Kamikakushi -- Anime Master Miyazaki's New Ambition

Kumi Kaoru discusses Anime master Hayao Miyazaki's all time Japanese highest grossing film Spirited Away-- from its background to its meaning and whether or not Miyazaki succeeds at creating another masterpiece.

This is the amusement town where spirits elsewhere in Japan visit in order to heal themselves. An old witch called Yubarba ("The Hot Water Hag") rules the big public bath in the town, which doubles as the banquet hall. Yubarba is very greedy. If you saw Laputa: The Castle in the Sky, you will be reminded of Dora, the greedy female captain of the flying pirate ship in the adventure movie.

Chihiro is accepted into the world on the condition that she works at Yubarba's public bath center as an employee. But Yubarba dislikes her name Chihiro ("A Depth of A Thousand Fathoms of Water"), and gives her a new name, Sen ("A Thousand"). Now her trials begin. Can Sen, no, Chihiro restore her parents to human form and return to the human world like Alice in Wonderland?

A Film For Ten Year-Old Girls
In 1997, a few months before the release of Princess Mononoke, Miyazaki surprised his fans with a sudden retirement declaration, only to withdraw it officially in February 1998. Apparently, it is because Yoshifumi Kondo, who directed the youth movie Whisper of the Heart in 1995, died after the Mononoke release. He was expected to be the successor to Miyazaki. In addition, My Neighbors the Yamadas, released two years after Mononoke, made only 820 million yen in distributor's revenue while the production cost was 2.4 billion yen. Studio Ghibli and its parent company Tokuma Publishing, whose fiscal situation had grown worse in these years, needed Miyazaki once more.

Then, what made Miyazaki decide to make a fantasy adventure whose protagonist is a ten year-old girl? He explains in an interview published in the theater program: "Studio manager Suzuki and I have friends and I'm familiar with their little daughters. For a few days every summer since the girls were 4 or 5 years old, they have come to visit me at my mountain cottage. [...] When they turned ten years old, I realized I had not made a movie for them. Kiki's Delivery Service was aimed at adolescent girls. [...] I started thinking [about] what kind of movie I should make, if I am making it."

Miyazaki says he decided to make a movie in which a typical ten year-old girl of today steps into a strange world, goes through many experiences and awakens to what's truly important in life. Through the experience, "her hidden adaptability and patience will appear. She will realize for the first time she has the power of life for good judgement and acting."

Our heroine Chihiro is the most unappealing girl among female protagonists created by Miyazaki (except Mei in Totoro). But Miyazaki designed such a girl intentionally. "Today, children are growing up spoiled, guarded and overly protected in Japan. They just live with less realization of life, and fatten their unhealthy ego. See Chihiro's slendar arms and legs, and her distorted and lifeless face. They symbolize the children of today."

Miyazaki emphasizes: "Sen to Chihiro no Kamikakushi has no fighting scene or ESP battle, but I think it is an adventure movie. 'Good versus evil' is not the theme. This is the story about a girl who stepped into another real world where both good and evil exist. She will go through many experiences, learn how important friendship and dedication are, and return to the human world with her wisdom."

The Real Girl of Today?
One cannot overemphasize that Miyazaki is now much more popular and respected in Japan than the legendary filmmaker Akira Kurosawa (1910-1998), let alone the Anime Godfather Osamu Tezuka (1928-1989). This film's release was a major social event in the land of the rising sun.

So you need not be surprised that Kamikakushi broke the Japanese box office record for best opening day held by Star Wars Episode One: The Phantom Menace. If you went to the theater on the morning of the opening day, July the 20th, you would have found people already standing in a queue around (not just in front of!) the theater. Adults with their kids, school girls, junior high school boys, and so forth... They enter the theater, and chat happily in their seats waiting for the screening to start...

The film starts. Action scenes, humorous scenes, horrible scenes and so forth continue, and the audience's happy laughing and murmurs fill the hall. The running time is 2 hours 5 minutes. The movie ends and the hall is illuminated. You stand up and move toward the doors congested with people. If you are fluent in Japanese, and listen carefully to what is being said, you would find boys are saying, "Omoshirokatta kedo, naa..." (I admit it's very entertaining, but...), or girls saying to their parents, "Kore de oshimai?" (Did I miss something?)

Yes, I missed something. Kamikakushi is full of exciting events and adventures, but I felt it failed to give us something more important. Seeing reviews written just after the release, I found the reviewers were divided on Kamikakushi; some say it is a very entertaining movie, and the others (including me) say Miyazaki failed to have his intention thoroughly reflected throughout the film.

Why do you leave with such an unsatisfied feeling? I think it is partly because Chihiro is not really portrayed as an ordinary girl.









