This was a very hard list to compile. Whilst with the Pixar list I was scrabbling around at the end for films like Cars, Studio Ghibli has no such dead weight. Even their lesser films are still ambitious and have good points to them. I have seen no Ghibli film which I have thought was wholly bad. Now there are a handful of Ghibli films I haven't seen such as The Cat Returns, Ponyo or Tales from Earthsea, but I have seen all the major ones and more. Apologies if your favourite didn't make list- it was either because I didn't have space or I simply haven't seen it. It may also be noted that Nausicaä: Valley of the Wind doesn't feature on the list- this is ostentatiously because it is technically a pre-Ghibli film, but to be honest that is just an excuse because I had too many films to fit on the list. Anyway, without further ado, here are my top 10 Studio Ghibli films in alphabetical order.
Grave of the Fireflies- 5 Stars
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| English Theatrical Release Poster |
In contrast to my Top 10 Pixar films list this list starts out with an absolute classic. Grave of the Fireflies, from Studio Ghibli founder Isao Takahata, is a film about two orphans, a boy and his much younger sister, trying to survive in Japan at the end of the Second World War. It is a very bleak but also touching film about humanity and the need for human beings to be social. There is a debate raging around the film about whether it is anti-war or not. Many consider it an anti war film, but Takahata has challenged this saying instead that he intended to make a film about isolation and therefore the need to be social. Although I am generally the proponent of not reading more into a piece of art than an artist intended, here I think it is a necessary extrapolation. Even if Takahata claims that he did not intend to make an anti war film, it is the war that drives the two children to their isolation thus showing the destructive power of war. Even if not his foremost intention, Takahata could surely not deny that he did also show the horrors of war within his film. However, quite aside from this debate, the film is simply a masterpiece. The simple innocence of the young girl Setsuko and the determination of her brother Seita to keep her alive against all odds is so moving. Some of the best scenes come from when the two of them go to live with their aunt, who at first is welcoming and then gets more and more resentful as the two of them consume rations. The aunt's stance is decidedly harsh, but we understand her motives and worries for her own family. She is a complex character, not the stereotypical, strict refugee housekeeper of British wartime books about children. However, it is the love of the two siblings and the tragic impact of war that creates such a nuanced film and therefore it ranks very highly on this list, although its occasionally heavy sentimentalism keeps it from being higher.
Ratings: Entertainment: 9 Technical: 5 Intelligence: 4= 18/20 *****
Howl's Moving Castle- 3 Stars
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| The Titular Castle |
Howl's Moving Castle is an ambitious film but it doesn't quite all click together. This one was directed by Hayao Miyazki, the most famous of the Ghibli directors (although I would argue that Takahata is equally as talented and worthy of recognition). However, Howl's Moving Castle is not one of Miyazki's best. This could be because what is so admirable and instantly recognisable about Miyazki's films is their creativity and the easy narrative flow which stems from this. Howl's Moving Castle, however, is based upon a western book of the same name by Dianna Wynne Jones, which constrains this creativity and creates a rather mispaced film. Although the plot is not too complex to follow, some characters, for example Madam Sulliman, are not given enough screen time to give them the complexity expected from Ghibli films and so the audience does not really understand where they fit in or their motives. On top of this, Howl is not a very relateable character- he is moody and self absorbed which makes it difficult to sympathise with him and therefore care about the action. That said, Sophie is a fantastic heroine- she is brave and strong but also understanding, a trait which does a lot to endear her to the audience. On top of this, the fact that she is the protagonist and romantic interest of the film, and yet is an old woman is a fantastically original idea and fits with Miyazki's recurrent themes of female empowerment and age. In conclusion, although Howl's Moving Castle does have good points, it is let down by a mispaced and occasionally confusing plot, as well as the unsympathetic Howl, and so comes last on this list of films. However, the fact that it is last only goes to reinforce the quality of Ghibli's other films.
