Wednesday, December 31, 2014

Hayao Miyazaki and Conflict in Movies

My sister is a huge fan of the film maker Hayao Miyazaki.  Because of this, almost half of the gifts I got her for her birthday this year were Miyazaki related, and we marathoned four of his movies throughout the day as part of her birthday celebration.  Three of them- My Neighbor Totoro, Kiki's Delivery Service, and The Secret World of Arrietty- were movies of his I had never seen before.  Like the other Miyazaki movies I've seen (Nausicaa of the Valley of the Wind, Princess Mononoke, Spirited Away, Howl's Moving Castle, and The Wind Rises), I loved them.  The fourth movie we watched was Howl's Moving Castle, as it was the first Miyazaki movie I had ever seen and my memory of it had become foggy.

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Upon rewatch, I was reminded Howl's Moving Castle is just your run of the mill "female protagonist lives life for others, protagonist meets boy, boy turns out to be wizard, jealous witch turns protagonist into an old woman, protagonist meets turnip scarecrow and sassy flame demon, protagonist and wizard team up to avert war and rescue people and other living creatures along the way" story.  Pretty standard stuff, really.

There's a lot to love about his movies.  The beautiful, imaginative worlds he creates; the relaxed but confident pacing that is never afraid to take a moment to breath, rather than constantly charge forward; the recurring motifs of respecting nature, female agency, and avoiding violence. What I want to focus on here, though, is how he creates conflict in his movies.

Conflict is the force that drives the plot in most storytelling works.  The idea is that the protagonist has to overcome something- be it external, internal, or both- in order to achieve what they want.  Whether they desire inner peace or to rescue a loved one or to obtain a laser that fires Steve Buscemis, they face conflict in order to reach said objective(s).

steve-buscemi
With great Buscemi comes great responsibility.

In many family friendly films, the conflict is driven by an antagonist who is clearly, unambiguously bad.  From the Wicked Queen in Snow White to Scar in Lion King, kid's movies often feature villains who are so pointlessly evil that they probably do the five finger shuffle to the thought of drowning innocent puppies and kittens.  At first thought, it makes sense: making easy to understand distinctions between good and bad help give children a clear picture of positive versus negative morality as they build their own moral foundation during their formative years.

Obviously, though, the problem lies in the fact that real life is rarely that simple.  Apathy, fear, greed, anger, and weakness are responsible for a lot more problems in the world than "evil" is, if such a thing even exists.  But when kids are still forming their own base concept of right vs wrong, are they able to handle a more nuanced approach in the way antagonists and conflict are portrayed?  Hayao Miyazaki's answer would be an unequivocal "fuck yes", and his films are all the better for it.

Many of Hayao Miyazaki's antagonists, rather than being evil for the sake of being evil, are people, spirits, and creatures that have clear, understandable reasons behind what they do.  Sometimes they do things that are bad for sympathetic or otherwise non-malicious reasons; sometimes their actions cause harm unintentionally.  Some of his movies don't even have actual "antagonist" characters, and conflict is derived from internal struggle or external environmental factors.

Here I will go through some of the movies of his I've seen to illustrate different ways he creates conflict in his films.  There are, obviously, spoilers ahead.

Nausicaa of the Valley of the Wind
 Nausicaa of the Valley of the Wind
Often considered Hayao Miyazaki's first Studio Ghibli film and my personal favorite of his, Nausicaa tells the story of the titular character and her struggle to prevent war and save her homeland in the Valley of the Wind.  She does so in a world ravaged by an apocalyptic war that happened a thousand years prior to the start of the movie.  The majority of the earth is now covered in a toxic jungle, which is guarded by giant insect creatures called ohmu.

