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canmom · 7 months ago

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the Spirited Away theatrical adaptation

today I went with @birdfriender to see the stage production of Spirited Away, produced by Toho, currently on tour in London.

and like. holy shit??

you might say how the hell could you adapt a film like spirited away to stage. the answer is: incredibly inventive stagecraft, puppetry, costumes and especially choreography.

I was completely blown away by how this play flowed across the stage. set transitions were masked with lighting to direct attention, with the descending screen, with the rotating central platform that managed to function as nearly every part of the bathhouse. stairs, rotating bridges, creative use of size to indicate perspective (like the tiny train that circles the stage), and just the way the crew would move the props with a flourish -

but also the puppetry, like man! the way characters like Kamaji, Yubaba's giant head (used only at moments of intense emotion), and No Face would be operated by entire teams of puppeteers - it was extraordinary. the puppetry director was Toby Olié who's worked on a million different things including War Horse and you can really see them applying all these tricks accumulated over the years...

the show is remarkably faithful to the film; a few scenes are slightly abridged but every sequence I remembered was there and deliver with style. where it does need to pause and breathe, like in the famous train scene, it does. and like... it is fascinating to see an adaptation from animation to theatre. seeing how Mone Kamishiraishi (Chihiro) would stumble and bumb into walls just as she would under the pen of Shinya Ohira. or how a memorable sequence in the film could be represented symbolically: a collapsing pipe as a string of segments pulled on a string, a flower garden by dancers in flower outfits.

some of my fave sequences involved wooden panels carried by dancers, choreographed so the characters would weave between them, or they'd rotate to represent elevators on different floors. it was also fascinating to see how they'd symbolically represent things it would be impossible to stage, often representing fluids with fabric sheets. a transformation could be shown with actors swapping places with a flourish. at other times, it feels like stage magic tricks are in use, like a flash of light drawing your attention to a rope that was there all along. sometimes the puppeteers will be on stage, wearing simple beige outfits that mark them as not being 'present' as they manipulate the soot sprites and frogs and so on.

they also made effective, sparing use of a large projector screen, which descended at certain points, primarily for the driving scene at the beginning and the train scene. this actually didn't use scenes from the movie, but more of a soft, painterly style applied over... probably animated video? hard to say with the blurring, could be live footage. it reminded me of the use of similar screens in the later YoRHa plays, although it was a minor element here.

we weren't allowed to take photos (i took this one during the final bow anyway) and I would have been too busy watching to take them anyway, but this teaser shows briefly a number of the coolest setups. still, it's so much more when you see the whole thing flowing along without interruption.

youtube

and it was very interesting to me looking at this kind of show - big stage, directly homaging an animated film - from the eyes of someone who knows a lot more about film and animation than I do about theatre.

compared to film, you simply do not have closeups; the closest thing is when the puppeteers bring out the segments of Yubaba's giant floating head, but this is used sparingly. so everything is basically a long shot. however, because the acuity of a human eye is much greater than that of a camera, even from near the back of the theatre you can make out a lot of details that you wouldn't be able to make out with an equivalent camera shot. this allows compositions where there is loads going on at stage at once, with the eye being drawn to different areas by lighting and movement.

I do feel like there are definitely things to learn for animators from this kind of stage choreography. so many times I thought like, wow, that's so clever. like how chihiro riding haku was shown by splitting the dragon puppet into segments and putting her on the shoulders of one of the puppeteers.

and everything was done with such style too. if something shuffles off stage, you know it will be done with a wiggle and a flourish. small things but they add so much.

presumably because this seems like an incredibly involved show, there are multiple performers for each major character: four Chihiros, and three Hakus, Yubabas, Kamajis and so on. I'm not sure the exact lineup tonight beyond Chihiro. the exception is Kaonashi (No Face), who is played only by Hikaru Yamano, who gives an incredible performance, sidling and flexing around the stage in all sorts of strange ways that really get across the character's whole deal despite literally performing under a white mask and concealing robe. it's kinda amazing.

another fantastic casting is fundoshi dancer Yuya Igarashi as Kashira (the stack of three big heads that serve Yubaba, and speak only in wordless grunts). he basically has his real head as one of the three, and he has two more heads on his hands, and moves them around in incredibly energetic and funny ways. it's a brilliant way to interpret this, somehow feeling perfectly appropriate to have a buff guy in a red loincloth moving them around.

