Castle in the Sky (1986): Miyazaki as Sentimental Leader

4개월 전


When it comes to cinema and sensitivity, Hayao Miyazaki is the name that spotlights resolutely illuminate. What an understatement to confine their issues to the animation genre or to reduce the audience to children; just as it implies that we actually underestimate the most valuable things, and that we cannot see the good and the beautiful as we lose our childishness. He is a director who has built his entire career on his sensitivities and the concerns he carries in his compassionate heart. Moreover, not only for the future of mankind; This heart, filled with fear of losing our animals, forests, vegetation and cultural heritage, deserves not only to be restricted within a genre as a master of animation, but also to be considered in a wider context by drawing attention to the diversity and importance of their sensibilities. Isn't it enough to prove that he is a sensibility leader, even if he incorporates various sensibility movements such as environmentalist cinema, anti-war cinema, and feminist cinema? While he reflects his heart-touching stories with fairy-tale metaphors and a childlike language, does it not lie that his sensitivities are actually the common sensitivities of all humanity, behind his success to be understood and loved all over the world?


While Miyazaki was planting a pinch of anxiety in his feature-length directorial debut, Cagliostro's Castle, despite the action and comedy-loaded mold required by the popular manga character Lupine III, he actually planted the seeds of the idea for the movie Castle in the Sky and his mind is preoccupied with the design of Laputa Castle. that can be detected. The advanced technology, secret parts, political independence and precious treasure riddle of Cagliostro Castle appear as more advanced designs and liberalized ideas in Laputa Castle. Laputa Castle is like a metaphor for world and human history; While the upper part resembles a natural wonder, the lower part is rich in jewels and symbolizes the pinnacle of technology. When it is rediscovered after 700 years, we are confronted with the greed for power and materiality, destructiveness, and all the ugliness of the human being, who did not care about its natural wealth and directly turned to stealing its jewels, seizing its technological weapons and turning the castle into ruins in a short time. “No matter how powerful your weapons are and how advanced the technology is, the world cannot go on without love.” With the efforts of Sheeta and Pazu, who say, the castle is destroyed so that the power does not fall into the hands of one person; Only the trunk of the tree that sustains the technological architecture of the castle and the vegetation it carries remain. This moment leads us to clues as to why civilizations and magnificent architectures had to be destroyed and rebuilt. Civilizations where greed and greed dominate instead of love are doomed to collapse one day, even if they rise. The future of the world and human beings will remain as nature's source of life and the soundness of the roots of a tree. Miyazaki, who presents the natural beauty and the vegetation preserved for centuries as the real treasure of Laputa Castle, shows the ruins of an ancient Roman city as the treasure hidden by Cagliostro Castle, emphasizing that natural and cultural heritage is more valuable than banknotes and diamonds.


Miyazaki talks about the damage done to nature while industrializing at every opportunity. In the Future Boy Conan series, Industria, the land of bad people, openly declares her anxieties about industrialization by naming Lady Eboshi's city, which destroys green spaces and mountains in order to mine and process iron in Princess Mononoke, as the Iron City. Windy Valley is set in a future where industrial civilizations have collapsed and the earth is covered with deserts filled with rusted metal waste. The few remaining forests and water sources are also now toxic. The Windy Valley, which is also a criticism of the error of solving the problems of human beings by fighting, is like a prediction of what kind of future we are preparing for ourselves.


Despite all his worries for the future, there are also elements that Miyazaki clings to and is grateful for. The mother nature, which is the spirit of the forest, is shown as the greatest assurance that makes the rapidly industrializing and concrete world livable and will provide life in the future. In My Neighbor Totoro and Princess Mononoke, the spirit of the forest, which he embodies, is presented as the stabilizing force that stubbornly gives life to the land left by humanity. Miyazaki's other assurance is women and he builds his stories around them to a large extent. Compared to men, they have a higher sense of compassion and emotional intelligence; Women who make a difference with their maturity and courage manage to live in perfect harmony with nature and establish more intimate relationships and communication with animals. Thanks to the compassion they have, Miyazaki heroes not only get rid of even the most difficult situations, but also cause a change in their environment. In Windy Vale, Nausicaa stops the war thanks to her compassion, while in Howl's Walking Castle, Sophie's compassion helps her win even the hearts she sees as evil. While he was a pure soul in Spirited Away, No-Face, who learned greed from people and got worse, turns into pure again, as a result of hitting the wall of compassion in Chihiro. In Princess Mononoke, the same degree of compassion is seen in a male character, Ashitaka. Aware that the good in him will die when he responds to evil with evil, Ashitaka gets help from the spirit of the forest thanks to his compassionate personality. The sweet tongue may pull the snake out of its hole; however, according to Miyazaki, a heart full of compassion can change the world.


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