Everything kicks off when an airship from the Kingdom of Tolmekia crashes in the Valley of the Wind.  The airship carried both the captured princess of the Tolmekian's rival kingdom, the Pejites, and the embryo of a Giant Warrior, which were genetically engineered biological weapons that helped cause the apocalyptic war.  The Tolmekians invade the next morning and occupy the Valley of the Wind while they try to raise the Giant Warrior, hoping they will be able to defeat the Pejites and destroy the Toxic Jungle.  When the Pejites find out that the Tolmekians are in the Valley, they lure a stampede of ohmu there to wipe them out in an act of revenge.

What's important to note about the conflict in this movie is that the motivations the movie gives each group makes sense.  The Pejites and Tolmekians fight each other not because one side is clearly good while the other is evil, but rather because of a tragic escalation of violence, fear, and hatred that has arisen between the two.  Likewise, the desire of the Tolmekians to use the Giant Warrior against the Toxic Forrest isn't some evil plot for world domination, but rather a desperate quest for survival.  Before Nausicaa discovers the earth is healing beneath the Toxic Forrest, everyone- even the residents of the Valley of the Wind- fear desperately for their own survival in such a hostile environment.  The move is a rash one by people desperate to cling to life, not by an unambiguously "evil" group of people.

In the end, Nausicaa is able to solve the conflict by resisting violence and embracing a calm, healing approach.  When she stops the stampede of ohmu by bringing back the kidnapped ohm baby the Pejites used to lure them there, she is almost trampled to death, but the ohms heal her to reciprocate her own healing means she has stuck by throughout the film.  After violence is averted and she tells the people about the healing forest, the fighting stops because all the desperation and fear driving everyone's actions up to that point are eased.  Not only do the ohmu and Tolmekians leave after the conflict, but the Pejites actually stay in the Valley of the Wind to help them rebuild.

The main ideas behind the entire movie are actually summed up by one seemingly small scene in the beginning, when Nausicaa first meets the fox squirrel.  What happens between the two of them is basically a microcosm of the entire movie:



My Neighbor Totoro
My Neighbor Totoro Movie Review
The next movie by Miyazaki after Nausicaa, My Neighbor Totoro is a very different film.  Set in relatively modern times, the story is about two sisters who move to a new home in the countryside with their father.  Their mother, meanwhile, is in a hospital, being treated for a nondescript illness.  The large, ambitious themes of Nausicaa are largely absent, though it is worth noting that living with nature, rather than fearing it, is still a prominent theme.

The conflict in this movie is not very overt.  There certainly aren't any wars or super weapons to be found here.  In his Great Movies writeup of the film, Roger Ebert even said that Totoro is "based on experience, situation and exploration--not on conflict and threat."  Later on in the same article, as he describes the infamous bus stop scene, he writes: "notice how calmly and positively the scene has been handled, with the night and the forest treated as a situation, not a threat. The movie requires no villains."

There is, however, a source of conflict in the film: the girls trying to cope with the absence of their mother.  Throughout the film, and especially towards the end, the girls become increasingly saddened by their mother's absence as she recovers in the hospital.  The desire of these two protagonists is to spend more time with their mother, and the obstacle is her hospital stay.  No conniving plots to hurt anyone else, no malicious bullying children, no adults who inexplicably hate kids unrelentingly.  Just two little girls who want to see their mom again.

The rest of the film, then, could be analyzed in a number of ways.  Perhaps the creatures and spirits they encounter are a product of their imagination, a coping mechanism of sorts; perhaps the creatures and spirits are real and can sense their sadness.  Perhaps these creatures and spirits are real, and are willing to show up to every child who is receptive to them.  Perhaps they are figments of the girls' imagination, not as a coping mechanism to make up for how much they miss their mom, but because of their love of adventure and/or nature.

Whatever the reality of this film, its reliance on adventure and imagination, rather than evil antagonists, are a unique and pleasant approach to story telling.  While it doesn't give us many lessons for the ugly realities of the world we live in the way, say, Nausicaa or Princess Mononoke do, its model of story telling does still encourage a certain gentleness, curiosity, and harmony with nature, all of which are wonderful traits to encourage in children (or anyone, really).