Ratings: Entertainment: 6 Technical: 5 Intelligence: 3= 14/20 ***
Kiki's Delivery Service- 5 Stars
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| Kiki and Tombo |
I have to say I was unsure whether to watch this film at first. The premise, that a 14 year old witch sets up a delivery business, sounded rather absurd and silly so I put it off. Then, one day when I had nothing to do, I decided that I'd give it a go and wow it is brilliant, one of my all time Ghibli favourites. That is because Kiki's Delivery Service isn't really about a witch. It's about all of the classic Miyazki themes that occur in many of his films. In fact, this film is probably the one which most apparently contains all of them. Transition from childhood innocence? Check. Modernisation of Japan? Check. Meditation on nature of art and the artist? Check. Symbolic flying? Check. Scenes depicting the ocean? Check. The most tenuous Miyazki theme would be the anti-war theme, but even then, the dramatic climax of the film features an airship- a machine used as a weapon of war in the early 20th Century. Most importantly, Kiki's is one of Miyazki's best characters and heroines. She is sweet and good willed, but she is also vulnerable and occasionally sullen. Her transition from child to young adult is a brilliant depiction of growing up. Her initial negative reaction to the boy Tombo and persistent ill-will towards him reflects a kind of perverseness so often seen in adolescent relationships. Moreover, the loss of her ability to talk to Jiji, her cat who represents her childishness, at the end of the film represents the sadness of the passing of childhood. However, we also rejoice in her independence and strength as she becomes truly independent. On top of all this, Miyazki inserts a meditation on art- Kiki's loss of her powers is symbolic of a type of 'writers block'. Her painter friend, Ursula, tells her that her powers like art will come and go. She must find a purpose and that will help her regain her powers. Thus, Miyazki is saying that artistic endeavour must aim to show something- to have a purpose. A simple theme perhaps, but a powerful one. The modernisation of Japan is also briefly touched on with the airship's ability of flight and Kiki's being compared- the airship which crashes represents modernity and Kiki's ultimate success tradition. That said, Tombo, who invents his own flying machine, and Kiki's chemistry point towards a harmony of the two- tradition and modernity combined. When all this is combined, it cannot be denied that Kiki's delivery service is a truly brilliant film.
Ratings: Entertainment: 9 Technical: 5 Intelligence: 5= 19/20 *****
My Neighbour Totoro- 5 Stars
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| Left to right: Totoro, Mei and Satsuki |
My Neighbour Totoro is, in my opinion, Miyazki's best made film. That doesn't mean the best film he's ever made, it simply means the one that flows the best and in which all the pieces fit together perfectly. It tells a fantastical tale of two sisters who meet the forest spirit Totoro and have many adventures together. It is a film all about the joys of childhood told in a very simple, understated way. There is no forced drama, no unnecessary tension- what is so admirable about the film and why I say it is the best made Miyazki film, is that he feels no need to rush things along and simply takes his time letting the audience enjoy the ride. For example, in an American equivalent, one might expect the adults not to believe the children's tales of the forest spirits resulting in a fight and then possibly a comedic moment when the parent is forced to realise their mistake. There is no such forced drama- instead the girls father simply accepts the presence of spirits in such a heart warming form of parental acceptance. Another example is the presence of the boy, Kanta. It is suggested that he has an attraction to the older sister Satsuki, and that possibly a romantic attachment may be formed in the future. However, this leads nowhere and by the end of the film we are still just left with future suggestions. At first I thought this was a fault of the film that it did not fully develop its storylines. Then I realised it was quite the opposite, a triumph of the film in that it felt no need to cram a love story in, and instead played with the sweetest suggestions of the blossoming of young love. It represents the good things about Satsuki's imminent adolescent future, which is close but has not quite arrived yet. This is also symbolised by the fact that it takes Satsuki slightly longer to find Totoro than her younger sister Mei, representing Mei's relative greater innocence as compared to Satsuki. And yet Satsuki is still a child and the way she interacts with her younger sister, almost as an equal, is so touching to see. Overall, My Neighbour Totoro is one of Miyazki's absolute best and is very high up the list.
