August Monthly Review: Princess Mononoke (1997) (Patreon)

What else to say to Princess Mononoke (1997) except "you're beautiful?"

Studio Ghibli and Hayao Miyazaki are renowned for their skill in crafting intricate, breathing animated worlds, often from a looser script than that of your standard feature. Despite this unique production philosophy, and in all likelihood because of it, Miyazaki's films have a distinct thematic through-line, feel, and tempo. 

In Princess Mononoke (1997), those common elements are quickly apparent. The ongoing clash between the miners and forest, pitting man against nature, plays in to the often explored environmentalist themes in Ghibli fare. Through Ashitaka, we the audience get to see both sides of this conflict, as both San and the forest and Lady Eboshi and her clan struggle against each other, and reject the cursed young man. This clarity lets us clearly see how the greed of the humans is overtaxing the forest, an imbalance in power and use that can only lead to their downfall. Princess Mononoke (1997) is far from the only Miyazaki film to explore the idea of an untamable wilderness at odds with modern exploitation, but what makes it stand out among tales of brave freedom fighters and untamed spaces is it's sense of give and take. Princess Mononoke (1997) does not come out and say "hurting the environment is bad", and instead weaves a complex web of competing interests, all of which must learn to find balance if the world is to survive. 

Much of that nuance comes from the feel of Princess Mononoke (1997). The film has a dreamy atmosphere, supported by the detailed animation and gorgeous backgrounds. Largely hand-drawn, with only a few instances of computer animation, like demon flesh, Princess Mononoke (1997) makes a great case for the hazy atmosphere that only a hand-drawn animation can create. While computer generated animation has come a long way since the 90s, there is something uniquely tangible about hand-drawn cels that translates incredibly well to the Ghibli storytelling model. The 24 frames per second allow the story to set it's own pace, and let the audience sit in the world they've crafted. 

Like many Ghibli features, Princess Mononoke (1997) can be a bit winding. A side effect of the style of production Miyazaki employed. Princess Mononoke (1997) manages to stay on-task more than your Spirited Away's, but there are still undeniable moments where, to the first-time viewer, the film may seem to detour. For many (myself included) that is part of the charm of the Ghibli film, but may present a minor obstacle for the newly initiated. 

Princess Mononoke (1997) is highly regarded as one of the best Ghibli films, and for good reason. It's action is engaging, it's story has depth, and it's characters are unique and human (even when they're demons). While it may not be the best place to start a Ghibli journey due to the raised tensions relative to some lighter flicks like Kiki's Delivery Service or Ponyo, Princess Mononoke (1997) is a certifiable masterpiece, and perfect for those taking a step deeper into Miyazaki's forest, those looking for a thrilling story with spirit in spades, and even those raised by wolves. 

9/10 Kodama