Kiki's Delivery Service
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Of the four movies we watched on my sister's birthday, I think Kiki's Delivery Service may have been my favorite.  The story revolves around Kiki, a young witch from the countryside, trying to find a big city to move to so that she can train to become a witch.

Near the beginning of the movie, when Kiki is flying around with the goal of finding a city to begin her training, she runs across another young witch in training.  The witch is very rude to her, but Kiki is unrelentingly kind nonetheless.  Because of this, the witch- while not changing her abrasive demeanor- actually gives some helpful advice about using one's inner skills when working as a witch in training.  A lesser movie would've kept her hostility and established her as an antagonist for Kiki to overcome.  Here, though, Kiki shows that being nice to people often pays off.

The main conflict of this movie comes from Kiki's own insecurities about herself.  When she first chooses a town to train in, she is disappointed to find out how apathetic everyone is about her arrival.  The conflict comes not from people making a big deal to hurt or belittle her, but rather how little of a deal they make of it at all.  How will she make it in this big, seemingly uncaring place that she is unfamiliar with?  Anyone moving to a new city for the first time can certainly relate to this.

Luckily, a kindly baker named Osono takes her in.  Soon after, Kiki realizes her ability to fly sets her up perfectly for a delivery service.  There are complications when she starts, as is to be expected when someone starts doing something for the first time, but as the movie goes on Kiki becomes more and more insecure about herself.  She is nervous around extroverted people and hates the dark dress she has, wishing she instead had the more colorful dresses worn by the city girls.  Because of this, she loses her ability to fly and talk to her cat Jiji.

Her inevitable return to form comes not from a need to defeat an evil villain, but from an artist named Ursula who teaches her that it's okay to be different and important to believe in yourself.  When a severe windstorm puts her friend Tombo, who is on an airship at the time, in danger, she summons her courage and believes in herself enough to reach out and save him.

Princess Mononoke
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My second favorite Miyazaki film, I almost didn't write an entry for this one considering how similar it is to Nausicaa, both thematically and structurally.  Both are about a pacifist protagonist who tries to stop a war and prevent the corruption of nature for humanity's personal gain, but presented in a way that looks at the humans involved with sympathy rather than painting them as unambiguously malicious.

I decided to include this entry, however, because while Princess Mononoke says a lot of the same things as Nausicaa, it does so in a much darker and more complex way.  Whereas Nausicaa is successful 100% of the time at preventing severe violence and only uses violence once herself, in a very understandable fit of rage after losing her father, Ashitaka isn't always successful in deescalating conflict and uses violence to defend himself multiple times.  More than once, he actually directly kills his enemies.

On top of that, there are more factions here than there were in Nausicaa.  We still have the rival human factions that are warring, but now nature itself is split; the apes, wolves, and boars all have different approaches to how they want to defend themselves.  The wolves engage in what is essentially guerrilla warfare with the humans, while still being kind enough to take in one and raise her as their own; the boars desperately launch all-out attacks, as they are losing their elders and spiritual leaders at such a pace that they are losing themselves; the apes try to plant trees and want to eat the humans, as they don't seem to have the combat prowess to battle them the way the boars and wolves do.

Like with Nausicaa, the humans are also fighting for survival.  Lady Eboshi is perhaps one of the most complex antagonists ever put to film, animated or not.  She treats people whose humanity is routinely neglected, such as brothel workers and lepers, like people deserving of love and respect just like anyone else.  Her ambition is to be able to expand Iron Town not so she can rule the world, but so she can keep her and her people safe.  Her goals are a little foolhardy and reckless, of course, but they're done out of good intentions.

Jigo, the fake monk working for the emperor, is probably the closest to "evil" in the movie.  But it's important to note that greed is the root cause of his actions, not malice.  He's like a (much less terrible) version of The Comedian from Watchmen.  He understands the way the world works and how terrible it can be, and he cynically goes with the flow in order to benefit from it.  Unlike The Comedian, however, Jigo seems a decent enough guy when not directly working toward his own self-interest.  When he first meets Ashitaka, the protagonist, he sticks up for him when Ashitaka tries to buy some rice.  He's out for himself, but if it doesn't cost him anything, he'll look out for someone else, too.  Of course, his selfish approach isn't a good one, but he's far from a one-dimensionally evil bad guy.