Yubaba's actress tonight would have been either Mari Natsuki or Hitomi Harukaze; either way she did an incredible job, it was really cool seeing a more human-proportioned version of the character and she brought a lot of energy and authority to the role.

the whole cast did a fucking amazing job honestly. I wish I knew more about theatre acting so I could comment more specifically on the tricks they were doing, but you definitely felt Chihiro's emotions

the production is in Japanese; English subtitles were shown on two screens on either side of the stage. the translation was on the 'honorifics included' end of that scale, but absolutely clear and idiomatic. the format worked - it was generally not hard to follow the action and glance at the subtitles, even though they were further away than they would be in film - and it definitely filled the theatre. I really hope this leads to more Japanese theatrical productions going on tour like this. wish i'd been able to see the Totoro one a few months ago.

definitely this kind of theatre must depend on a fairly obscene budget of the kind that only comes to biiiiig properties like, say, an adaptation of a beloved Studio Ghibli movie (one family turned up in cosplay) - there's a lot to be said for less extravagant staging. at the same time... this really was something.

i gotta go to the theatre more

#spirited away #studio ghibli #theatre #Youtube

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canmom · 11 months ago

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How do you live?

I (finally!) saw Miyazaki's new film 君たちはどう生きるか (How Do You Live?/The Boy and the Heron)! It's been out in the States for a while, and in Japan considerably longer, but it took a while to make its way over here.

I remember at the time it came out, people were having fun riffing on the incredibly cryptic marketing campaign, which consisted only of this rather abstract poster...

In the spirit of this, I resolutely avoided watching any trailers or knowing anything at all about the plot of the film. I picked up a thing or two here and there - I knew to expect some amazing Shinya Ohira animation for example, and you couldn't really avoid seeing the bird with teeth! - but overall, I had no idea.

There's plenty of great writing about this film in English already, such as kvin's fantastic sakugablog piece which discusses the physicality of Ghibli's animation, its weight and springiness, as a throughline. The stuff that kvin talks about really stood out to me as I watched this film. You can likewise read detailed interviews with Toshiyuki Inoue (fantastic interview for sakubutas) and Akihiko Yamashita on fufuro.

First up, the credits of this film are pretty much a who's who of the greatest jp animators of the last 30 years, and they've had some 7 years to cook it, so naturally this film looks fucking amazing. This is absolutely the kind of film that only Miyazaki could direct - its design language feels so familiar and yet it's iterating in all kinds of visually imaginative directions that show that yeah, the old bastard's still got it.

And like, god, man. This film's animation is really something special. Its real-world scenes in particular are full of shots that require an unbelievably strong sense of space, of both subtle and broad acting, the classic Ghibli attention to detail on mechanical objects and everyday tasks. It's full of bouncing and squishing and squeezing and oozing things. It loves to draw crowds and swarms of people and animals. It's the kind of film where any given shot would be the absolute star-of-the-show sakuga moment in just about any other anime film. If you wanted a complete statement of the Ghibli school of animation, it would be hard to do better.

And yet, for all that Miyazaki's known for his tight control over animation and heavy corrections to animators, in this film he had to step back from that kind of role and hand over the sousakkan reins to Takeshi Honda, who steps up admirably - as kvin writes above, bringing in more realist elements to the bouncy Miyazaki style to create a really effective unity that grounds all the big fantastical elements of the film and fills the first act with tension.

Alongside all that excellent key animation, the film's colour and photography departments evidently understand that well-chosen colours and good highlight shapes beat all the digital gradients and overlays you can imagine - the drawings get plenty of form from the strength of the animation, and the flat shading really pops. The backgrounds are as delicious as ever, skyscapes and vegetation and opulent interiors with the just-slightly desaturated and harmonious colours that just kind of remind you that oh yeah, it is still possible to do it this way.

