It's About Time.

I decided that one of Studio Ghibli’s works was long overdue as a feature here. So here we go!

Spirited Away
Japanese release: July 27, 2001
U.S.A. release: September 20, 2002

You may have noticed that I’ve mentioned Hayao Miyazaki before in this blog. And with good reason: he is heralded by many critics as one of the best film directors alive today. I have long wanted to include one or more of his works on this blog, if only to include more non-Disney works. Yet when I watched it, I was simply blown away. This man is a genius!

The movie opens very effectively, with a scene that showcases our characters and story setup well: young (and lazy) Chihiro and her parents are moving, but Chihiro herself is extremely sullen about the move and is often stubborn with her parents. They wind up in an unexpected, mysterious place inhabited by spirits, and Chihiro has to learn to work hard and do what is right if she is to rescue her parents and escape the spirit world.

The fantastical setting of this film is very different from our usual idea of a fantasy, i.e. a “western” or “medieval” fantasy. There are funny little stone monuments shaped to look like short, rotund people. Out of nowhere we see oozing black shadows, human-sized frogs, and weird creatures that look like they have roots growing out of their mouths. The way in and out of the spirit world is a grassy hill or a flooded sea, depending on which side of the gap you’re in. Chihiro must hold her breath crossing a bridge, is controlled by her true name being taken away, and isn’t allowed to look back as she leaves. Yet even though this created world seems a bit haphazard and unorthodox, you can’t help but be drawn in by it. It is thorough, imaginative, and just looks so good!

Actually, I was a bit surprised at the animation. The animation of the characters seems to be at a lower frame rate than we are used to, so it looks slightly chunky in places. But the coloring and shading is so smooth, the expressions and motions so lifelike, and the background art so spectacular that you don’t really care about the walk cycles. All you can think when you see this movie is “gorgeous!” I decided that the best way to let you glimpse this visual wonder without revealing too much of the story was its trailer, so here it is.



Our story is in essence a coming-of-age story. Chihiro has never had to do any manual labor; as Lin says, “Haven’t you ever worked a day in your life?” In the opening sequence, she comes across as apathetic and clings selfishly to memories of her old home. She doesn’t appear to be very fond of her parents until she loses them. Yet over the course of the film, she learns to accept hard work, make new friends, and make the right moral choices. The scene with the river spirit who has suffered from pollution is a test of bravery and responsibility, the temptation scene with No Face one of resistance to greed, and the rescuing Haku segment one of love.

Yet many other characters have learning experiences, not just Chihiro. The giant, spoiled baby Boh leaves his pen for the first time and takes it upon himself to learn to walk so that he can stay with Chihiro. No Face, even though his greed, still cares for Chihiro, and follows her to Zeniba’s place and gladly stays there as an assistant. And Haku, of course, gradually breaks free from Yubaba’s power through his love for Chihiro.

Before we go, I have to slip in a word about the music. It was provided by the New Japan Philharmonic, which gives many segments a majestic quality. But in several scenes, the music is simply a piano solo, giving the film a lonely, mystical tone. It is really quite beautiful.

I can do no less than to call this film a masterpiece. If you haven’t seen it yet, then you are in for a real treat.

Mahewa’s rating: 5.0/5




If you’re still not convinced, Rotten Tomatoes gives this flick a whopping 97% approval rate! Check it out for yourself.