By Chlotrudis Independent Film Society
Rating: 4 cats
Director: Hayao Miyazaki
Starring: Akihiro Miwa | Chieko Baisho | Takuya Kimura
Original language title: Hauru no ugoku shiro
Country: japan
Year: 2005
Running time: 119
IMDB: http://www.imdb.com/title/tt0347149/combined
Chris says: “I have to admit I was hooked from the first scene, where the amazing, immense contraption that gives this film its title emerges through a brown, dusty fog. Although based on a story by Diana Wynne Jones, this adaptation could only come from Miyazaki: it’s full of breathtaking landscapes, valiant, but not always clear-cut battles between good and evil, and odd, endearing-if-not-quite-cuddly little creatures and inventions that are emblematic of his oeuvre.
“Set in an early-20th century England on the outbreak of war, 18-year-old Sophie is suddenly transformed into a 90-year-old woman by the wicked, zaftig Witch of the Waste. She sets off to the towering hills beyond town to seek a witch or wizard that can help her break the curse. She soon takes up residence with Howl, a handsome but troubled young wizard who travels around in an enormous, multi-tiered, forever-morphing makeshift mansion with feet.
“From there, the narrative gets a little tangled as identities shift, motives are revealed/changed, and characters try to figure out how to break their spells. This isn’t as ingenuous (or coherent) as SPIRITED AWAY; while Sophie is a richly-drawn protagonist, her plight doesn’t seem nearly as urgent as Chihiro’s was in the previous film. Still, it makes for another sumptuous, witty, artful feast for the eyes that’s easy to get swept up in.
“Given where it takes place, the English dub seems less jarring than in other Miyazaki pictures. For every campy minute of Billy Crystal as fire demon Calcifer (at least he’s more restrained than Robin Williams would’ve been), you get to enjoy the perfectly-cast tones of veteran actresses Jean Simmons (as old Sophie) and Lauren Bacall (as the Witch). Christian Bale also hits just the right blend of heroism and narcissism as Howl. 4.5 cats”
Michael says: “Hayao Miyazaki’s latest anime spectacular is different from many of his recent crossover hits. Very often the protagonists of Miyazaki’s films are children, usually young girls (SPIRITED AWAY, MY NEIGHBOR TOTORO), or there are strong ecological themes (PRINCESS MONONOKE; NAUSICAÄ OF THE VALLEY OF THE WINDS). HOWL’S MOVING CASTLE is a fairy tale romance. Sophie is a plain young woman whose trade is making hats. A chance encounter with the mysterious wizard Howl leads her on a convoluted journey where she encounters the Witch of the Waste, who transforms her into a old woman, becomes involved in a contract between Howl and a fire demon Calcifer, and becomes embroiled in a war between the kingdoms of the world. Yet through all her adventures, the underlying story is one of true love across time, between Sophie and Howl.
“Miyazaki’s fantastic imagination is still a wondrous thing. Howl’s castle walks on four huge chicken-like legs, powered by Calcifer, with doors that lead to various locations depending on a mystical dial. Things are never black and white in Miyazaki’s colorful films either. While initially portrayed as the movie’s villain, the Witch of the Waste is more than she appears as well. Suliman, the king’s witch puts forth one face at first, before revealing surprising motivations beneath her placid exterior. Even then she is a mystery as the film winds to its inevitable (fairy tale) happy ending. And here is where the parallel to the real world is most evident. War is the underlying theme of HOWL’S MOVING CASTLE, and the parallels drawn to today’s political arena are hard to miss. Is Suliman a villainous witch? Or simply a powerful force doing what she feels is right for the world, no matter who it hurts individually?
“Unfortunately, HOWL’S MOVING CASTLE seems to lack the staying power of some of Miyazaki’s earlier films. Just two days later, I’m having trouble remembering a lot of the defining elements from the film, while I have no trouble recalling the complexities of PRINCESS MONONOKE, the wonder of MY NEIGHBOR TOTORO, or the innocent coming-of-age of KIKI’S DELIVERY SERVICE. HOWL’S MOVING CASTLE is an enjoyable, well-made film, but it’s not quite up to the expectations I had for Miyazaki’s latest film. 3 ½ cats”
Tom says: “I have to get off my ass sooner or later and write something up, but it’s quite a complex movie that I’d have to write a term paper. So instead I’ll just speed over it.
“Miyazaki has taken Diana Wynne Jones’ mediocre fantasy novel and turned it into a self-portrait, a snapshot of 2004 Japan and a pretty damn good movie.
“First, the damn good movie. I’ll go even further and say it’s a masterpiece and also the best movie he has written and directed (WHISPER OF THE HEART is still his best writing effort). As always with his films, the animation is top notch. Studio Ghibli seems to be the only feature-length studio to be sticking with traditional 2D animation, and they’re second only to Disney’s golden years. The castle is an amazing design with incredible complicated movements. Add in a rich cast and compelling story and you
have another Ghibli masterpiece.
“It’s hard to see Howl as anything other than a self-portrait of Miyazaki himself. The man who ate his own heart to stay young forever, almost Peter Pan-like, forced to realize his ideology cannot change the world. Miyazaki has made it clear in his interviews the guilt he has felt over his family escaping the worst of the war to the countryside and his family’s refusal to help others at that time. It’s little wonder that time and time again Miyazaki returns to damn the war mindset.
“Then there’s the allegories that relate to Japan itself: first, that war is meaningless, fought and ended at the whim of those in power. As with America’s current war with Iraq, Japan and Howl share the same lack of involvement, believing as long as it doesn’t directly involve them, there’s no need to intervene. Next is the theme that no one can live alone. In Japan, as in America, there is much discussion of shut-ins and the lack of continuation of family. Not to mention the rapidly aging society (not unlike the baby boomers rushing into retirement here). Yet the main character is both young and old, occupying the same body.
“Like I said, I need a term paper to flesh out my thoughts about this move. And I’m no writer. Hopefully some of you can take the seeds I’ve handed out and let them grow into mighty oaks. or a pie tree. I love pie.”