Basically it's a Ghibli film lol. You know how it is.

But what of the story...? What's all this technical magic in service of?

The film's story has something of the feel of a serial story, perhaps reflecting Miyazaki's (in)famous process of working out the film gradually as he draws the storyboards. Certain ideas, like the parakeet empire, arrive in the film rather suddenly and then become fairly central to the plot. There's a clear emotional throughline, but this is not a film that is in a hurry to explain itself more than it absolutely has to. It wants to keep its magical elements numinous and mysterious. I would say, though, it's generally more satisfying in this approach than some of Miyazaki's other later films like Howl's Moving Castle, and resolves a lot more clearly.

So what is it like, About? Well, Miyazaki has been pretty open about channeling a lot of his personal relationships into the film, and a lot of it seems to reflect more or less obliquely on him. It's what they call a 'personal film'. The protagonist's position as the son of an aeroplane factory owner during WWII is straight-up from life. What about the old sorcerer, haphazardly stacking blocks to keep a world alive, and looking for someone to succeed him? The reading's kinda obvious, even if Miya himself says this guy is based on his memory of Takahata. Well, he can be both...

To say more I'm gonna have to delve into the spoiler zone. See you below the cut.

OK so! Let's try and get some thoughts in order.

first, a plot summary type of thing

Our first act introduces us to Mahito at roughly the moment his mother Hisako dies in a hospital fire. This is midway through the war, which is present mostly in the background - now and then we see soldiers marching around, and of course Mahito's dad runs a factory producing warplane parts, not entirely unlike Miyazaki's own father although seemingly a bit higher up the ladder.

We jump forward a little and Mahito's father remarries - to his deceased wife's sister, no less, and she's already pregnant. This is Natsuko, who does her best to play the role of mother, but Mahito still has big traumas and he is understandably not entirely on board with the idea of welcoming a mum 2 who looks almost exactly like mum 1. He moves with Natsuko into a huge old house complex, a mix of older Japanese architecture with a more recent Western wing where the family currently sleeps - and staffed by a small army of colourful old ladies who are eager for any canned meat or cigarettes they can get their hands on.

Also there's this freaky heron that keeps bothering Mahito. It seems to have something to do with a mysterious tower which turns out to have been built by his great-uncle. Mahito visits the tower, but can't make his way inside. Natsuko tells him not to go into the tower.

Mahito goes to school, but naturally they don't much take to the new rich kid on the block, and so after being attacked by his classmates on his way home he injures himself with a rock. (His dumbass dad is like, who did this to you son, I'll fuck 'em up.) For the rest of the movie, he has half his head shaved to accomodate a bandage, which is the sort of attention to detail this movie loves.

The heron has started growing teeth and talking to Mahito, telling him to come to the tower. Mahito is convinced it's a trap, and after a maybe-dream sequence in which Natsuko shoots an arrow to drive off the heron, he steals cigarettes from Natsuko in order to get one of the servants to sharpen his knife, and then constructs a bow and arrow out of bamboo - using a couple of the heron's feathers. Constructing the bow and arrow is shown in immense, loving detail.

In the process, he witnesses Natsuko walk into the forest, and also stumbles on a book: How Do You Live? by Genzaburō Yoshino, which contains a handwritten message from his mother. He looks at this book briefly... and this is about the extent of the connection of the film to the book, beyond thematic parallels.

The maids notice that Natsuko is missing. Mahito tells one of the maids, Kiriko, that he saw her go into the forest, and they follow, finding an old road that gives another approach to the tower. They're greated by the heron man, who is increasingly emerging from the heron's beak to reveal a big warty nose. He's some kind of like... heron selkie or something, a gnome in a heron skin. There's some wonderfully grotesque animation around this guy.

