Historical Context
Japanese animation often brings to mind poorly made cartoons with character’s with ridiculously large eyes, too many tears, and voice-overs that you would expect from the most campy kung-fu movies if they were delivered by annoying pre-pubescents. But even the likes of Pokemon and Dragonball-Z demonstrate a little bit of the Japanese imagination. Whether it is giant robots and monsters, or mythic time-travel adventures, or any other display of fantasy, the Japanese have captured a niche market that appeals to an increasingly large international audience. You can now find, all over the world, regular “cosplay” events where fans will dress in costume as their favorite character from an anime, manga (Japanese comic-book), or video-game.
Hiyao Miyazaki holds in the world of Japanese story-telling a station of nobility and permeates his films. He has demonstrated, in films like Princess Mononaki and Castle in the Sky, the right to be an heir to the Japanese imagination. But notably absent from his works are the shallow over-reactions of big-eyed characters, or the world-destroying “top this” antics popular in some Saturday-morning imports. His films, as a rule, combine masterful hand-drawn art with sincere and living characters. They are tasteful and unafraid to spread their wings in stories suitable for children, such as My Neighbor Totorro. And, almost always, they capture some side of human love and respect, be it between parents and children, in nervous friendships, or for nature itself.
Critical Analysis
Howl’s Moving Castle is, as the title suggests, a foray into the fantastic. It is a story with magic, shape changing, elementals and witches; but it combines them with steam engines, cannon-toting dirigibles, and automobiles. Certainly Miyazaki doesn’t shy from the fantastic. At the same time, none of these fascinating decorations in the story receive the center spotlight. When shy, self-deprecating Sophie is cursed to become a doubled-over old woman, she finds herself comfortable with her new identity, lacking public attention or expectations to marry. But this is a story of self exploration and, between the terror of the warring bombs and the beauty of pristine lakes and grassy fields, a process of self-discovery takes place between the two lead characters. Sophie has always lived like a servant and has been so busy trying to stay out of the way and help others that she has no comprehension of her own qualities. Howl, on the other hand, is a charming and vain prodigy of a wizard who is consumed with his own appearance and privileges. In this ego-centricity he has never realized the peace and joy that can come from extending is great power to help others. Miyazaki masterfully tells a story where these two gradually take care of eachother and, as feelings develop, their concern for the other and how best to serve overcomes these individual flaws and results in a happy family with an adopted grandma and child.
To display such a delicate interplay of emotions and values, and the development of them, is the true touch of a master.
Personal Application
The story of Howl’s Moving Castle was not my favorite Miyazaki when I first saw it. It was one of those things that grows on you as you think of it. It seems obvious that I couldn’t appreciate the depth of the love story until after I had spent 9 months courting my wife and seen the development in her. Although I hope that I was never as vain as Howl is through most of the film, I know that the under-girding course of my mind was always centered on my ambitions – not a far-cry from his preoccupation with power. But in the development of Sophie’s self I truly saw my wife. Her growth into someone who would allow her qualities to shine was almost biographical. And in the principle that it was service motivated by tender love that allowed Howl to overcome himself rings clear and near to my heart, for such has been my lesson.