Of course, none of this detracts from the film's imaginative complexity, but as the nearest that Miyazaki has come to making a Boy's Own Adventure, in 1997 Princess Mononoke was well placed to match the expectations of a Western audience, whose previous experience of feature-length Japanese anime had probably been confined to Katsuhiro Otomo's Akira (1988), or just possibly Mamoru Oshii's Ghost In The Shell (1995). What distinguishes Princess Mononoke from Miyazaki's other films is that its adolescent protagonist is, despite the title, male rather than female, and it is more graphically violent than anything he has made before, or since. And it cannot be its concern with pacifism, or the environment, for these themes are to be found in almost all of his works. It cannot be its high degree of visual beauty, for that characterises everything to which the director sets his hand. It cannot be just its grandeur, for it is no more epic in scale or length than, say, his Nausicaa Of The Valley Of The Winds (1984), or Laputa: Castle In The Sky (1986). Why was this, rather than any of his earlier films, the first to be released in the West? He’s currently back in not-retired mode, working since 2016 on How Do You Live?, an adaptation of the 1937 children’s novel of the same name.Master animator Hayao Miyazaki may have long been admired in his native Japan, but it was only with his seventh directorial feature, Princess Mononoke, that an English-speaking mainstream started to take notice of his genius. Miyazaki has spent the last two decades oscillating between retirement and returning to Studio Ghibli every time the pull of delivering another animated masterpiece became too strong (it’s appreciated!), giving the world the likes of Howl’s Moving Castle, Ponyo, and The Wind Rises. It all reached its arguable cultural zenith with Spirited Away, the Alice in Wonderland-esque tale of a young girl lost in a world of spirits, which won the Best Animated Feature Oscar and topped our list of 140 Essential Animated Movies ever. What followed was a veritable hit parade of classics: Castle in the Sky, the closest Miyazaki ever got to working in Spielberg mode Kiki’s Delivery Service, a sweet and charming coming-of-age witch story Porco Rosso, a deeply romantic tale of cursed pigs and dogfights over the Adriatic and Princess Mononoke, the violent action epic of the war between the natural world and human technological progress.
By the time Miyazaki’s next feature came out, 1984’s Nausicaa of the Valley of the Wind, Studio Ghibli was up and running to deliver everything the film required, elements that would become Miyazaki’s trademarks: a female-centric story, fleets of airborne transportation, plenty of lush flora and cute fauna, and an ecological bent exploring man’s frequently destructive relationship with nature.
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1979’s Castle of Cagliostro was a calling card that a talent had broken through the ranks of TV (where he had worked for two decades as an animator), adapting the long-running Lupin the 3rd charater into a rousing, action-packed heist adventure. Though Miyazaki is synonymous with Studio Ghibli, here we’re focusing only on his efforts as a feature film director, which started in earnest even before Ghibli was formed. In fact, there isn’t even anything below 80%! It’s a sign of how far-reaching and influential his works are, made alongside his band of mad, merry animators at Studio Ghibli, whose tales of empathy, kindness, and bravery touch far beyond the borders of Japan. (Photo by Dimension Films/courtesy Everett Collection) All Hayao Miyazaki Movies Rankedīeyond the awards, beyond the box office, how do you know the films of Hayao Miyazaki are beloved and universal the world over? Scroll through his filmography on Rotten Tomatoes and you’ll find nary a Rotten rating.
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