It’s no Princess Mononoke, but Howl’s Moving Castle is still a Studio Ghibli charmer

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It's no Princess Mononoke, but Howl's Moving Castle is still a Studio Ghibli charmer

As a cinephile who has spent countless hours immersed in the enchanting worlds of Studio Ghibli, I must say that watching Hayao Miyazaki’s “Howl’s Moving Castle” was an absolutely captivating experience. The film’s breathtaking imagery, from shimmering lakes to fields of vibrant flowers, is a testament to the masterful artistry of the animators and the laid-back storytelling sensibilities that Miyazaki so effortlessly embodies.

In the year 2006, Gary Allan put out the single “A Feelin’ Like That,” which was from his album titled Greatest Hits. If you were listening to a typical country artist in the mid-2000s like Jake Owen or Montgomery Gentry, this song could have marked their peak. But for Gary Allan, it represented a drop from his previous hits. Although “A Feelin’ Like That” wasn’t a bad or average tune by any means, compared to his more somber, poignant songs such as “Best I Ever Had” and “Life Ain’t Always Beautiful,” it seemed too light-hearted. Even in comparison to other upbeat Allan songs, “A Feelin’ Like That” lacked the dynamic instrumental backing that characterized the catchy 2004 hit, “Nothing On but the Radio.” With Gary Allan’s extensive and exceptional discography, one couldn’t help but measure “A Feelin’ Like That” against his past works.

In terms of significance, Howl’s Moving Castle is to Hayao Miyazaki what “A Feelin’ Like That” is to Gary Allan. Many animators such as Pierre Coffin or Mark Andrews would be envious of a film like Howl’s Moving Castle on their resume. For Miyazaki, this adaptation brings back memories of his masterpieces. However, it’s important to remember that Miyazaki has created some of the best films ever made, including Princess Mononoke and Nausicaä of the Valley of the Wind. This sets a very high standard for any title to live up to. While Howl’s Moving Castle may not be as iconic as My Neighbor Totoro, it certainly doesn’t diminish its numerous strengths.

In the opening scene of “Howl’s Moving Castle,” we see a breathtaking view of Howl’s magical castle roaming the countryside, with a farmer tending to their animals nearby. This world is richly detailed, where wizards, demons, and spells are as common as sheep in a meadow. The story begins when the Witch of the Waste turns young Sophie into an old woman, but even this doesn’t stop her from embarking on a journey to find a way to break the curse.

This situation takes her to the peculiar residence known as Howl’s Mansion. Here dwell eccentric individuals such as Howl’s apprentice Markl (Ryūnosuke Kamiki) and the fire demon Calcfier (Tatsuya Gashūin). Sophie, seeking a means to break free from her present circumstances, feigns being a new housekeeper for this sorcerer. As she delves deeper, she uncovers Howl’s hidden fears, particularly of the vengeful Witch of the Waste. Additionally, she encounters the hardships caused by an ongoing conflict that devastates the land with explosions. Amidst the turmoil, Sophie might unwittingly become the world’s, or at least Howl’s, much-needed hero.

In the mid-2000s, Howl’s Moving Castle distinguished itself as a hand-drawn animated film that cleverly combined 2D animation and computer-generated imagery (CG). During this period, Pixar was making significant strides in the pop culture scene, and many American 2D features, such as Treasure Planet, Sinbad: Legend of the Seven Seas, and Titan A.E., featured hand-drawn characters inhabiting entirely digital environments. Unlike these films, Castle didn’t go all out with CG like Sinbad did. However, it utilized CG more extensively than earlier 2D Studio Ghibli titles such as Spirited Away and Princess Mononoke, particularly in the creation of the titular castle and certain computer-generated environments.

In the animated film, “Howl’s Moving Castle,” the blend between traditional hand-drawn character designs and digital enhancements isn’t always smooth. At times, noticeable CGI effects can detract from the beauty of the beautifully painted backdrops, preventing the visual style from reaching its full potential. This is likely why Hayao Miyazaki’s subsequent film, “Ponyo,” opted to avoid CGI altogether. Despite this issue, “Howl’s Moving Castle” still offers a wealth of stunning visuals. Miyazaki’s signature relaxed storytelling style allows the animators to fully appreciate the breathtaking scenery, such as a shimmering lake or a field of beautiful flowers. The slow pace of the film allows viewers to truly appreciate the artistry in these scenes.

In Miyazaki’s latest work, it’s refreshing to find that ordinary humans don’t spend their entire story grappling with or doubting the fantastical elements. For instance, Sophie readily embraces her transformation into an old woman, which sets the stage immediately and allows for charming dialogues like “It’s not easy being old.” Miyazaki’s films aren’t about justifying the absurd; rather, they delve into the enchanting, implausible realms that animation offers.

Similar to other films by this director, Howl’s Moving Castle explores the complex bond between humans and nature. In this story, the endless human desire for conflict, symbolized by bombs and violence, is portrayed as a significant danger to the world. Even initial foes like Howl and the Witch of the Waste find common ground in their efforts to protect the environment from the destruction caused by mankind. The film’s depiction of bombardments on animated landscapes may evoke memories of the U.S.’s invasion of Iraq, given that Miyazaki previously declined to attend the Oscars ceremony where Spirited Away won Best Animated Feature due to America’s military actions in Iraq.

The social and political setting might account for why “Howl’s Moving Castle” portrays explosives and aerial combat in an understated manner. It avoids grandiose effects that could glamorize these destructive tools. Instead, bombs are shown falling from huge warships without much strategic accuracy in wide-angle shots. Many of these bombs metamorphose into monstrous creatures lacking human traits. Moreover, Howl can easily destroy a warship with just a wave of his hand. This portrayal suggests that the machines representing imperialistic arrogance are no match for magic. The movie subtly criticizes America’s post-9/11 rationale for continuous violence and bombing, a commentary that unfortunately remains pertinent today.

In a more casual tone, the delightful aspects of Howl’s Moving Castle lie in its straightforward elements. I’ve never seen anything as appetizing as the sizzling bacon slices Sophie prepares in one of her early scenes inside Howl’s castle. Furthermore, the movie is consistently entertaining due to the various forms the charming Calcifer assumes. The tiny color-coded dial by Howl’s front door, which allows people to teleport to specific locations, is also quite innovative. Interestingly enough, Howl’s Moving Castle premiered in American cinemas in June 2005, a year when computer-animated U.S. movies were heavily focused on trendy and contemporary humor styles, such as the “Chickens Gone Wild” joke from Walt Disney Animation Studios that same year.

In a world filled with modern humor and pop culture references, immersing myself in the timeless charm of “Howl’s Moving Castle” feels like a breath of fresh air. Unlike some family movies today that seem more focused on cramming American Idol jokes, Miyazaki chose to go back to the roots of storytelling, using captivating visuals to tell his tale.

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2024-09-30 15:15