Comments


I have just seen this movie and the animation aspects were, I agree, spotty. In other words, amazing in some scenes, and adequate but nothing special in others. What resonates with me is the symbolism. Reading your article helped me to understand the symbolism, some which I am no aware of due to the cultural background of the movie. I cannot help but compare this film strongly to the Wizard of Oz. In both cases, the film follows the development of a girl/young woman who at first lacks the confidence to proceed in the world. She enters a fantasy world filled with characters and images that are confusing to her, duties she must perform, and both good and evil beings. Then, through the trials she experiences, she grows stronger. I also was struck by the poor and cold relationship of her mother. But I think this is probably incidental - not critical - to the experience of Chihiro. I thought the name aspect very interesting. In fact, I felt that the most climactic part of the film was when she remarked to Haku - oh, but I won't divulge this in respect to those who haven't seen this film yet. The name element, the breathing element, and the other aspects made this a dreamy, almost trippy kind of film.
sandy r (not verified) | Sat, 06/07/2003 - 00:00 | Permalink
I have to say that I agree with Gildas Jaffrennou. The review is a very "professional" one, i.e. it doesn't meet the movie on its own terms. A lot of fairy tales are less than understandable - take "Alice in Wonderland" as an example, and in that tale there are hardly any overweight or mythical creatures present. Perhaps in a western way of thinking, and that is also where one has to draw a line, because the movies from Ghibli are indeed *very* Japanese. Intentions or not, it is a beautifully crafted well put together animation with a story line you don't really have to 'understand' completely - at least not as an adult. I believe that even though many viewers both outside and inside Japan are adults, you have to consider the (Japanese) children also, and there, I do believe that Miyazaki and co. do a very good job. I admit, I have to see it again, and that not only for its masterful execution, but for some of the symbols depicted. And that's what makes a well-crafted story - the multiple layers you may find beneath the surface. Not all feature animations need to be as 'square' as some of Disney's... (Now I'll sure get some angry mails - no offence intended! (^_^))
Massimo Fiorentino (not verified) | Thu, 11/07/2002 - 01:00 | Permalink
Although I disgree with this review, but I understand everyone is entitled to their own opinions. However, there's a few things in this article which I found that I am pretty sure are incorrect 1. The food Chihiro's parents ate were meant to be for gods, it wasn't a public resturant. 2. Yubaba did not take part of Chihiro's name because she didn't like it, it was to keep her there as her worker. Chihiro can not return to her own world without remembering her real name. 3. Her parents have no recollection of what happened during the time they were 'spirited away' therefore haven't changed at all from the beginning of the film. Chihiro was the only one who changed. And their cold family relationship is common in today's society. 4. The mother in "Totoro" did not live with the family because she was admitted to hospital during the course of the film. She was eager to go home to her family, Mei and Satsuki also wish to have her back home. The telegram which causes Mei's dissappearance was sent by the mother to notify the family that she may get recharged from the hospital earlier then she expected.
Yuffie Aogiri (not verified) | Thu, 09/12/2002 - 00:00 | Permalink
Ohaio Kuni San, could you tell me why the faceless spirit was forgiven at the end of the film and why Sen wasn't afraid of him even though he ate everyone? I saw the film this summer in Kusatsu and I went in only with 1st semester Japanese! So I was a little lost but still happy to be there! Arigatou Goziamashitte! P.S. the nursery rhyme character is "Humpty Dumpty" not "Hampty Dampty".
Ashanti Miller (not verified) | Thu, 01/03/2002 - 01:00 | Permalink
First, note that I am French, and forgive my foreign english ! I read your article about Miyazaki's last movie with a great interest. I happened to see the first international projection of that movie in Paris on December, 22. Among with 500 french fans, we had the chance of seing the movie AND asking a few question to Mr Miyazaki himself, who was present (!) We saw the movie in Japanese version, with subtitles in French. At this present moment, a lot of discussions are running about that movie on french anime forums, and I would'nt say I have all the keys for fully understand the movie. Indeed, you article taught me very interesting details about 'kamikakushi' and traditional Japon. But I must say my surprise, reading that you missed something. It is not such a surprise, as you had quite a lot of informations before seing the movie, in order to make yourself an opinion 'a priori'. Maybe you are right, maybe the movie doesn't say what Miyazaki explained he wanted to tell. But maybe Miyazaki's words were not appropriate to translate what he wanted to do with this movie. You see, the more I investigate Miyazaki's movies, the more I feel that movies, and especially animation, cannot just be reduced in a few sentences, even if the sentences are from the movie-maker himself. Don't forget that Japan is the country of Zen, and Zen teaching is supposed to be beyond words. (I know that Miyazaki is not Zen, but Shintoist, but I think it is a part of his culture). I mean that Miyazaki explained his intentions, and intentions are not promises of commercial contracts. Have you ever read Miyazaki's intentions about Mononoke Hime ? It is obvious that the movie doesn't exactly fit the intention... In 'Sen to Chihiro', he said us (I was here) that if he had put all that he had planned in the movie, it would have been a 3 hours movie ! So he had to make choices and to build a story without developping all his ideas. About Chihiro... I don't think that Chihiro is the typical Miyazaki heroine. She is polite, and courageous enough to fight, but that's all. Of course, she changes during the story, but not enough to be as a strong character as Nausicaä ou Kiki. You point that some characters were not more than goblins like Hampty Dampty' to you. I am quite sure you could make the effort for understanding the symbols behind those mysterious creatures (excuse me, I am provocating you). You also point the lack of relationship between Chihiro and her parents. I think such relationship is quite representative of what famillies are in our modern countries. The conclusion... well, i feel Miyazaki has not a high idea of adults' capacity to change and evolve. I agree it is frustrating to see a new Chihiro coming back in the real world, with parents not even aware of what happened to them. The conclusion you were awaiting is cleary not the conclusion Miyazaki wanted to do. It is NOT a happy end, as Chihiro just understood that she have to struggle to get and to keep happiness in the real world. For her parents, happiness is just a matter of cunsumption. They got their human bodies back, but in their minds, they are still pigs. They are on a dead path, unable to change. Chihiro learnt that joy and happiness is not a matter of power or money, but of work, heart-opening and outside relationship. remember the knot in her hair, and what Yubaba's sister said about it... I intend to write much more about this movie, but forgive me, I feel better in my native language ! And thanks again for your article. Even if I do not agree with you, It is good to read articles about Miyazaki written by people that realy know his work.
Gildas Jaffrennou (not verified) | Wed, 01/02/2002 - 01:00 | Permalink

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