Ratings: Entertainment: 10 Technical: 5 Intelligence: 4= 19/20 *****
Only Yesterday- 5 Stars
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| Takeo's childhood memories... |
One of Studio Ghibli's lesser known films, Only Yesterday is another masterpiece from Isao Takahata. It revolves around 27 year old Taeko travelling out to rural Japan and her memories of her 11 year old self which come to her throughout her holiday. It is, I would argue, one of the most ambitious of Ghibli's works as it breaks out of the normal bonds of animation to tell a largely realistic tale of a woman's path to self realisation. That said, it does have fantastical moments in it. In fact, the very best scene of the film, and one of the best scenes of any Ghibli film, is when 11 year old Taeko is walking home alone from school and she runs into Shuji, a boy who is rumoured to have a crush on her and who she has also developed an interest in despite the fact the two of them have never really spoken. There is an awkward silence only interrupted when Shuji awkwardly stammers 'Sunny days, rainy days, or cloudy days- which do you like?' There is a silence before she replies 'Cloudy days' and he elatedly responds by saying 'Oh we're alike!' before running off ecstatically. She then runs off happily in another direction starting to climb up into the sky when she starts flying. This flying is just a brilliant visual way of showing her elation, and as a memory, showing the looseness of recollection. This leads me onto another point about the genius of the artwork which surpasses all other Ghibli films. In the present, the artwork is as high a standard as you would expect of Ghibli film, with special attention given to give characters realistic facial movmenets. However, the true brilliance lies in the contrast of this with the memory scenes, where the scenes are much more sketchy. The characters all are coloured but the edges of the frame remain white and faded, as if she cannot remember them. It perfectly reflects the flimsiness of memory as emphasised by the Japanese title- Omoide Poro Poro (Memories Come Tumbling Down). This is probably my favourite Ghibli film and it does so many things well it's such a pity that it has some minor flaws that drag it down. These flaws are basically that it goes on too long- it is a two hour film and to be honest by the hour mark its starting to run out of ideas and becomes less engaging. On top of this, the relationship between Toshio and Taeko could perhaps have been built up better. The first scene with the two of them in the car is great, but from then on it doesn't really seem like they have any development together which makes her decision to start a relationship with him seem abrupt. These flaws considerably drag down what is otherwise a brilliant and very intelligent film about memory, childhood and our own inability to know ourselves.
Ratings: Entertainment: 8 Technical: 5 Intelligence: 5= 18/20 *****
Princess Mononoke- 5 Stars
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| Original Japanese Release Poster |
Unlike the Pixar list, the top Studio Ghibli film has come bang in the middle of the list. Princess Mononoke is a film of such breathtaking scale and ambition that it is not only one of the best animation films, but one of the best films of all time. It effortlessly blends fantasy with some incredibly complex themes and characters. I consider it the best Studio Ghibli film because it so clearly emphasises the theme of modernity vs traditional that Miyazki does so well. In Princess Mononoke they reach their peak as Miyazki considers both the positives and negatives of modernisation. Modernity is represented clearly in the film by the suitably ambiguous figure of Lady Eboshi. She is the leader of Irontown, a mining community which is a refuge for former prostitutes and lepers. This is the positive side of modernity- its acceptance and the support for the weaker in the community. However, the mining has also brought Irontown into conflict with the local forest spirits. They aim to kill the Deer God which sustains the forest but whose head also brings immortality (a pursuit that brilliantly characterises a modern pursuit of continual growth and progression). This shows the conflict that modernity and consumerism has on the environment. However, the character of Jiko-Bo also shows the deception and corruption of the traditional government. In the end, a compromise is reached where Irontown can live in harmony with the forest, just as the Ashitaka can live with wild San. However, Princess Mononoke's strength is not just its intelligence but its epic adventure. It is the only Ghibli film which can be said to be truly epic in scale with vast battles. And yet the film's build up to the climax is what makes it so brilliant, with all the characters showing complexity and depth. Both the characters of Eboshi and Jiko-Bo are ambiguous as to whether they are good or evil, and San, the titular Princess Mononoke, is a wild and savage girl of the woods, yet ultimately is the heroine. The protagonist, Ashitaka, is also not your typical hero- he is brave but melancholic- we get a sense that he is fated to take this path. It is his character that bestows the epic nature to the film- he provides a sense of fatalism that is so typical of epic films. In conclusion, Mononoke is a film epic in scale and thought and fully worthy of its first place.