Heron dude taunts Mahito with an illusion of his mother Hisako. Mahito threatens him with the bow - the heron guy is like, do your worst, not realising it's a maaagic arrow. The arrow chases him around the room and pierces his beak, fucking up his magic. At this point, the tower master shows up and orders the heron to guide Mahito. Heron guy sends everyone through the floor into a fantastical world...

Mahito arrives in front of a huge, sinister tomb. He approaches the gate, and a swarm of pelicans walk up behind, crawling all over him and pressing him through the gate. This causes a storm to start brewing, since opening the gate seems to piss off the stones or something...

A fisher woman resembling a much younger Kiriko runs up and chases the pelicans away. She takes Mahito under her wing, explaining that this world is inhabited mostly by dead people, but there are also these little round guys called the wareware, who gain the ability to fly when they eat a fish's guts.

Kiriko, uniquely in this world, has the ability to kill, so she catches fish to sell to the other inhabitants and feed to the wareware; she and Mahito butcher a huge fish. Mahito fairly quickly figures out that she is somehow the same Kiriko that entered with him. She has tiny charms representing the other maids, which serve an apotropaic function.

That night, staying on Kiriko's huge derelict ship of a home, they watch the wareware rise into the sky to be born as humans in Mahito's world. They're attacked by the pelicans, but a fire-wielding magic user called Hisa (hmmmmmmmmmm) drives the pelicans away. Mahito shouts at her not to harm the wareware, but Kiriko assures him that more of the wareware will survive thanks to Hisa's intervention.

Later, a singed and dying pelican explains the pelicans' predicament to Mahito in a scene that calls to mind the animals in Mononoke-hime. The pelicans are foreigners in this world, they don't have anything to eat, so they take it as their role to eat the wareware. The heron man arrives on the scene too, offering to help Mahito find Natsuko as Mahito - coming in to his own as a protagonist more - buries the pelican. Mahito distrusts him but eventually Kiriko persuades them to give working together a try.

Mahito and the heron set out. As they pass through a forest, the heron reveals that thanks to Mahito's arrow, he can't fly and do heron shit anymore - and by magic law, only Mahito can fix the hole. Mahito applies his new woodworking skills to fashion a bung for the hole. The heron tries to stage a top 10 anime betrayal, but then the bung needs more work, so Mahito fixes it, and from that point on, the heron joins the party and he and Mahito are fast friends.

(You might wonder why I just call him 'the heron' and not by a name. He never gets named! He's just the heron man.)

Mahito and the heron arrive at the house of a blacksmith who's supposed to help them find Natsuko, only to find it guarded by big buff parakeet men. The parakeets are splendidly goofy round guys - they remind me of the heedra in Nausicaa. The heron draws the parakeets away, and Mahito enters the house, only to find, uh oh! More parakeets. The parakeets prepare to eat Mahito, who is not carrying a child and therefore fair game unlike Natsuko, but Hisa shows up and burns them with fire magic. She looks just like a young version of Mahito's mum! Funny that. Hisa helps Mahito escape into her house through the fire, and then takes him to infiltrate the parakeets' empire.

In the human world, the maids explain the backstory of the tower to Mahito's dad. It's a weird meteorite that came from space, it turns out, and Mahito's great-uncle built the tower on top of it before eventually disappearing inside. Mahito's dad overprepares in an elaborate getup complete with katana, and goes to try to rescue everyone.

Hisa leads Mahito to a corridor full of doors which open into all the different worlds, including his own world. Mahito briefly glimpses his dad coming to try and rescue him - the two see each other briefly, but the parakeets catch wind of the whole thing and attack, and so Mahito and Hisa have to flee back into the magical world. We see that the parakeet guys turn into regular parakeets when they come into the human world. Mahito's dad becomes convinced he turned into a parakeet.

Mahito and Hisa make their way to the delivery room where Natsuko is resting, waiting to give birth. On their way, lightning starts emerging from the stone - Hisa explains that the stone is sentient and pissed with them. Mahito insists on approaching Natsuko despite this being a huge taboo. They have a heart to heart - Natsuko's mask breaks and she tells Mahito she hates him, while he finally starts calling her mother, as he's assaulted by paper charms that tear at him violently. They part, with Hisa burning the charms to free Mahito, but it's too much and they both pass out.

