This high-flying adventure begins when Pazu, an engineer's apprentice, finds a young girl, Sheeta,
floating down from the sky wearing a glowing pendant. Together they discover both are searching for a
legendary floating castle, Laputa, and vow to unravel the mystery of the luminous crystal around
Sheeta's neck. Their quest won't be easy, however. There are greedy air pirates, secret government
agents and astounding obstacles to keep them from the truth, and from each other.
(Source: Disney)
Studio Ghibli is arguably one of the greatest anime film studios of all time, setting the standard for Japanese animation many times over since its inception. They are responsible for producing some of the best animated films ever seen; blessing anime fans with several classic films over the decades and creating countless spectacles along with them, many of which were made under the guidance of legendary director and Studio Ghibli founder, Hayao Miyazaki. Together, their library includes the likes of Howl’s Moving Castle, Princess Mononoke, and of course the Academy Award-winning Spirited Away. But before all that, the studio giant had to begin somewhere. And while both Miyazaki and Studio Ghibli were involved in the making of Nausicaa of the Valley of the Wind in 1984, their first official film was released in 1986: that film being Tenkuu no Shiro Laputa, more commonly known as Castle in the Sky. The tale of Ghibli’s first feature film is set in a world parallel to ours, except here there is a much greater focus on, you guessed it, the skies. Floating castles, gigantic airships and pirates in the sky are all featured prominently over the film’s 2-hour runtime and in the sky is where we find our heroine of the story, Sheeta. She is held against her will in an airship when suddenly, pirates attack in an attempt to kidnap the girl. However, through all the commotion, Sheeta slips and falls to what appears to be her death, only for her strange-looking necklace to glow and cause her to slowly descend towards the ground, where a young boy sees her and catches her. This all takes place before the 10-minute mark and already we are given so many questions to be answered throughout the film. But thankfully the film never tries to get complicated with the narrative. From the beginning we are thrown into this new, fantastical world that is begging to be explored and from there it takes us on an adventure where two children go out to find Laputa, the Castle in the Sky. Some may find the overall narrative of Castle in the Sky simplistic, and I would agree with them, but simplistic does not equate to ‘not good’. For 2 hours, this film is full of action and adventure that will have you entertained from the start. This film is one of the few anime that I believe can be enjoyed by all ages and this is mostly because of its simplicity. Compared to other Ghibli films, Castle in the Sky is not trying to be an allegory of any kind, instead looking at the story’s sense of scale and adventure through the eyes of a child. While I would never consider it to be Miyazaki’s magnum opus in terms of his most developed, breath-taking or meaningful work, it is near-perfect for what it tries to be: an authentic vision of a childhood fantasy, that has the charm to bring out the child in anyone watching. Studio Ghibli is responsible for creating some of the most enjoyable cinematic universes in animated form, as they seem to always be able to bring forth these rich, vivid settings that despite feeling similar, are each unique in their own way. Castle in the Sky is the first of a dozen examples of this. There are so many different working parts of this world of imaginative architecture, advanced technology and charismatic personalities. For this film specifically, Castle in the Sky manages to make a distorted version of the industrial revolution, featuring the likes advanced elaborate aircraft to giant robot guardians, seem like something made out of pure imagination as well as something we could very well see made in the not-so-distant future. It also features some environmental commentary towards the end if you are interested at all. But considering that this film was directed by Miyazaki, all of his familiar yet welcome quirks – strong, independent female characters, ecology, aviation and young children – are present in this film. Speaking of the characters, the lead duo, whilst basic, fit this kind of story exceptionally well, fitting the orphaned child archetype whilst coming off as sympathetic protagonist that you want to see succeed in their dangerous