Ratings: Entertainment: 10 Technical: 5 Intelligence: 5= 20/20 *****
Spirited Away- 5 Stars
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| Chihiro and No-Face |
Spirited Away is the most famous of Studio Ghlibi's films and also undoubtedly one of its best. It is about young Chihiro and her adventures in the fantastical world of an ancient bath house. It has become Studio Ghibli's most famous works, partly because it encompasses all those themes which Miyazki is famous for (modern vs traditional Japan, youth to adulthood, the environment), but also because it is one of the most inventive of any Ghibli film. The stink spirit, the huge baby and No-Face are just a few examples of the original characters involved in Spirited Away. Chihiro is also a complex heroine who although sullen becomes less introverted as the film goes on and by the end is a much more confident and likeable character. The theme of greed and critique of consumerist culture is also poignant with the theme of greed transcending time- her parents are turned into pigs for their greed in the modern world, but the desire for gold in the bath house shows a greed amongst the older generation too. The character of No-Face helps to explain this greed- Miyazki shows it is not the time but rather the culture that creates greed. No Face takes on the traits of those around him and so in the bath house becomes greedy, devouring many of the workers. However, when taken into rural Japan to Zenibar he becomes docile and harmless. The character of Yubaba reinforces this- in the urban, competitive and greedy environment of the Bathhouse she is cruel and manipulative, but in the rural countryside she is simply 'Granny' and is much kinder. Miyazki is protesting against the loss of Japan's rural communities and within that the connection those rural communities have with nature. However, Spirited Away is not a perfect film and its flaws push it down the list. I have always felt the romance between Chihiro and Taku to be rather forced and crammed in, not typical of a Ghibli film. I praised My Neighbour Totoro for not rushing a romance and simply leaving future suggestions, but in Spirited Away the romance has always felt crammed in with her recalling Haku as the river spirit seeming an unlikely last minute plot twist. Their relationship was also not developed enough previously- I can't really see sparks fly between them or why they might be interested in each other. I may of course be missing something crucial, but to my mind this romance aspect seems tacked on and drags the film down considerably. Therefore, Spirited Away is certainly worthy of its reputation, but misses out on the Ghibli top spot.
Ratings: Entertainment: 9 Technical: 5 Intelligence: 4= 18/20 *****
The Tale of Princess Kaguya- 5 Stars
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| The beautiful artwork of Princess Kaguya |
The latest, and very possibly last, film from Isao Takahata is also possibly his best. It tells the traditional Japanese tale of a bamboo cutter who one day finds a small princess in a stalk of bamboo and raises her as his child. He feels a duty to raise her as befitting her station as a princess and so after an idyllic childhood in the Japanese countryside they move to the capital, where she is courted by many suitors. The film brilliantly portrays the sense of isolation that Kaguya feels in the city, even when surrounded by all her admirers. It is the rawest of Ghibli's films in its attachment to the countryside and its surrounding with the recurring song throughout the film's lyrics mentioning 'Birds, bugs, beasts' and 'Grass, trees, flowers'. The film is also a love story between Kaguya and Sutemaru, a village boy she was close with in her youth. One of the films best scenes is when after a long separation she sees Sutemaru stealing. He catches a glimpse of her and stands stock still allowing the police to catch him. He is beaten up and her carriage pulls away. We are then left with a grey screen with only Sutemaru left in the centre with pouring rain and some ill sketched carriages drawing past. It is impossible to describe the powerful emotion the simple artwork conveys- the isolation of both Sutemaru and Kaguya is described simply and visually in one simple scene. This leads on to the most impressive thing about the film which is its art style. It lays a serious claim to being the most beautiful Studio Ghibli film. It is done in a sketch type way, similar to the memory scenes in Only Yesterday. When Kaguya is focused the detail is filled in and coloured, but when she is angry or impassioned all colour fades and we are left with some impressionistic sketches with only hints of colour. Not only does it use the art style to reflect the character's emotions, but its simple beauty is overwhelming. This beauty reflects the film as a whole of which the central theme is simply a love of life. Many bad things happen to Kaguya, and yet the film contrasts this with the simple joys of life and the brief moments of happiness it can bring. It elevates happiness and life to a higher level and it is this simple goodness which gives the film such power.
Ratings: Entertainment: 9 Technical: 5 Intelligence: 5= 19/20 *****
Whisper of the Heart- 5 Stars
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| Seji and Shizuku |
The only film directed by Yoshifumi Kondo before he tragically died at the age of 47, this beautiful film only serves to make you wonder what he could have gone on to do. He was being positioned as the heir to Miyazki and Takahata and on the basis of Whisper of the Heart, you can see why. Whisper of the Heart is a film much akin to Only Yesterday in that it is a mostly realistic film set in modern Japan. It centres around 14 year old school girl Shizuku and her progress from childhood to adolescence, a typical Ghibli theme. This is portrayed in two connected ways- firstly through a romance with the elusive Seji, and then through her attempts to write a novel. It is a very tender tale about a girl finding out new things about herself- her physical sexual interest but also an interest in art and creativity. After finishing her novel she presents it to Seji's grandfather, a wise old violin maker, who reads it and, although saying she has room for improvement, compliments the book. She however, bursts into tears in that artistic uncertainty and frustration that any person starting out recognises. Similar to My Neighbour Totoro, Shizuku's parents are supportive of Shizuku and her artistic endeavours, avoiding that inevitable cliched and forced clashed between parent and child that you see in so many western films. My criticism of the film is a common one and that is that the end- where Shizuku and Seji declare their love and promise to get married- is too sentimental and doesn't fit with the tone of the film. It doesn't feel right for either character and feels crammed in. A more fitting ending would be a suggestion similar to that of Totoro- that they will get together in future. It ruins what is otherwise a stunningly unsentimental (although still touching) film considering its subject material of teenage romance. Overall, Whisper of the Heart, although one of Ghibli's lesser known films, is also one of their very best.
