One of the indisputable facts of online pop culture discourse is that everyone has an opinion on whichStudio Ghiblimovie is the best. The debate that may follow isn’t as heated and venomous as perhaps suggesting a Disney-madeStar Warsmovie is your favorite, nor is it as universal as saying the firstMatrixmovie was the best. Everyone in the online community seems to respect each other’s opinions, which makes anyStudio Ghibli discoursea breath of fresh air.
So, the following isn’t necessarily arguing thatHowl’s Moving Castleis the best Ghibli film, but rather that itsets a perfect framework, not just in its content, but in how future movies by the legendary animation studio should be.
Hayao Miyazaki has come in and out of retirement, so it’s relatively up in the air whether he’ll be significantly involved going forward. As the founder of Studio Ghibli, he’s largely responsible for cultivating the image and feeling that is so often ascribed to their films. But even still, without trying to imitate Miyazaki’s style,Howl’s Moving Castleremains the perfect film to use as a template for a more-than-possible future where Miyazaki enters retirement again. Here’s why.
Howl’s Moving Castle Was Innovative for Its Time
“Innovative” may be a little liberal in its usage here, but the sentiment is true. The titular castle is a feat of animation in on of itself, with so many moving parts, each with the feeling that they’re contributing weight to this mystical automaton. Even with the help of computers, attention to detail is something to be nothing less than amazed at. And there are even more stories about the production of it, such as the traveling Miyazaki did to find the inspiration for the European architecture seen throughout the film or just how hard the animators worked in bringing the environments to life.
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But even if no otherfuture Ghibli filmincorporates something as complex as Howl’s castle, the idea of that meticulous attention to detail is still there, the sentiment that the little things add up to make a big difference. And fans do notice, even if they lack the proper vocabulary to articulate it fully. So going forward, Ghibli shouldn’t cut corners regarding quality and still retain that eye for detail that madeHowl’s Moving Castlesuch an innovative accomplishment. Even though it should go without saying, all of this should not come at the cost of the animator’s pay and well-being.
Howl’s Moving Castle Represents a Culmination of Miyazaki’s and Ghibli’s Work
To touch on content briefly,Howl’s Moving Castleis a perfect summation of Miyazaki as a director and Ghibli’s legacy up until its release in 2004. The common tropes are all there: magic, flight, and a strong leading heroine. In a way,Howl’s Moving Castleis a love letter to everything that came before it, namelyMy Neighbor Totoro, Spirited Away,andNausicaa of the Valley of the Wind.In other words, it’s a kindhearted acknowledgment of the films that have built the studio into what it is, or in this case, what it was at the time ofHowl’s Moving Castle’srelease.
So as for how future Ghibli films are supposed to emulate this, well, that’s easier said than done. Much of it has to do with the time it came out;Howl’s Moving Castlecouldn’tbe a love letterwithout anything to write a love letter to. In other words, many things had to come before it to make it as special as it is. But that would only be a problem in a vacuum.
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With or without Hayao Miyazaki, Ghibli has reliably put out great films likeWhen Marnie Was There,which has a notably different style and themes that, while unique for Ghibli, still finds a way to work in the animated medium. Even the films by Ghibli that have “flopped,” so to say, likeTales from Earthsea,directed by Goro Miyazaki, still have something to teach future directors and animators of Studio Ghibli.
Howl’s Moving Castle Is Genuine
This is where credit isdue to Diana Wynne Jones, the author of the original novel,Howl’s Moving Castle.She crafted the proverbial launching pad of Miyazaki’s masterpiece. Like any good adaptation, the film took creative liberties with the story and characters and fashioned it into a truly unique experience. The movie doesn’t feel like a replacement for the book, and the book doesn’t feel like a superior way of being immersed in Howl and Sophie’s journey.
In this regard, there is tremendous love and respect for Jones in the film. It’s clear (and even without the movie, this is a researchable fact) that this is a storyMiyazaki feels passionate about, and that passion is infectious, making for an extraordinary viewing experience. And that is what should ultimately be the biggest part of all future Ghibli projects: love and passion.
