It sure ain't Disney. Master Japanese animator Hayao Miyazaki's masterpiece "Princess Mononoke," is no sugarplum
fairy romp. A superb example of "anime" (Japanese animation), "Princess Mononoke" is too violent and complicated for kids. Its moral ambiguity may make adults uneasy. "Mononoke" works as a
movie, not just a fancy cartoon. It's a dark, morally ambiguous tale of greed, salvation, people trapped between two different cultures and defiling gods. This political statement told as a
mythological tale is set in medieval Japan and follows a classic hero's journey as the main thread of the story. Miyazaki creates a vibrant world peopled with strange spirits, courageous fighters, reformed hookers, ruthless businesswomen, greedy rulers, and enchanted beings.
This is a visually astounding
work rich in detail and packed with technical wizardry. Lovingly produced, it has scenes of breathtaking beauty
achieving an artistic effect rarely seen on film – live or animated. That these effects are created by hand-drawn, individually colored cels is mind-boggling. That a work of such cohesiveness, depth and cinematic strength is produced in animated form is close to miraculous. Miyazaki handled writing, directing and editing, resulting in an unusually cohesive, uncompromising work. Thank goodness he refused to allow a single cut for the U.S. release, or else "Mononoke" would be reduced to a lame, hairy Cinderella story. Instead, its story remains sharp, with characters that are not always admirable but never dull.
Opening sequence of a demon-creature that looks like it's made of a million pulsating leeches is easily the pinnacle of any animated film ever
made. The entire screen boils with writhing movement as a demon races to destroy a town. Top-flight action directors would be done proud by the hero's mad chase
to stop the thing. The sequence is handled brilliantly. Action angles, editing, pacing and suspense level are first-rate. Twisting, spinning changes in point of view account for a lot of the visual excitement. The
vigor of the drawings
themselves fairly bursts off the screen. Remember that all illusions of movement, speed, and point of view must be created by the art – no fancy camera angles, without careful drawings of perspective and continuous effort to create the effect.
And when the violence erupts, whooo! How about those heads sailing through the air! Tarantino would be jealous of Miyazaki's graceful mayhem. The film's mood changes unpredictably and
with ease. A furious and gory scene quickly flows into a hushed, mystical
sequence
with the same quietude one feels in a vast forest.
Attention to detail is remarkable: Yakull's hooves spreading slightly as he trots across a field, the play of shadows
on Ashitaka's cloak, each scene's nuanced shadows. Backgrounds are breathtaking in charm and realistic details. Mastery of the medium is shown in the ape tribe sequence: pure line and color, nothing else, so
effective it makes one gasp.
Excellent use of animation to emphasize characters: Mononoke's first appearance
shows her skittering about in a fast scuttle that's more animal than human – the key to her character. Ashitaka's motions are always big and sweeping, as befits a confident hero. Lady Eboshi's tight, controlled movements are echoed in her sly, sophisticated expressions.
Nothing in this film is flat: the plot is twisty, all characters are hard to peg as "good" or "evil" the images are given dimension and wit. The script is tough, giving all the characters
solid motives (not necessarily nice ones) and three-dimensional personalities. Excellent choice of English voices. Best work by Minnie Driver as the crisp voice of Lady Eboshi. Claire
Danes has a rather colorless voice but she brings sufficient grit to the mysterious Princess. Billy Bob Thornton does a very good job lending his down-home rural wryness to the erstwhile priest Jiko,
while Jada Pinkett Smith's brassy yell is the perfect choice for outspoken Yoki. Miyazaki's strong women characters are a welcome relief from the sappy female creatures that usually populate animated
films. The wolf-girl isn't forced to renounce her world to keep love, like water-bimbo Ariel. I'd give this film a top rating just for that alone.
It's a bit on the long side and sometimes
a touch too weighty but these are minor quibbles. "Mononoke" seamlessly integrates Japan's reverence for nature and paganistic beliefs into a thoroughly realized fantasy world. The story examines
many issues relevant to today's society: how to live in violent times, balancing opposing needs of people and nature, the mixed blessings of technology, the problems of people who can no longer live in
their original culture, and the compromises necessary for strong individuals to maintain a relationship.
A brooding, thoughtful film presented with spectacular flair.
First-rate work by a master at the height of his powers. |