Mahito dreams of meeting the sorcerer, who stacks irregularly shaped wooden blocks, and explains that stacking the blocks is necessary to maintain the world, buying a few days at a time. The sorcerer reveals the huge flying rock that is the source of his power; he also shows Mahito some blocks, but Mahito somehow divines that these blocks are 'stone for building tombs' and stained with malice. The sorcerer approvingly says this is a good sign for Mahito's ability to succeed him.

While they were asleep, the parakeets have captured Hisa and Mahito. One of them is preparing to eat Mahito, but the heron arrives just in time to save him. They Metal Gear Solid their way through the kingdom while the Parakeet King - a big swaggering guy very like the colonel in Castle in the Sky - goes to press a claim on the wizard, using Hisa and Mahitos' taboo act of entering the delivery room as a bargaining chip. There's some very funny scenes where the parakeets cheer for their king.

Mahito pursues the parakeet king, but the king destroys the staircase behind him, and talks to the sorcerer. The sorcerer is inclined to wave away the transgression, because he wants to let Mahito succeed him, but the parakeet king seems to be bringing him around. I kind of forget how this part went, but the parakeet king goes away from the sorcerer for a bit while Hisa is freed from her prison thing.

Mahito climbs back up with the heron man's help, arriving in the sorcerer's little subplane. The parakeet king quietly follows him, after telling his aides to inform his subjects he was a good king. Mahito approaches the sorcerer, who reveals he has found a new set of blocks, unstained by malice, and again invites Mahito to succeed him. Mahito says that his self-injury is proof of his malice, making him unfit for the job.

At this point, the parakeet king intervenes. Angry at all this sorcerous malarky, he desperately attempts to stack the stones himself, but when they don't stack, he flies into a rage and slices them with his sword. This naturally causes the world to start collapsing, and everyone runs to the doors to escape into the human world.

Mahito has by this point figured out that Hisa is his mum, and he asks if she really wants to go back to their world, knowing that she will very definitely die in a fire not much later. But she is naturally on board with this. Young!Kiriko goes with her, suggesting that she and Hisako entered the magical world at the same time. Meanwhile, Mahito returns to his own time, with Natsuko and the heron. All the various parakeets and pelicans come out through this door too. Old!Kiriko is restored from her apatropaic charm.

As everyone celebrates their safe return (and the appearance of a fuckton of birds), the heron tells Mahito that he ought to forget what happened in the magic world. We skip forward again, with Mahito - now with a baby sibling - setting off to Tokyo. Roll credits!

now let's comment on it

This is not a film that necessarily prioritises an internal logic playing out - new elements enter unexpectedly even quite late in the film. The sorcerer's motivation is murky until late on; the parakeets become major antagonists despite entering only halfway through the film.

There is a certain temptation, knowing how autobiographical this film is, to take it is a roman à clef. Mahito is of course a young Miyazaki; the old sorcerer's concern about finding a successor might be about Miyazaki wondering who should take over Ghibli or if it should just be allowed to die. Under this schema, the parakeets might be Ghibli's legion of fans, or the merchandising empire that prints their designs on every possible product. kvin's article develops this kind of reading, finding some angles I wouldn't have even considered, such as how the idea of weight communicated by the animation factors in to such an allegaroy. It's also something suggested in Miyazaki's own comments about the film, where the sorcerer is Takahata, the heron man is producer Toshio Suzuki...

It definitely helps to know a bit about Miyazaki's background when approaching this film. However, I think it would be reductive to go too far with this kind of reading, and take everything as an allegory for something in Miyazaki's life. The film still has to stand on its own feet!

