TIFF’s Spirited Away: The Films of Studio Ghibli Review: Princess Mononoke (1997) - NP Approved

Cast: Yôji Matsuda, Yuriko Ishida, Yûko Tanaka
Director: Hayao Miyazaki
Country: Japan
Genre: Animation | Adventure | Family

Editor’s Notes: The following review is part of our coverage for TIFF’s Spirited Away: The Films of Studio Ghibli which runs from December 12th to December 31st at TIFF Bell Lightbox. For more information on upcoming TIFF film series visit http://tiff.net and follow TIFF on Twitter at @TIFF_NET.

The tale of Princess Mononoke is one that already is worthy of your time, and admiration. A brave warrior named Ashitaka is placed under a wicked curse during battle, and in order to save his life, he must embark on a journey for the cure. During his travels, he finds himself in the middle of a horrific war between humans and the spirits of the forest. He believes both sides can come to terms, but instead they see him as an enemy meant to do harm to both of them. With the help of a beautiful princess who was raised by a wolf-god, they will try to end the suffering, one way or another.

 Although all of Hayao Miyazaki’s films have a sense of wonder and are insanely gorgeous to look at, his filmography showcases something else that makes him unique: his ever-willing-and-able ability to change his tune of his vibrant whistle.

Although all of Hayao Miyazaki’s films have a sense of wonder and are insanely gorgeous to look at, his filmography showcases something else that makes him unique: his ever-willing-and-able ability to change his tune of his vibrant whistle. With movies like Spirited Away and Howl’s Moving Castle, he captures the heart of a child-like fantasy world that we all deserve. With Princess Mononoke though, he dives head-first into a boisterous world that’s heavy on heart, adventure and the will to prevail through tremendous adversity.

Miyazaki’s writing has always been the one element about him that’s come close to the word ‘inconsistent’, but not with Mononoke. Finding the perfect balance with a story like this is a feat not meant for the light hearted, which is ironic since Miyazaki has proven himself to be more than capable in that category just as well. The action sequences that dominate the screen are works of art that aspire to become living images meant to live in the realms of your brain for as long as you live. What’s more surprising than that (coming from his background) is the tenacity at which he presents them. They’re ferocious, and almost unapologetic. Lives hang in the balance, and the approach the action takes is meant to be a living definition of such a phrase. It’s so breathtaking; you might ask yourself if this is really the same man that also gave you the likes of Kiki’s Delivery Service just a few years earlier.

 It’s so breathtaking; you might ask yourself if this is really the same man that also gave you the likes of Kiki’s Delivery Service just a few years earlier.

Princess Mononoke has spectacular force, but the most noteworthy aspect about it is the perfect marriage it creates with all of its elements. When you’re not clutching the air, you’ll be mesmerized by the absolute supremacy of Miyazaki’s visual storytelling. With the help of longtime collaborators, composer Joe Hisaishi (giving a career-defining score here) and cinematographer Atsushi Okui, the movie realizes (rather quickly) and acts upon a simple fact: this isn’t just another quest, or an epic that’s defined by its animated medium. One can’t say Princess Mononoke can play right alongside with the “live-action” big boys because a cinematic marvel such as this proves that it doesn’t matter how you present your story; true greatness knows no boundaries, or restrictions, nor does it play favorites with cinematic mediums. This is one of the greatest movies of all time, and if anything it needs to be seen by more and more people. The dreadful argument a person can make of a movie not being held up to the same standards of a live-action event simply because it’s “animated” should see this. Then, after it’s over, close their jaw for them, and dare them to say the same thing.

On a personal note, I first saw the film over a decade ago, and just recently for this TIFF event, and it’s just as radical as the last time. A final thought came to mind as the credits rolled: an imagine of Miyazaki showing this to another master filmmaker, Akira Kurosawa. This is a movie that would have definitely brought a smile to his face.

98/100-Princess Mononoke easily and confidently stands out as one of the absolute best gifts that Hayao Miyazaki has even given cinema.

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Jaime Burchardt

Movies On Demand Editor & Staff Film Critic

My head's been consumed the art of movies & its creation ever since I was old enough to know what the word 'consumed' meant. The only way to reduce the pressure buildup is to write, edit, and direct. Chocolate milk also helps.

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