View Larger Image |
Castle in the Sky Director: Hayao Miyazaki Number of Items: 2 Picture Format: Anamorphic Widescreen Format: Animated, Color, Closed-captioned, Widescreen, Dolby Audience Rating: Unrated Running Time: 125 minutes Studio: Walt Disney Home Video Aspect Ratio: 1.85:1 Region Code: 1 Product Group: DVD Release Date: 2003-04-15 Buy from Amazon |
 "Anything But Trivial"Miyazaki Hayao's Castle in the Sky is perhaps the most difficult but rewarding movie to watch, to contemplate on and to share one's thoughts about. Castle in the Sky is really a manga movie and not just your garden-variety animation offering either. Castle in the Sky moves forward on many levels and yet it pulls back on others. Castle in the Sky in a sense is trapped in its own circularity. Moreover, Miyazaki is a master at playing with the aesthetic of weightlessness. He uses 'natural elements' like the wind in place of a more mechanical source. Miyazaki compels us to consider the plundering of nature. He, moreover, asks us to pause and to reconsider man's need to conquer nature as well as the misuse of technologies. Like Sheeta we grapple with our own weightlessness, our own significance. Castle in the Sky provides a sustained and critical assessment of our attitudes toward technology. Effectively this generation has inherited what technology it currently uses and lacks discipline and appreciation of the impact of our use of it. In moves similar to those made in Princess Mononoke, it is not so much technology that is the issue but rather the use (or misuse) we subject it to. The enemy is not technology but rather our use of technology that calls us to question our ideas on progress. In a sense, it could be argued that Miyazaki is nostalgic for a bygone era - to return to that zero point when we did not have technology on this scale. As mentioned previously, although less pronounced than Princess Mononoke, both stories converge in their subtle but sustained critique of progress and technology without really being a 'Romantic' elegy of lost innocence. In this sense most anime can be seen to be exploring some postmodern themes -- but in my opinion only Princess Mononoke sustains a postmodern argument. Moreover, as a general rule 'anime' takes into account issues of 'movement' into its scenarios and players and the solutions are varied, of course, depending on specific anime sub-genre. However, there looks to be an overall tendency away from mechanical sources to sources of a more 'organic' genesis. Although the use is more pronounced in Miyazaki's work, it is evident in the Cyborg and Mecha anime such as Ghost in the Shell, Akira and Armitage (all available on Amazon.com). It could also be argued that both Castle in the Sky and Nausicaa of the Valley of the Wind are in a sense 'post-apocalyptic.' In this sense most major anime offerings including: Barefoot Gen and Grave of the Fireflies calls to question the use of technology for destruction and ultimately domination. Miyazaki explores his Romantic notions by not only critiquing the use of advanced technology but by setting this movie in the early nineteenth century. The flying vessels all hearken back to a bygone era making the movie's signs almost 'period.' This back and forth between technology and the bygone era disrupts a linear narrative - making it, and I say this guardedly, postmodern. Miyazaki's calling to the question the undisciplined use of technology elevates the movie beyond a good and evil bifurcation. Miyazaki calls to question the destructive force of unnatural creations and for domination by its users makes this (and all his other movies anything but trivial. The truth is, robots and similar technologies, are not in themselves the problem. It is rather to what use these implements are put. In anime we see moving scenes of robots protecting nests, befriending little animals as well as tending gardens as if we ascribe to these non-sentient beings the best of our qualities. Conversely, anime does not shy from the frightening scenes of the very same machines tearing up the countryside. With the juxtaposition, perhaps the mood is set to have us consider a back to nature approach. Before I close, I wish to deal with the issue to the tragic and epic hero in Castle in the Sky. My sense of it is that Sheeta is, in a sense the epic heroine of the story in her reluctance and almost passive role in the movie. Castle in the Sky is steeped in an experience of floating, gliding and soaring -- hence weightlessness. Sheeta's flying stone is a passive tool in that it prevents her from falling. Sheeta does not fly. In Miyazaki's work - like My Neighbor Totoro and Kiki's Delivery Service flying is a way to achieve weightlessness. Here, Pazu is the one who seeks to soar - making him seem somewhat of an active but tragic hero. Flying is a key element in Miyazaki's films and it is the flying machines that are less mechanical and more organic that are privileged. Optimizing the energy in nature is the desired configuration. Miyazaki is one that will survive the ages because his creations are very challenging but nonetheless accessible. Castle in the Sky is hinged on the prospect of a world prior to technology making the movie, at the risk of sounding condescending, anything but trivial. Miguel Llora "Fantastic High-Flying Adventure"The third feature film of acclaimed writer/director Hayao Miyazaki (Princess Mononoke, Spirited Away), Castle in the Sky showcases his talents for creating great adventures yarns with substance as well as style. Set in an alternate 1920's earth, where airships rule the skies and entire continents can fly, Castle in the Sky is the story of two orphans who meet by chance. A young girl, Sheeta (Anna Paquin), floats literally from the sky after narrowly escaping capture from a band of pirates, wearing a mysterious glowing necklace. She is caught by Pazu (James Van Der Beek), a brave and resourceful young assistant engineer, who notices that the crystal she wears has fantastic magical properties. It is this crystal that several suspicious parties are trying desperately to get their hands