'Coming of age' is the spin put on it by some outlets, like the BBC. And this is accurate to an extent. The arc of this film is similar to Spirited Away: Mahito starts out sullen and traumatised, but like Chihiro he transitions over the course of his journey in the magical world into the kind of determined Miyazaki protagonist we're used to. On this coming of age angle... well, also like with Chihiro, I don't find the Mahito of the first part of the film especially unsympathetic, his alienation is extremely natural given his situation. Mahito's dad kinda sucks! Living in wartime Japan also really kinda sucks, even if you're the son of a rich dude. But definitely over the course of the film Mahito has a change of heart towards Natsuko, and forms friendships that motivate him to try to protect them. His character arc definitely sees him become 'more prosocial'.

However, there's another angle that's pretty important - the idea of the weight of 'malice', the cursed existences of the pelicans and the like, and the fantasy of building a utopian world that is free of these things. This returns to a theme of Nausicaa, the manga in particular, where Nausicaa discovers that the world she knows - the toxic forest in particular - is actually an elaborate artificial system for cleansing the world of pollutants, that the clean world on the other side will be uninhabitable to her and her people, and that the architects of this system wait in stasis to replace them in this utopian future world. Nausicaa destroys them, commiting instead to an uncertain future.

In Mononoke-hime likewise, we encounter the lepers and former sex workers of Irontown clinging on to the 'cursed' world. Their extractivist project proves incredibly destructive, but the film still regards them sympathetically, and the resolution sees them perhaps finding a new way to live - and San, the feral girl, reconciling herself to the idea of humans.

Here, although the parakeet king forces the decision, Mahito has already declared that he doesn't believe he's fit to oversee a utopia, but instead that his place is in the awful, violent human world.

The film, and the book it's vaguely based on, are titled How do you live? In Japanese, that's a plural 'you' (君たち). There's a lot of ways you could read it, depending on who you take as 'you' - a child asking an adult how to live, or equally a future question of how will you live. This is a lot more explicit in the novel - which I have not read, but here is a summary courtesy of wiki:

Junichi Honda is a fifteen-year-old junior high school student, known by his nickname Koperu, after the astronomer Nicholas Copernicus. He is athletic and academically gifted, and popular at school. Koperu's father, a bank executive, passed away when he was young and he lives with his mother. His uncle (on his mother's side) lives nearby and visits frequently. Koperu and his uncle are very close. Koperu shares about his life and his uncle gives him support and advice. His uncle also documents and comments on these interactions in a diary, with the intent to eventually give the diary to Koperu. The diary writing, which is interspersed with the narrative, provides insight into the ethical and emotional trials that Koperu shared with his uncle. The diary entries, which cover themes such as "view of things", "structure of society", "relation", etc. are in the style of a note written to Koperu.[8]

Thinking like Copernicus that our Earth is a celestial body moving within the vastness of space, or thinking that our Earth is fixed at the center of the universe, are two ways of thinking that, in reality, are not only related to astronomy. Even when we think about things like the world around us or our own lives, the truth is that we are still revolving around them after all.

In the end, Koperu writes a decision on his future way of living as a reply to his uncle, and the novel ends with the narrator asking the question "how do you live?" to the reader.

The author of the novel was a socialist, who had been imprisoned by the nationalist government, and wrote the book intending to impart lessons on ethics. The version of his book published after the war was heavily edited to strip the book of political content. But it's also, perhaps paradoxically, a book that centres on very wealthy characters, aimed narrowly at educated boys, though it became a widely read classic.

Studio Ghibli's films, from both Miyazaki and Takahata, have a habit of being framed as imparting something to the younger generation - something the pair seem to have seen as a mission all the way back in the days of Panda Kopanda. For example, while Grave of the Fireflies is seen as the classic tragic war movie, for Takahata it was also aimed at criticising what he saw as the careless, consumerist generation of the 80s; the stubborn arrogance of the protagonist supposed to reflect on this. It's an attitude that also emerges in their comments about Chihiro. And, indeed, one of the first things we heard about How Do You Live? was that it was aimed towards Miyazaki's grandson - and more broadly towards that generation.

So what does this film have to say to the younger generations? Let's have a look at it from Mahito's POV.

