Hayao Miyazaki’s unretirement is, in typical Ghibli fashion, a ceremony of visual feasts. It shares a kindred spirit with ‘Spirited Away,’ but somewhat falters in building the same emotional highs.
Absent from the news cycle that was Miyazaki’s retirement,still obviously works as a tremendously staggering achievement in animation that contains the same trademarks that have made people fall in love with the director. The attention to every detail, the exactitude in the way fabrics crease, and the deliberate bodily movements depicted in almost slow-motion fashion to emphasize their significance are all unmistakably present and painstakingly animated.
Magical surrealism serves as the linchpin of every frame, creating a sense of awe and wonder typically reserved for one or two moments in lesser films; this one has them every few minutes. Despite these positives, the film’s expansiveness also becomes its Achilles heel, as its story, and its slow build-up, amounts to a brief, “just fine,” if not wholly anticlimactic resolution.
One thing to note is that the film takes its time to build all of these up. It is surprisingly a lot slower than Miyazaki’s previous films, really focusing on the alienation and grief that Mahito feels in the first hour. Compare it to the immediacy that Chihiro gets wrapped up in the bath house, or how quickly Kiki’s delivery service gets off the ground.
The lesson, shared by both texts, is one of choice. Miyazaki’s adaptation can be boiled down to a momentous juncture where individuals must grapple with the idea of moving on from the chaos and dangers of life. At one point, Mahito makes a decision that embraces the human flaws that have come to define him, thereby unshackling himself from the burden of expectations.
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