Based on the original semi-autobiographical novel by Akiyuki Nosaka, Hotaru no Haka or Grave of the Fireflies (1988) holds the title of one of the most affecting wartime movies of all time, making the statement that anime is not just entertainment, it’s an art form.

A powerful anti-war movie with a profound sense of humanity that is relevant, even today. And no, it isn’t the talented work of virtuoso Hayao Miyazaki – instead its his long-time colleague and friend, director Isao Takahata who is the mastermind behind this thought invoking allegory of wartime struggle in World War II Japan.

Hence, we follow the devastating journey of inseparable orphans Seita (voiced by Tsutomu Tatsumi “dubbed version Robert Spencer”) and Setsuko (voiced by Ayano Shiraishi “dubbed version Rhoda Chrosite”), who have lost both their parents due to the ongoing war with the allies and become like many of their Japanese countrymen, forced to leave their affluent households and live as paupers. The pair end up living with their malicious aunt, who is not thrilled by their presence, she strives to quell any frisson of happiness they have.  But, Seita’s love for his sister won’t allow his aunt to destroy any moments of happiness they have, where they can forget about the war and just be kids. He assumes the role of otoosan, a father, the sole protector of Setsuko, and in the midst of the volatile air raids the children manage to build a home out of an abandoned bomb shelter they find amongst all the turmoil and death.

It isn’t long into the film when your thoughts turn sober, that life is in the balance for these two children, as Seita struggles to take care of them both amass the river fireflies that personify the fragilities of the children’s life. Even the film’s sub characters reinforce the present ominous situation, with their callous mistreatment towards the desperate brother and sister. Their innocence and will to survive is heart breaking and moving to watch, beautifully portrayed through the joy of animation. Regardless of the fact that they are so young, Isao Takahata illustrates the strength of spirit and adversity in the face of precarious circumstances, albeit the film never over plays its hand by being melodramatic. It is a cathartic wartime movie that’s real purpose is to focus on our human weaknesses pride, love and hope, hope being the most despairing of the three and incidentally all Seita and Setsuko have.

This is the first film Isao Takahata did for Studio Ghibli, surpassing many expectations with its fluid dialogue, haunting instrumental soundtrack and the overall cinematic genius of the film that delivers a down-to-earth approach to animation. Grave of the Fireflies crosses bridges live action film cannot, balancing death and beauty on the tip of an animator’s pencil, in both the Japanese or the dubbed version (which is good too!) its emotive tone crosses over cultural barriers for all audiences to enjoy. You find yourself often forgetting this is an anime with characters, who feel, who’ve lost, who love, a dedication to the true victims lost in the war. To simply recommend Grave of the Fireflies is not enough, it is imperative that this tragic film and all its childlike purity be seen by everyone.

AMP Movie Rating

The cloaking fog whispers away from the huffing mechanical shaped bullfrog, making its way up an alpine pasture on a set of sanguine chicken clawed legs; it’s the type of organic-hydraulic design that is apt of Hayao Miyazaki. Freely adapted from British author Diana Wynne Jones’, Howl’s Moving Castle is another masterpiece in the Studio Ghibli collection.

Meet Sophie Hatter, a teenage girl who resigns herself to her dull fate as a hat maker, until she is literally swept off her feet by a handsome-yet-mysterious blue eyed wizard named Howl (voiced by Christian Bale). Unbeknown to Sophie (voiced by Emily Mortimer), her tedious hat maker life is about to be turned on its head by the self-couture-conscious Witch of the Waste (voiced by Lauren Bacall), who transforms her into a 90 year old woman (voiced by Jean Simmons). Spellbound and sworn to supernatural secrecy she embarks on an incredible journey to lift the curse, and finds refuge in Howl’s enchanted moving castle. It is here she befriends Howl’s spirited apprentice Markl (voiced by Josh Hutcherson) and the combusting castle carrier Calcifer (voiced by Billy Crystal). Sophie’s presence transforms Howl, sometimes literally, helping him overcome his self-absorption and loneliness. However, while Sophie is content playing house, the burgeoning war of wizards looms ever closer on the horizon and it isn’t long before she is fighting for more than her youth, but her life.

Miyazaki’s distinct interpretation on classical fantasy creates a neo fantasia version of the Wizard of OZ, complete with its own scarecrow, cowardly ‘roaring lion’ and impetuous illusions. The bulky citadel that houses Howl is junk, even the inside is not impressive. Yet, it is a piece of meticulous magical machinery, mobilised instantaneously by the whizzing pipes and strained bolts that are strewn across its body-how it stays together is a complete wonder- which is incidentally apart of its charm. Arousing the curious child within you Miyazaki interchanges worlds through a simple doorway of mystical brilliance, the setting offers a multitude of numinous enthral from the detailed high court industrialised towns; that favour nineteenth century Europe to the open vistas that will beguile minds young and old alike.

In an industry so rapidly expanding his loyalty to hand drawn animation is testament to the talent once revered so highly and is often richly forgotten in exchange for PIXAR rendered fairytales. Miyazaki stamps his definite mark on this fantastical story and highlights social complexities in his characters which symbolise how you can be overcome by narcissism, greed, beauty, and age. Sophie triumphs over this through endurance, humour and humane sincerity, maturing as she switches between old and young. On the other hand, the story falls short of the epic narrative you may expect from his previous works ‘Princess Mononoke,’ nevertheless the visual wonder in this fable of the struggle for identity and the impulsive tangle between love and war, is a journey worth taking.