For Mahito, the adults in his life are all pretty complicated. His father is enthusiastic and well-meaning but incredibly oblivious to what his son is going through (we might recall some of what Miyazaki wrote about his father in Starting Point, describing him as basically a grifter). Natsuko is masking pretty hard, trying to play the role of Good New Mum and connect to her newly acquired son, but there's an intrinsic distance. It is understandable that Mahito would want to reject them.

Mahito is... not entirely a passive character, he goes to some efforts to for example fashion the bow and arrow and repair the heron man's beak, but mostly he is pulled around by the plot into a strange world he doesn't understand. At first, his instinct is to retreat, even to the point of self-injury. Once he arrives in the magical world, he has acquired something of a purpose (finding Natsuko), but he gets pushed into near-disaster situations (the pelicans piling up to push him through the gate at the tomb) or stumbles into circumstances where something is expected of him (hey kid, gut this fish!). Gradually though his exposure to this world pulls him out of his shell. He runs into conflicts and injustices that seem intractable - the wareware and the pelicans - and has little power to intervene except to bury the bodies.

Eventually, he gets to carry out his main objective - finding Natsuko - but despite finally deciding to accept Natsuko as his new mother, he finds himself rejected, not just by her but also by the earth. Perhaps feeling responsible for getting her into trouble, his new objective becomes rescuing freshly-damsel'd Hisa. But now new adults want things of him - his great-uncle has decided he'd make a fine successor. Mahito has to make a decision here about what relationships he wants to commit to, what sort of life he wants to build - and he chooses the world he found so alienating at the outset of the film, the one which hurt him by taking his mother, not to the secondary-world fantasy.

It could be a 'this world is all we have' sort of statement, perhaps. But also the last act of the film feels like it gets a bit caught up in Castle in the Sky-style adventure-story beats.

I do feel like some aspects of the film ended up a little underbaked - which is an odd thing to say because it's not a short film and there is so much in it already. But Hisa for example - she's got badass powers and all, but I feel we barely get a chance to get a sense of what motivates her. Why did she enter the fantasy world? She acts at first like she doesn't know Mahito is her future son, but rapidly becomes incredibly devoted to him (in a way that reads a little romancey lmao). So much of her screen time is dedicated to having her convey the secrets of the world that it's hard to get a bead on her as a person.

Likewise, Natsuko - why did she enter this world to have her baby in this special ritual delivery chamber? She clearly knows more than most of the characters, but she gets kind of sidelined after Mahito confronts her, with wizard shit becoming more central. The animation does such a fantastic job of selling her feelings in the first part of the film that it feels like a shame that she drifts away at the end.

The progression of the film feels rather like a dream, where everything is arranged by symbolic significance to Mahito. It makes sense... on a magical level, where the secondary world is shaped primarily by parallels in the real one. So the tiny apatropaic statues of the old ladies protect him because they represent the role the real old ladies have in his life. Hisa has fire magic because Hisako died in a fire. Once Mahito has come to his personal resolutions about returning to the world, the magical one is no longer needed, and it collapses.

This is not such an uncommon role for magic in a story. In Miyazaki's own works, we have Totoro and Spirited Away, where a magical world provides direction or relief to a child's real struggles. Or take for example Okiura's film A Letter To Momo, in which the three yōkai recognise taking care of the grieving Momo as their explicit purpose as spirits. This magical world comes to Mahito to help him come to terms with losing his mother, and reorient himself towards living in a painful world.

Meanwhile, the sorcerer, whether he be Miyazaki or Takahata, is quite a distant figure. He may maintain the magical world by stacking his blocks, may be the authority which factions within it must plead to, but he also rules from afar in a vast empty palace full of long halls and open air spaces. His main company seems to be a big fucking rock, with which he made a 'contract'. He's generally handling it a bit better than, say, Ushiromiya Kinzo - he receives the parakeet king with good humour - but he's a pretty flawed god of his little world. So much of this world seems to pre-exist him, it's not something he constructed. Still, when he shows up, you pretty much have to do what he says.