quest. The boy who found Sheet in the beginning is Pazu, who is trying to find the castle in the sky as his father years before had seen, but was disregarded as a liar by those around him. Pazu has a clear goal in the film, and Sheeta is like Pazu’s angel, literally falling into his life in the beginning and supporting him, while also looking out for his safety. Sheeta also changes overtime in the film, slowly but surely becoming more independent and confident, common characteristics of Miyazaki’s heroines. The rest of the characters however are rather one-note and interchangeable. They still play their part well for a film like this, but I am disappointed that they were not as memorable as anything else in the movie. Regarding the production side of Caste in the Sky, it is everything that you would expect from Studio Ghibli. The animation is beautiful, even for today’s standards which, for a 1986 movie is a pretty amazing feat. Throughout the entire film there is no lack in artistry; the backgrounds, characters and sequences all look great. Laputa also happens to be blessed with wonderful cinematography, capturing the overall look of the fantasy epic in every action scene this movie has to offer. As for the music; it sounds stunning! The entire soundtrack fits the tone and style that this movie has, and it is not surprising given that Joe Hisaishi was behind the music. Hisaishi did a great job with the entire soundtrack. If there were any issue on the soundtrack however, it would be that there is no standout themes there, at least in my opinion. Some people really love the main theme for Castle in the Sky, but to me, it cannot compare to some of his other tracks like Legend of Ashitaka from Princess Mononoke. The English dub for this is also solid, but given that Disney was behind the dub, it should come as no surprise it would be anything but. The dub can make the two leads sounds more mature than their character implies, but in no way does it detract from the overall enjoyment you will have when watching this Ghibli classic. If I haven’t made it obvious enough, Castle in the Sky is a film that despite the score, means a lot to me as a fan of anime. It is a brilliantly executed adventure story that is not hindered by age, and as long as you watch it for what it is: an adventure, you will enjoy it. There is more that I could talk about regarding this film, but that would be at the cost of spoilers and I want everyone who reads this that has not seen Castle in the Sky to go into it as blind as possible. It is essentially the film that put Ghibli on the map, and set the standard for what you should expect from one of the greatest anime studios of all time.
~~~Miyazaki sempre foi um diretor que, à parte de sua grandiosa identidade, não se importava em utilizar alguns clichês ou abordagens mais simplórias em suas obras. Entretanto, o segredo disso era a maneira com que ele os implementava. Mesmo em situações caricatas ou de aspecto clichê, a composição fundamental sobrepôs o que parecia evidente. Sejam elas esplêndidas técnicas visuais que compunham a cena, arrojadas abordagens sonoras implementando essência as obras, marcantes técnicas de câmera e perspectiva ou seu formidável _modus operandi_ de fantasia e ação. Todos esses aspectos sobrepunham o que indicava ser um erro, tornando-o um ponto de refinamento, como, igualmente, estão presentes em Laputa. img(https://i.imgur.com/GTPU3Jq.png) __Técnicas Visuais__ A constante movimentação dos diversos corpos que constituem o cenário, aliada da exploração de perspectiva e profundidade foram fatores de grande destaque dentro deste agitado enredo. De modo igual, as técnicas de interação dos corpos sobre os demais elementos da composição. Com fluidez e ótima geração de impacto, o contato dos corpos produziam diversas partículas, desconstruindo o cenário e originando novos objetos. Fomentando uma dinâmica muito eficiente para todas as finalidades emergentes. Sem dúvidas, uma das maiores sacadas introduzidas neste filme é a exploração de perspectiva e profundidade. A câmera não necessita agir sozinha ao trabalhar múltiplos planos, pois, em diversas cenas as personagens movimentam-se conjuntamente em diferentes posicionamentos, porém, ainda no mesmo ângulo, o que proporciona uma ampla exploração do ambiente e do fluxo da ação. Igualmente aplicada na cenografia, dando uma noção estrutural excêntrica aos _frames_ e complementado com excelência o visual. Vale ressaltar também um característico design de cores, muito harmonioso, demonstrando ótimas aplicações de contraste