Miyazaki Hayao is probably the most well-known living animator in Japan. His films, ranging from NAUSICAÄ OF THE VALLEY OF WIND (1984) to PORCO ROSSO (1992), have all been big hits in Japan. His latest film, MONONOKE HIME (THE PRINCESS MONONOKE), is no exception. In fact, it is his most successful ever, having recently replaced E.T. as the highest-grossing film in Japan. Miyazaki's works (MONONOKE HIME in particular) are also starting to receive considerable attention in the U.S. This is due mostly to last year's contract between Disney and Tokuma Group (Miyazaki's distributor), in which Disney agreed to become the overseas distributor of almost all the films from Studio Ghibli (Miyazaki's studio). Like their Japanese counterparts, American critics have received MONONOKE HIME very favorably. It is scheduled to appear in U.S. theatres early next year.
MONONOKE HIME is reminiscent of NAUSICAÄ. Set in some indeterminate time of Japan's past, it is a tale of the war between the encroaching civilization of Man and the beast gods of the forest. Based loosely on Japanese folklore, these gods are giant animals that possess supernatural powers, as well as the ability to speak among themselves. They are, however, far from omniscient. Man, as epitomized by a crowded industrial town out of touch with nature, is more than a match for them.

Ashitaka is a young man who kills a rampaging boar god to protect his village, but his arm is cursed in the process by the "worms" that cover the maddened god. The flesh on his arm turns a rotting purple, and the discoloration spreads day by day. He journeys west, both to find a cure for his fatal condition and to investigate the reason behind the god's unusual behavior. Along the way, he spies a girl tending to the wounds of a giant wolf god. Passing through a magical forest, he eventually comes upon an industrial town. There, he learns of the ongoing battle against the gods, who have not taken kindly to human intrusion. Humans have cut down part of the Great Forest to fuel the smelting furnaces of the town, which produces firearms that are in turn used against the gods. It is the "Mononoke Hime", the girl raised by the wolf gods, who leads the assault against town. And it is with this girl, San, that Ashitaka sides as the war rises to a disastrous crescendo.
Those who have seen the MONONOKE HIME posters will remember a fierce young girl with blood on her face. That is San. Like Miyazaki's other main female characters, she possesses great strength. However, unlike Nausicaä or Kiki (of KIKI'S DELIVERY SERVICE), who carry strength within their gentleness, San is almost pure strength. She is violent, relentless, and unforgiving—truly a princess not of humans, but of beasts.

To be honest, however, a more fitting name for this film would be ASHITAKA. It is he that the film follows, his tale that is told. When San and Ashitaka meet, it is Ashitaka who causes San to rethink her hatred of humans. In this way, he has more in common with Miyazaki's female leads than the male sidekicks whose lives are changed when they meet their respective partners.
As far as Miyazaki's works go, this is his darkest and most serious yet. Except for one or two lines, it is devoid of humor. The movie is filled with tension, and a gloomy undercurrent runs through all but the most hopeful of scenes. This is not a film for children; the violence is not very gory, but it is brutal. It is more disturbing for the fact that the violence is entirely casual; limbs and heads fly without glorification or emphasis. It is only when we see the aftermath that the horror and senselessness become apparent.

The theme of MONONOKE HIME is "Live." It is more basic than the environmental message we have come to expect from a Miyazaki film, especially one that highlights the struggle between Man and Nature. But this is why MONONOKE HIME stands out. While it casts the activities of Man in a disapproving light, it does not make it the main theme. It does not matter which side is right or wrong, nor if the conflict is resolved. What is important is that you are alive. And perhaps this is the strongest environmental message of all.
The art and animation are nothing short of magnificent. The backgrounds are sometimes so well-drawn as to be frighteningly realistic. The clouds are the most impressive of all; I have always loved Miyazaki's clouds, and these are the most beautiful that I have seen. As usual, Miyazaki's character designs are simple, but the consistency of the detail is remarkable. The animation itself is breathtaking at times. Scenes such as Ashitaka climbing a watchpost or riding his mount run at frame rates hardly seen before, resulting in extremely fluid motion. One is reminded of the scene from ON YOUR MARK , where the tire spins on the escaping car. In addition, Miyazaki has employed extensive use of CG throughout the film, animating backgrounds, writhing worms, and the majestic Shishigami god. It is more daring than the animation in ON YOUR MARK. For instance, first-person perspective forward motion is hardly seen in anime because it is so hard to animate, but MONONOKE HIME uses CG to retain the detail of the backgrounds while manipulating movement. The challenge lies in the vividly painted backgrounds as opposed to a simpler night scene. In general, the results are splendid, but at times the animation is so smooth as to look a little artificial and out of place.

The music is once more by Hisaishi Jo, and it does not disappoint. In keeping with the setting, it is more traditional than his other compositions. The main theme, sung in falsetto by Yoshikazu Mera, is beautiful. Grand and melancholic, it is so moving it threatens to overshadow the film itself.
On the whole, MONONOKE HIME is an excellent movie. It is not quite the environmental feature people may expect from Miyazaki. Rather than highlighting the wrongs man commits against nature, it takes a more personal stance. It is nowhere near as clear-cut as NAUSICAÄ, and its ambivalence between good and bad means that it is harder to cry for this film. Make no mistake, though; the emotional impact is still there, albeit more subtle.

According to Miyazaki himself, MONONOKE HIME will be his last film. If so, it would be a great loss. He is a remarkable animator, and his use of CG hints more of experimentation than a finished product. All his films have demonstrated an enviable diversity of story and theme, and I can only hope that he continues to produce wonderful movies for everyone.
On the other hand, with MONONOKE HIME, Miyazaki has also come full circle. The themes first introduced in NAUSICAÄ have been brought to maturity and balance. NAUSICAÄ is innocent, even childish, and extremely clear-cut. Miyazaki was never entirely happy with that aspect of NAUSICAÄ, but with MONONOKE HIME, one senses that he has finally made the film he wanted; the energy and painstaking effort show through every scene. Perhaps there is no better film with which to end his brilliant career on.

MONONOKE HIME (THE PRINCESS MONONOKE) © 1997 Nibaraki, TNDG Released 12 Jul 97 Running time: 133 minutes Director/Writer: Miyazaki Hayao Animation Director: Masahi Ando Music Director: Hisaishi Jo