience of giving them to children who go somewhere by train or bus, or of finding very old ones somewhere in the desk.
[10] That same kind master, seeing Chihiro step on the crawling worm, makes a gesture of a knife with his hand, and touches Chihiro's hands in a unique way. This is a (now out-of-fashion) custom when touching something very dirty, symbolizing the total safety from the object in case, often accompanied with Japanese word "Engacho" (no more connection). This part is also funny to us.
[11] In the opening scene. behind the back of Chihiro, you can see the glimpse of half-hidden, red-colored package of chocolate bar, which looks like one famous brand. Probably, this is a small token of thanks for the company (famous for coffee, too), which joined in the tie-in campagin for the film's promotion in Japan.
[12] Finally, director Miyazaki says that the film is originally made for unnamed 10-year-old girls he and the movieproducer are both acquainted with, and hope that those girls are delighted to see the film. No doubt they are.