Ratings: Entertainment: 9 Technical: 5 Intelligence: 4= 18/20 *****
The Wind Rises- 5 Stars
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| Nahoko and Jiro |
How fitting that Miyazki's last film The Wind Rises should also be the alphabetically last film on the list. And what a film it is. Miyazki's obsession with flying and aeroplanes is here given centre stage. There is an absurd debate about whether Miyazki is supporting war in this film by heroising the protagonist Jiro, the creator of the Zero Fighter which was one of the best aircraft of any nation in World War 2. That anyone thinks this is beyond me- Miyazki has repeatedly shown in his previous films that he is anti-war and a pacifist, and the entire dilemma and, in part, tragedy of this film is the moral conundrum Jiro has about whether he is doing the right thing. This strikes to the heart of the film- The Wind Rises is really about art and artistic endeavour. In this film, the creation of art is related to the creation of airplanes. However, Jiro realises that the more successful his artistic ability, the more successful the machine will be at its job- killing people. This creates a moral dilemma for Jiro, as he wants to fulfill his artistic ambitions and yet in doing so is going against his moral principles. In the final scene, as Jiro reenters the field of dreams he shares with Caproni, he is congratulated upon his masterful design and yet laments that 'Not a single one (airplane) shall return' to which Caproni replies 'That's what happens when you lose a war.' The previous scenes in Nazi Germany, where Jiro and his friend see a man hunted down by the Gestapo go to reinforce this feeling of tension, as well as the warnings from the German Castrop. The audience is therefore presented with a full view as to what the outcome of Jiro's designs will be, and yet we sympathise with his artistic desire. It is fitting that in his final film, Miyazki would emphasise the role of the artist and of art, whilst also displaying its problems. A common criticism of The Wind Rises is that its romance feels forced and crammed in but personally I thought it was touching and very moving. Of all the recent films about a young couple of which one has a fatal illness this is by far the maturest and resultingly most moving of them. It is not overly sentimental, as shown by the restraint shown in the handling of Nahoko's actual death- no weepy goodbye, instead simply her returning to the Sanatorium to die with dignity. That said, Jiro's sister's weeping and deep rooted concern for Nahoko seemed a little forced as they had only had one scene together. Overall though, the romance was done with admirable restraint, yet also emphasised the theme of making the most of one's life. I shall finish with the symbolism of the wind which is used in a line from a poem by Paul Valery that the title is derived from: '
The wind rises; we must try to live'. The wind is life itself- it is both the aspiration of Jiro's artistic endeavour, and a representation of his personal connection with Nahoko (they are twice brought together by objects caught in a wind; first his hat, second her parasol). These two strands are what a happy life is composed of- intellectual fulfillment and personal happiness. The wind, in this way, represents the current of life- you can try and ride it as Jiro's airplanes do, or simply let it take it where it will.
Ratings: Entertainment: 9 Technical: 5 Intelligence: 5= 19/20 *****
The overall ratings for the Studio Ghibli films are much closer than that of the Pixar ones (other than Howl's Moving Castle, all are 5 stars) which says something about the very high quality of the films. There are other classics that I couldn't fit on the list such as Nausicaä: Valley of the Wind and Castle in the Sky but I couldn't fit them all in. As the ratings are all the same, my top ten list will be fairly tight but should reflect the positivity of the review as well as the rating:
10) Howl's Moving Castle- 14 ***
9) Whisper of the Heart- 18 *****
8) Spirited Away- 18 *****
7) Grave of the Fireflies- 18 *****
6) Only Yesterday- 18 *****
5) The Wind Rises- 19 *****
4) The Tale of Princess Kaguya- 19 *****
3) My Neighbour Totoro- 19 *****
2) Kiki's Delivery Service- 19 *****
1) Princess Mononoke- 20 *****
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