Unlike Nausicaa, there is a lot of violence and bloodshed in Mononoke.  Humans and boars go to war, and the Forest Spirit gets its head severed despite Ashitaka and San's best efforts.  Many people are killed.  However, like with Nausicaa, the root cause of this violence is caused by the mind-killing fear of feeling threatened.  Even the emperor whom Jigo is working for is afraid; he wants to be immortal because he fears his own death.

Having established this, the lessons and model of conflict are largely the same as in Nausicaa.  The factions clash, the protagonist works to stop them from continuing to clash, humanity's attempts to exert control over nature and each other backfire, and everyone goes their separate ways when they realize the error of their ways, rather than continuing to fight and perpetuate the cycle of violence.

The Wind Rises
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Hayao Miyazaki's final film, The Wind Rises, is much different than the rest of his filmography.  The film follows Jiro Horikoshi, a peaceful daydreamer who loves the idea of flying and grows up to become an airplane engineer.  Unlike Miyazaki's other films, whose plots cover events that don't have a particularly long timeline, The Wind Rises follows Jiro's life from his years as a child all the way to adulthood.  Through it he experiences love, loss, tough moral dilemmas, and, of course, airplanes.

There are three central sources of conflict in this film: his challenge in learning to build planes in the first place, the moral dilemma that his planes are used for war, and his wife's case of tuberculosis.  As you have probably noticed as a recurring theme by now, none of these conflicts come from a bad guy who wants to destroy the world.

The first part of the film is about Jiro's challenges in trying to make it in the field of engineering.  As a child he wanted to be a pilot, but when he shares a dream with an Italian plane designer named Caproni, he is told that someone with glasses doesn't have the eyesight to become a pilot.  In response, Jiro decides he will make planes instead, which Caproni encourages.  As Jiro works towards becoming a good aeronautical engineer he faces a fair number of setbacks, which is to be expected with the development of any skill, especially one as technical and complex as this one.

Eventually he starts to get the hang of it.  He also ends up marrying Nahoko, a girl whom he had met when he helped her after an earthquake earlier in the film.  Things aren't all good, however.  She has tuberculosis, which is killing her.  And, speaking of killing, Jiro becomes increasingly unhappy with the fact that his planes are being turned into instruments of war.  The rest of the movie's conflict comes from the couple trying to cope with Nahoko's declining health and Jiro grappling with the fact that his planes, those vehicles of freedom and adventure, are being used in war.

What the conflict in this film ultimately boils down to in this film, then, are trying to appreciate the painfully finite time we have with our loved ones and trying to conciliate our values with how we support ourselves.  These are defining characteristics of what it means to be human.


Hayao Miyazaki's movies create conflict in a way where blame and moral deficiency don't lie squarely on the shoulders of one character or group.  Sometimes it's because the characters and factions involved have good reason for what they do, whereas other times it's because there aren't actually any characters or factions causing conflict at all.  Hayao Miyazaki is one of the best film makers of all time, and I count myself lucky to have been around during the career of such an all time great.  Hopefully, in the wake of his retirement, more animated film makers step up to continue his practice of making truly fantastic animated films in the same mold as him and other animation greats, such as Pixar's John Lasseter and Pete Docter.

Wednesday, December 17, 2014

The Human Condition Trilogy

To say something everyone everywhere already understands: the world can be a fucked up place sometimes.  As human beings, we are capable of creating as much horror as we are beauty, as a look at any history book or news program will tell us.  One of the most profound and important issues we have to grapple with in this life is how we can stick to our own principles in a world that can be so unthinkably brutal, so that we may stay true enough to ourselves to live a life we consider worth living in the short amount of time we have.