Hayao Miyazaki, Academy Award-winning Japanese filmmmaker of Studio Ghibli fame, is one of the most universally loved people in the Japanese animation industry, as well as having a considerable following worldwide.

Miyazaki won an Academy Award in 2001 for Spirited Away – the first anime to win an Oscar. Alongside Princess Mononoke (1997, released in English in 1999) this created a great interest in his works outside of his native Japan. However, Miyazaki’s works were already adored by the animation community worldwide, as well as receiving critical acclaim both in Japan and internationally.

He has been a beloved director inside Japan for several decades, having started his prolific animation career back in 1963 and been involved in successful projects such as Panda! Go, Panda! and Anne of Green Gables before releasing his first full-length feature, The Castle of Cagliostro (1979), and his second film, Nausicaa: The Valley of the Wind (1984). The success of Nausicaa led him to found Studio Ghibli with his long-term collaborator, Isao Takahata.

Other Ghibli films of Miyazaki’s include:
* Castle in the Sky
* My Neighbor Totoro
* Kiki’s Delivery Service
* Porco Rosso
* Howl’s Moving Castle (also nominated for an Academy Award)
* Ponyo on the Cliff by the Sea

These films were all great successes in Japan, and many Japanese have grown up loving these films, and now are showing these films to their children. In addition, these films have all been released into English and have gained popular acclaim with young and old alike.

Miyazaki’s films are known for their beautiful (mainly hand-drawn) animation and common themes such as childhood, Western culture, environmentalism, and strong female leads that appeal universally. In 2005, Time Magazine named Miyazaki #50 on their list of 100 Most Important People, and he also received a Lifetime Achievement Award at the Venice Film Festival.

It has been reported that Miyazaki shall be releasing two more feature-length films in the next three years. It is certainly exciting to see what this amazingly talented filmmaker will delight the world with next.

@Tiger33 /Admin modification = Originally announced August 2009 by Ghibliworld.com

Isao Takahata, Studio Ghibli co-founder and director (Grave of the Fireflies, Only Yesterday, My Neighbors The Yamadas) has made the very exciting announcement that he will be directing a new feature-length film. Takahata is the “other” half of Studio Ghibli, and one of Japan’s most famous anime directors. With this new film, Takahata will be breaking a 10-year hiatus (his last feature film, My Neighbors the Yamadas, was released in 1999). His new film, Taketori Monogatari (The Tale of the Bamboo Cutter), is a movie adaption of the classic 10th century folktale (also popularly known as Kaguya Hime no Monogatari (The Tale of Princess Kaguya)).

Taketori Monogatari has directly and indirectly inspired many Japanese manga and anime, such as Sailormoon and Inuyasha. This beloved story is considered to be the oldest surviving example of Japanese narrative, and every Japanese person knows this story. A little baby is found inside the stalk of a glowing plant by a bamboo cutter. He takes her home, and raises her with his wife as their own daughter, and they give her the name Kaguya-Hime (radiant-night princess). She grows into a beautiful adult woman, with many suitors, even the Emperor of Japan – and she rebuffs them all. Then, things become even more complicated as her true lineage becomes revealed, and her special relationship with the moon. But let’s not go into that – if you don’t already know how this famous tale turns out, don’t find out! Save it for the movie!

This would be Studio Ghibli’s first foray into remaking a classic folktale (unlike Disney, which is famous for such remakes – Cinderella, Snow White, etc.). Taketori Monogatari has been made into live-action and animation remakes many times, and while it has not been announced whether Takahata intends to faithfully follow the original story, it is more likely that he will surprise us. For one thing, a faithful rendition of this story has been done many times, and it might not be interesting for Japanese locals; for another, he is well-known in Japan for his originality and creativity. So it is certainly a treat to look forward to.

And just to really whet your Ghibli appetite: It has also been reported in the official Studio Ghibli blog that Hayao Miyazaki is in discussions with studio staff to make two more feature-length films in the next 3 years. With the release of Ponyo only a year ago, and potentially three Ghibli movies to look forward to, this is certainly an exciting time for Ghibli’s many fans in Japan and worldwide!

Source:Ghibliworld.com

Although quite the successful weekend, “Ponyo” failed to top Miyazaki’s record set by his 2003 film “Spirited Away”, however it proved to meet the expectations of the production company, Studio Ghibli.

“Ponyo on the Cliff by the Sea” is centred on the chance meeting of 5 year old Sousuke and Ponyo, a half-human, half-goldfish girl after she had escaped an underwater tower, held capture by her mysterious father.

Although sharing many similarities with “The Little Mermaid” by H.C Anderson, Miyazaki stated that he drew more inspiration from Rieko Nakagawa’s book “Elta the Frog”, as well as citing other sources such as Wagner’s “The Ring of the Nibelung” and Natsume Soseki’s “The Gate”.

Miyazaki’s reputation of stellar animation continues, as every frame in “Ponyo” is hand drawn, which is a change from his recent use of CGI animation since his 1997 hit “Princess Mononoke”. “Ponyo” brings out brilliant visuals thanks to Miyazaki’s watercolour-inspired art.

This marks a change for Studio Ghibli’s usual dark films, as “Ponyo on the Cliff by the Sea” is a light hearted film that will keep children and adults smiling throughout.

The 67 year old director’s newest film has yet to receive an American release date, but reports have suggested screening dates sometime next year.