e saturação. Tal-qualmente, complexos designs mecânicos e de edifícios aderindo muita estilização a obra. __Trabalho Sonoro__ Um fator vital a síntese. Caracteriza e permeia substancialmente todas as cenas. Embora não possua grande variedade, compensa na aplicação musical, formando uma mecânica conjunta ao constante uso de silêncio. __O Dinamismo da Ação__ Seja na tensão, na aventura ou mesmo em uma mínima cena constituída pela ação, as personagens sempre estão expostas a múltiplos perigos. Explorando essa margem de imprevisibilidade que o filme fomenta seu dinamismo. O princípio essencial para que os demais fatores de sua direção possam operar. Empregando incerteza a aventura, intensificando a tensão e proporcionando constância a ação. __MacGuffin__ Laputa é um excelente _MacGuffing_ para o gênero narrarivo do filme. O Castelo Voador é a origem de todos os ocorridos, é o que todos perseguem, porém, é também, a origem do incerto. O seu princípio é cercado por mistérios e muita curiosidade. As ações dos personagens e os acontecimentos da narrativa instigam o espectador a tal sentimento. Tornando Laputa não só o pináculo do _world build_, como a principal força motriz de todo o filme. Uma autêntica força motriz que exala a maravilhosa essência do anime. __Comédia__ Apesar de pouco utilizada, ainda pode ser observada em escassos usos de comédia física e algumas cenas clichês hilárias ao em torno dos vinte minutos e, posteriormente, já em uma hora decorrida de filme. Não ganha ressalvas nem deméritos. O atenuante cômico de maior saliência fica reservado a esquadrilha pirata, que rouba os holofotes sempre que fazem presença. __O Planador__ Aos meados de uma hora e quinze de filme, é contado que a vigia em que os protagonistas se situavam poderia se transformar em um planador que ficaria preso a um imenso cabo telefônico. O próprio conceito desse elemento do roteiro já é muito interessante para o momento, então, ao instante em que o planador fica suspenso no ar, temos o grande alvoroço vigente sendo cortado pela imensidão do céu e seu silêncio, para que novamente as constantes adversidades da aventura venham a agir em uma súbita turbulência que atinge o veículo dos protagonistas. Sendo guiada por um trabalho de câmera muito dinâmico. Assim se criam três constantes perigos nas cenas que viriam: o avião militar que estava tentando destruí-los, o péssimo clima dentro das nuvens e o fino fio que separava as personagens de sua instável segurança nos céus. O objetivo predominante era o de alcançar Laputa, os sentimentos de tensão e curiosidade permeiam a atmosfera. Intercalando entre o uso de silêncio e uma musicalidade extremamente efetiva. E, claro, animações fluidas, preenchidas por um design de cores surreal. Uma cena que evoca a genuína síntese aventureira e fantasiosa de uma narrativa. __Conclusão__ Tenkuu no Shiro Laputa é um marco às produções da década de 80', introduz técnicas únicas a indústria e funda um legado em seus gêneros narrativos. Sem dúvidas, um ponta pé inicial excepcional para um estúdio visionário.~~~
Some films simply transcend the border of what's on the surface. Legendary Japanese animator Hayao Miyazaki's _Castle in the Sky_ (known as _Laputa: Castle in the Sky_ internationally) is such a film. Miyazaki has crafted a fun and exciting adventure film that also doubles as an emotionally satisfying journey into the human condition, a film that meditates on love, compassion, friendship, selflessness, and what really determines one's worth. The result is my favorite film produced under the Studio Ghibli banner, only bested by _Nausicaä of the Valley of the Wind_ for the top spot as my favorite Miyazaki film and I have no problem saying it's become one of my favorite films in general. Yes, Studio Ghibli's first official film has stood and will continue to stand the test of time for years to come. img800(https://cdni.fancaps.net/file/fancaps-movieimages/647368.jpg) It is the 19th century. While returning to work in a mining village with his boss's dinner one night, 12-year-old engineer's apprentice Pazu (James Van Der Beek in the 1998 Disney dub, Mayumi Tanaka in Japanese) catches a sleeping girl his own age after seeing her float down from the sky, a glowing crystal around her neck keeping her afloat. After getting off from work, Pazu takes the girl to his house where he has lived alone ever since his father passed away while it is unknown what befell his absent mother. When she wakes up the next morning, she reveals herself as Sheeta (Anna Paquin, Keiko Yokozawa) and the two quickly form a