There are plenty of movies that are about finding meaning in life, as well as movies about people trying to stick to their convictions despite everything that is thrown at them.  Some even combine them, such as Akira Kurosawa's masterpiece Red Beard.  Movies that explore these types of themes are usually among my favorite (provided everything is well executed, of course).

For me, the Human Condition trilogy covers all of these questions about human identity better than any other film or film series I have ever seen.  The name of the trilogy is an ambitious one, but luckily the films themselves are up to par with the title.  These movies are the fulfillment of everything cinema has the potential to be.



The protagonist of the trilogy is a man named Kaji.  He is a twenty eight year old pacifist who believes that all human beings deserve to be treated with respect to their human rights.  He's not afraid to stand up for these beliefs, either.  Throughout the trilogy, much of the conflict involves him trying to stay true to his convictions despite all of the human ugliness around him, as well as trying his best to make it home to his wife Michiko.

The protagonist is played by Tatsuya Nakadai, who absolutely nails the role.  He plays Kaji with a dignified gravity, crafting him as a stern, prideful, flawed, but ultimately good human being who always tries to stand with his beliefs.  He also does so with a certain sense of style that makes Kaji come off as cool- though this fades a bit later on in the trilogy, as conditions become increasingly desperate for him.  Few characters in cinema are as noble and aspiration-worthy as Kaji.

To be clear, though, Kaji certainly isn't perfect.  He is often times far too prideful and hard-headed.  He also tends to keep things from his wife, even when she repeatedly tells him explicitly that she wants to know about everything going so that she can be another ally for him in his fight to stand up for his principles.  In fact, his communication issues extent not only to his wife, but to a lot of other people as well.

In reviews that I've read about the film, some people have said these flaws make him come off as self-righteous and hypocritical.  I find that view highly disappointing.  If someone has to be perfect in order to stand up for their values, then no one in the entirety of human existence, real or imagined, has ever earned the right to do so, and if we retroactively erased every gain for human rights people fought for throughout history the world would be far, far worse off than it is now.  Rather, I find his flaws make him a more human, well-rounded character, as well as more relatable.  It's much easier to see yourself in an imperfect character than a perfect one.



Each of the three films takes place somewhere different, in situations that are increasingly bad for Kaji.  I'll keep the descriptions for each entry short and mostly spoiler free (the main gist of the first and second movie's plots will be mentioned since they contextualize the second and third entries, respectively, but nothing mentioned here is more spoiler-y than anything you'd read on the back of the DVD box or any sort of video description).

The first entry, No Greater Love, takes place in Japanese occupied Manchuria, an area in Northeastern China (and a bit of eastern Mongolia) that was colonized by the Japanese and given a puppet, pro-Japanese government in 1932.  At the beginning of the movie, set during WW2, Kaji is given the option of either enlisting in the Japanese army or becoming a labor supervisor in a Chinese labor camp.  Adamantly opposed to the war, he chooses the latter option with the goal of making conditions less miserable for the Chinese laborers that work there.

When he gets to the labor camp, his beliefs rooted in pacifism, human rights, and socialism are put to the test.  This is during the time of a right wing, imperialist Japan, and the system he finds himself in does everything it can to resist his attempts to give Chinese laborers more humane conditions.  To say the film is a series of ups and downs is an understatement.  Sometimes he succeeds, sometimes he fails, and all of these successes and failures have real, tangible effects on the Chinese laborers, himself, his partner Okishima (the only other administrator of the camp who sees the Chinese laborers as human beings, though not to the same extent Kaji does), and his wife Michiko.

At the end of the movie, Kaji receives a summons to fight for the Japanese army due to a series of events best seen in the film.  Thus begins the second entry, Road to Eternity, which follows Kaji as he becomes part of the Japanese military machine he so staunchly opposes.  When shipped off to basic training, he excels at every aspect of his training, but his leftist leanings and tendency to stick up for fellow recruits being bullied by the veterans in the barracks single him out for harsh treatment and high scrutiny by the brass.