If this is about Miyazaki's relation to Takahata, it seems like quite a sad portrayal. But 'unapproachable patriarch' does sorta describe their role in the studio from what I understand (c.f. Oshii's infamous article comparing them to the Kremlin).

When it comes to the question of who should succeed Miyazaki, we should probably consider the matter of Yoshifumi Kondō, who was being set up as the next big Ghibli director until his untimely death - which allegedly Takahata was willing to accept the blame for. The mythology built up around Miyazaki and Takahata is double-edged.

Here are some rather startling comments from Toshiyuki Inoue's interview. Inoue is one of the most impressive animators who ever lived in my book, the other star of the realist line besides Okiura. Just have a look at his booru page: iconic scenes from GitS, Akira, Millenium Actress; even in more recent films, he pretty much carried Maquia, and steals the show with his scenes in Miss Hokusai.

And yet even he was intimidated to be working alongside Miyazaki when he first came on board for Kiki's Delivery Service, fresh off Akira:

I believe you’ve always been a fan of Miyazaki’s, why were you scared to work with him? Toshiyuki Inoue: I had heard quite a few scary stories. A lot of acquaintances had worked on Nausicaä, Laputa and Totoro before that, so I knew how scary he could be when he got angry – I had heard stories of people being fired mid-production, things like that. How was it actually? Toshiyuki Inoue: Not as scary as I had imagined. He’d only rarely scream in the studio. But he did get angry. I’d sometimes be called to some separate room and lectured alongside Kōji Morimoto and Masaaki Endō. It felt like being in school all over again.

'Only rarely'. Honestly. Inoue describes how difficult it was for him to adapt his logical, analytical style to Ghibli's stretchy, bouncy characters - and how Miyazaki would disparage him if he, for example, drew a ship inaccurately.

For Inoue, coming back to How Do You Live was something like a 'return match'. He talks about how an older Miyazaki was no longer able to strictly correct the animation, and in general age was limiting him, but he still feels that Miyazaki is fundamentally superior:

Toshiyuki Inoue: I’ve always wished for a return match or a way to redeem myself. But even if I say that, I know I can’t even pretend to rival Miyazaki. I just can’t win. He’s extremely smart and learned, and on top of that, as an animator he always transcends common sense: he’s so talented that I know very well there’s nothing I can do against it. The more I learn about him, the more I realize I’ll never be on that level.

Miyazaki's genius is undeniable, but man... it's not a good mindset to cultivate if you want to find a successor lmao. If even Inoue doesn't feel he can measure up, who the hell could?

Mind you, it does rather seem that Miyazaki had mellowed out by the point of How Do You Live?. Here's Yamashita:

Akihiko Yamashita: As I said, the core of an animator’s job is to follow what the director asks, so whenever I had trouble with that, I’d go see Miyazaki to show him my roughs. He’d advise me on the things that were missing and reassure me about those that were good. He really helped me to gain more confidence in myself.

Reading these interviews underlines pretty hard that we shouldn't get too caught up in the mythology of Miyazaki the mighty auteur. While the story may be all on Miyazaki, and most of the character designs (with the notable exception of Natsuko)... so much of the details of the animation, the stuff that really makes this film land, is primarily shaped by everyone else - Honda in particular, but also the individual key animators who interpreted his scenes. I really need to get my hands on a copy of that Industrial History of Studio Ghibli book to get a less Miyazaki-centric perspective on the studio's history.

I do not feel, having come out of this film, any closer to knowing the answer to that eternally pressing question of how do you live - I guess I'm still working out my answer to that one, and I will be until I die. And maybe that's rather the point. I think this film still carries some of the flaws of Miyazaki's later films - despite having so many iconic scenes, it doesn't quite seem to know where it's going. But I am so glad to have seen this in the theatre (I saw it at the Prince Charles theatre in Soho with friends, the theatre was completely packed!), and glad Miyazaki managed to get this one out before he goes. Whatever happens to Ghibli without its sorcerer, it's been a hell of a thing to witness.

#anime #the boy and the heron #how do you live #studio ghibli #hayao miyazaki #film

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