Howl’s Moving Castle (Hauru no ugoku shiro)
Miyazaki and the Ghibli team are almost always stellar at the art of adaptation.
Back in the 1980s the title Howl’s Moving Castle referred to a fantastic, semi-satirical and wonderfully imaginative book by English writer Diana Wynne Jones – and if any anime fan out there isn’t aware of it, go grab a copy as it’s heaps of fun.
For the film adaptation of Howl’s Miyazaki created what some reviewers have argued was another visually stunning film but one that suffers from a dense plot.
Personally, I’d argue that Howl’s Moving Castle the film actually uses a simplified plot, where characters in the book might be combined into one for the film (Sophie has two sisters in the book for instance), or where subplots are either left out or melded.
(And I personally have no problem with this approach (by any filmmaker.) A film is not a book. They are meaningfully different and attempts to attack one for failing to reflect the conventions of the other is tedious :D)
But back to Howl’s Moving Castle!
Because it’s the castle itself that will probably enchant you as much as the characters or story, I thought a couple of images would be in order (just in case you’ve never come across the film) because it’s an amazing piece of work, blending CGI and cel animation in a very fluid manner.
Living in the castle is the mysterious Howl, a wizard who enchants (not literally – someone else does that) the main character, Sophie, early on in the film, establishing the strong romantic aspect of the plot. Woven between their developing relationship, is magic, war and domesticity all offset by a curse placed on young Sophie, trapping her in the body of a 90 year old woman.
As with many other Miyazaki films, there is a familiar anti-war theme, but he’s not heavy handed – even if some of Howl’s dialogue might been seen as such. More value for the viewer will probably come, once again, from characters’ relationships – take fire-demon Calcifer for one, whose relationship with Howl is not only complex and amusing, but vital to the plot in more ways than one.
Once again, Joe Hisaishi is on board to work on the soundtrack, with lush waltzes and sombre moments to offset the drama of the action sequences.
Two pieces really stay with me whenever I watch the film, the first is one of the most haunting pieces in the OST, with that classic Hisaishi sparseness that builds:
And the other is the signature theme – but as I really like it as performed on acoustic guitar too, I thought I’d share this by Sungha Jung:
So far of course this review has just been me blathering about how good the fulm is – well, maybe the second half isn’t quite as fun, as everything is getting more serious and that’s not actually a criticism, so much as a necessity, really so basically – I have no real complaints as a viewer.
Still, on the off chance you haven’t seen this yet – do so 😀