Howl’s Moving Castle (Hayao Miyazaki, 2004)
Master animator Hayao Miyazaki moves in
a decidedly grown-up direction with Howl’s
Moving Castle, his latest work. Noteworthy as the first of his films that is
noticeably the work of an old man, yet still in full possession of his earlier
work’s charms, it is defined by its
comfort in routine as much as its adventure elements. Telling the tale of
Sophie, a young woman who ages after being cursed by a jealous witch, the movie
largely resists the urge to surrender to sheer spectacle, instead finding
remarkable intimacy among its relatively small cast. Though the scale is at
least as large here as it was in any of Miyazaki’s previous works and the
invention never ceases to amaze, the film is as concerned with housework as it
is with epic battles. Like many of Miyazaki’s previous films, the focus on
work seems to comment on his own laborious process of creating hand-drawn animation.
The director, a notorious workaholic and perfectionist himself, clearly values
the expertise and perspiration that goes into a trade like hat making or cooking
and forefronts these activities. As a result, Howl’s
Moving Castle is a decidedly domestic film, but not in the same reductive
way that the recent slew of Pixar animations. Here, we’re not
supposed to be amused by the mere fact that the fanciful characters have domestic lives so much
as we’re expected to take genuine comfort in the quiet calm of home life and
the routine familiarity of tasks like marketing or bathing. Almost incredibly,
in lieu of a constant barrage of more stereotypical adventure elements, Miyazaki
films can demonstrate to us how the completion of these tasks can be an
adventure in itself.
The first two acts of Howl’s
Moving Castle, dominated by the aged Sophie, creak and wheeze along with more observational humor than outright
action. The biggest action scene in the first ninety minutes of the film is an
exhausting race up the stairs between a fat lady and an old lady. Though the
protagonist isn’t characterized in an especially deep manner, we quickly come
to understand that she’s old at heart. She finds she’s not as miserable
being old as she would have expected. She feels wiser and less surprised by life
as an old woman, which probably helps in a film that's set in one of
Miyazaki’s typically amalgamated East-meets-West provincial fantasy
landscapes. He gives us an exceptionally idiosyncratic vision of this fantasy
world. Its small pleasures bide time quite well before the film segues into a more action-packed
finale. By the end of Howl’s Moving
Castle, it’s dabbled in romance (recalling animated features like Whisper of the Heart and Disney’s Beauty and the Beast), anti-war sentiment, and feminine empowerment,
though it has to be said that the breadth of the film’s content keeps it from
feeling as thematically substantial of several of the director’s past films.
Thankfully, Howl’s
Moving Castle is the visual equal of the wonders that Miyazaki has
previously delivered. His startling attention to detail is as present here as
ever. This may be the most impressively scaled of his animated features (it
favors the long shot, which helps greatly), but it still possess the hand-drawn
look that Studio Ghibli is famous for. The titular castle is an elaborate,
pulsating contraption of pure imagination. The character designs are
consistently charming, with Calucifer, an evil, but adorable, flame spirit
taking top honors. For Miyazaki fans, the film has the odd effect of coddling
you with the feel of familiarity inherent in its tone while it dazzles you with
sights you've never seen before. Several of the director’s touchstones
resurface here, including a delightful flying sequence or two and a strong
emphasis on the simple pleasures of the natural world. To quibble that Howl’s
Moving Castle is not quite as good as Spirited
Away, My Neighbor Totoro, Princess Mononoke
or Laputa is nonsensical. It’s still
a treasure. Its wonders come so constantly that one can almost start to take
them for granted, and because of Miyazaki’s amazing ability to do things as no
other filmmaker would, when it’s come to the end of its epic tale, you almost
feel wiser yourself.
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04-03-05
Jeremy Heilman