Interesting side note: the beginning half of the movie is incredibly similar to the movie Full Metal Jacket, to the point where it's clear Kubrick saw this movie and decided to use elements of Kaji's experience in boot camp for his own film.

Between his unbreakable will and the support he receives from friends he makes along the way, such as another left leaning soldier among the veterans named Shinjo, a hospital nurse, and a fellow patient in the hospital, Kaji makes it through basic training and eventually ends up leading a team of new recruits.  He does his best to stick up for these recruits, preventing them from facing corporal punishment and other abuses from both officers and veteran trainees alike.

Eventually, they all end up on the battlefield.  To spare the details of the battle, things get rough.  Kaji eventually loses most of his squad but vows to stay alive, which leads to the final point of the trilogy: A Soldier's Prayer.

The third and final film in the trilogy is also the fastest moving of the three.  The Japanese military defeated, Kaji leads a group of survivors to try to reach the Manchurian border so that they can return to society as they know it.  A lot happens to the group, which keeps losing and gaining new members, as they have run ins with groups ranging from Japanese holdouts to Chinese peasants.  The entire time, Kaji finds himself increasingly desperate, and he struggles to keep true to his own personal morals.  These struggles continue even when they are eventually captured by Soviet soldiers and put into a POW camp.

What's powerful to me about this trilogy is its connection to the title.  Throughout the saga you see humanity at its worse, but through that suffering you also see true human empathy, dignity, and a willingness to stand up even when everything is against you.  No punches are pulled, and that makes these films quite bleak at times, but it also makes the parts of real human goodness all the more touching and powerful.



Another great part about the film is that you really get to see Kaji grow as a person, as well as grow to meet more like minded people along the way- in  fact, the two are connected.  In the first film, for instance, he is terrible at reaching out to others and suffers for it.  As time goes on, however, he learns to form strong bonds with other genuinely good people.  The moments in the trilogy with these friendships help counteract the bleak human ugliness you see throughout the films.

Despite how great these films are, though, they are not without their flaws.  There are many moments that go from human tragedy to melodramatic, sometimes for seemingly no reason at all.  At times the pacing of the films can feel rushed, while other times they can feel slow.   The antagonists throughout the trilogy also sometimes seem one-dimensional, ready to enforce a strict status quo without thought or feeling, though there are exceptions.

These flaws are heavily outweighed by how moving and powerful everything is as a whole, however.

In terms of the bigger picture, The Human Condition is about the rise and fall of imperial Japan on the surface.  But underneath it is so, so much more.  Through the personal journey of a man who goes from a position of power to being oppressed, we see how militarism, imperialism, and oppression changes forms and hands throughout the ages, but should always be opposed regardless of the specifics involved.

After being forced out of isolation in 1854 by Commodore Perry, Japan later began its rise as an imperial power in the early 20th Century after beating Russia in a war in 1905.  China, Korea, and other places in Eastern Asia were colonized by the Japanese, and there were many human rights abuses.  Yet China itself has had its own issues in enforcing oppressive hegemony, starting from when the Hans coerced various other ethnic groups to create modern China, all the way up to today with places like Taiwan and Tibet.  We all know about Russia during its Soviet Union days, and Europe during the days of colonization.  The Americas, including the United States, were literally founded on the eradication of Indigenous people and the enslavement of Africans.  And, since becoming an empire, the United States has been responsible for its own share of horrors all over the world, from the 1901 Platt Amendment that made Cuba subservient to the US, all the way to the nonsensical War on Terror today that benefits no one except private military industries.

From how I saw it, the point of this trilogy isn't to demonize Japan or Russia, but to oppose militarism, imperialism, and oppression whenever they show up.  These are things human beings have been doing to each other throughout history, and this sort of human oriented horror shows no signs of slowing down any time soon.  But Kaji and other people from this incredible trilogy show us there always potential to be better.  We always, always have the ability to be better.