on, including the Dola Pirate Gang, and the Army, led by the nefarious Colonel Muska (Mark Hammil). It soon becomes clear that the real prize in this race is the ancient, supposedly mythical, floating island of Laputa. What follows is a grand chase towards the Caste in the Sky, with captures, narrow escapes, air battles, and more. Miyazaki's love of flight is more than apparent at the way the action soars, moving easily from land to air, and the pace of the movie, though the film runs over two hours, only lets up when and for as long as it needs to. Miyazaki showed in both The Castle of Cagliostro and Nausicaa of the Valley of the Wind that he has a talent for making rousing adventure movies, and, though Castle has some of the ecological messages found in Nausicaa (and later, in Princess Mononoke), they always take a backseat to the events that drive the movie. The characters here are a varied, strange, and incredibly fun lot. The Dola Pirates are always entertaining when their banter flys, Mark Hammil has a blast as the scheming villian, and Pazu and Sheeta are two of the cutest leads you could ask for. They're also a refreshing taste from the "ordinary" in the anime genre. Sheeta is more than capable of handling herself, and Pazu is a cheerful idealist, a nice break from the surly teenage leads that overpopulate anime. In addition, their relationship is wonderfully done; it's the simplest, most pure form of love imaginable, that neither tries to be romantic or plutonic, but is just shown as it is. There is never a single kiss on screen, but the audience knows, through the body language and the words in their moments together that these two will be together one way or another for life. And even though this is one of Miyazaki's earlier films, the animation is still fairly impressive. Of course, it looks a little dated next to the likes of Spirited Away, but it still looks and feels like a wonder. The character designs are Miyazaki's usual simplistic but expressionistic fare, and the vehicles that populate the world are imaginative and plausible, and the architecture has a surprising amount of variety. The real treasure on this DVD release is the completely redone musical score on the English Language version of the film. Back in the mid-'80's, Studio Ghibli was not nearly the powerhouse it is today, and consequently, composer Joe Hisaishi was at times forced to put his rather sparse score on sythesizers and such. However, the new score contains everything from the original release, and a heck of a lot more, all done in beatiful orchestral renditions. And as for actual quality of music, the score for Castle in the Sky easily holds its own against Mononoke in terms of quality and power. Of course, you have to watch the english dub of the movie to hear this, but having said that, it's not a bad job, arguably superior to Mononoke and Kiki's Delivery Service in terms of the actor's performances. Cloris Leachman is hilarious as Dola, Paquin does a fine job of Sheeta, and even Van Der Beek manages to be only marginally annoying. And really, how can you not like Mark Hammill? Overall, Castle in the Sky is one of Miyazaki's best films, showcasing some of the most imagination, colorful characters, and dazzling adventure, it also carries some fairly powerful emotions. It also looks great, even after eighteen years, and is simply a great deal of fun to watch. "GREAT!"This movie was one of my favorites. It looked great, especially for a movie done in 1986. The extras weren't that exciting, but who would buy a DVD just for the extars? It's the movie that really counts, and it's here that Castle in the Sky really shines. I especially liked watching it in Japanese (Pazu sounds really funny). Definately worth every penny. "Wonderfully strange story with fascinating images"This is a wonderful movie. The story is enchanting, with fantastic flying machines and cities in the air. The land and air are full of strange and mysterious people who range from the kind and good to the power hungry evil types. What is especially nice about the characterizations in this film is that only a few are wholly good or wholly evil, most are a mix and are trying to work out their place in the plot of the story. The story opens with an action sequence without any explanation about what is happening. This causes us to focus our attention and to try and figure out what is going on and what all these strange people and machines are. In some ways it seems like a 1930s serial, in others futuristic, and in others ancient myth without connection to the world in which we live. While this isn't as beautiful as "Spirited Away" or even "Princess Mononoke", it is still head and shoulders above nearly everything you see passing as an animated movie nowadays (with a couple of exceptions). My kids encouraged me to get this DVD and they enjoyed it immensely. I expected to like it, but enjoyed it more than I expected. Miyazaki has a unique imagination and has a powerful ability to use his wonderful images to tell the story in delightful and beautiful ways that go beyond conventional live action movies - no matter the special effects budget - or even most animation. Watching his stories is a special experience that I am grateful to him for sharing with me.  "please watch the original version with English subtitle !!!!"I'm a Japanese and have watched this film so many time over the last 18 years and remember all its details, since this is my favorite film of Hayao Miyazakis'. I have now a French DVD together with synclonization and subltitle in English and Japanese original voice. I'm shocked and furious about English voiceover version because the BGM music is changed from original Japanese version and I found it the absolute disaster. So far when I watced it in French I found no alterlation of BGM. I don't have the same DVD which is sold in USA and haven't checked it but I guess this English version in French DVD comes from DVD in USA. SO please be careful, please watch this film in Japanese with English subltitle. I cannot believe why Miyazaki's prodction allowed the music to be changed. |