bond. When Sheeta notices a framed photo of Laputa, the titular castle which was also visited by Gulliver, Pazu reveals that even though his father took the photo from an airship, no one believed him, but also says that his father was no liar and resolves to prove Laputa's existence. After a chase with pirates who want Sheeta's crystal, where the army (who __also__ wants her crystal) intervenes, Pazu and Sheeta enter the underground caves where Sheeta reveals that after losing her parents, she was abducted from her farm by the army. It is also here that they encounter Uncle Pom (Richard Dysart, Fujio Tokita) who reveals that only the people of Laputa knew how to mine the element Sheeta's crystal is composed of, also stating that it's dangerous to abuse the crystal's power for selfish reasons. Having vowed to find Laputa together, the two are soon ambushed by the army, Pazu is pistol-whipped, and both are taken to a nearby army base. This base is where, in order to advance his ulterior motives, Colonel Muska (Mark Hamill, Minori Terada) coerces Sheeta into cooperating with the promise that they will release Pazu. Sheeta tells Pazu to forget about Laputa, but he can't forget, arguing that Laputa means too much to both of them. Even so, Pazu returns home in despair after a nasty encounter where Muska shoves money into his hand, only to find 60-year-old pirate captain Dola (Cloris Leachman, Kotoe Hatsui) and her boys waiting for him. When they reveal that they're going after Sheeta, Pazu insists he be allowed to rescue her. After Pazu rescues Sheeta, a race against the clock begins as they set out with Dola and the pirates to find Laputa before Muska can enact whatever evil plans he has for the legendary island. img800(https://cdni.fancaps.net/file/fancaps-movieimages/647107.jpg) Miyazaki has filled the film's story to the brim with depth, heart, and soul and it serves as 124 of the most worthwhile minutes you'll ever spend watching a film. Pazu and Sheeta have lived alone ever since losing their parents, but after finding each other, it is likely they will never have to be alone ever again, or at least not for very long. The love that grows between them is one of the most beautiful things put on film and perhaps nothing better exhibits its beauty than a scene in the latter half where they keep watch in the late hours of the night. Dola and the pirates show that there is more to a person than what they might initially seem. The friendship that forms between them and the two kids is one that will bring smiles to a whole lot of faces and continue to do so with repeated viewings. Miyazaki also expertly shows how greed and selfishness can corrupt the heart and soul. No character proves this point better than Muska, who is arguably the most evil villain Miyazaki's ever created. His complete lack of compassion has consumed him before the film even opens and he pays the price. Contrast this with Pazu and Sheeta, who don't want any of Laputa's treasures but end up finding the greatest treasure of them all, more precious than any material thing. Material treasures can never match the value of a human being, the value of love, the value of compassion, the value of honor, or the value of friendship. Character traits such as compassion, honor, and selflessness define a person's worth more than money or any other materialistic treasure ever can. Pazu and Sheeta recognize this. The pirates, for as much as they seek treasure, also recognize this and are thousands of times more decent human beings than Muska. Even so, Muska is simply a figurehead for the sinister principles our heroes stand against. We also get to watch as, bit by uplifting bit, Sheeta garners the inner strength to make a pivotal decision that may turn the tide of the battle against evil and we get to see not only her old wounds, but Pazu's as well, finally heal. On top of that, the scene where they finally make it to Laputa is as satisfying a scene as one could ask for and we get an endgame that closes things out perfectly, serving as not only an ending but also a beginning. It may be the end of the search for Laputa, but it is also clearly only the beginning for Pazu and Sheeta, a magnificent end to a magnificent film and one that is, in a way, both triumphant and poignant. There are also subtle bits of depth that reveal themselves with each new watch, making repeat viewings just that much more rewarding. img800(https://cdni.fancaps.net/file/fancaps-movieimages/647301.jpg) The animation is everything you'd expect from a Miyazaki film. There is an abundance of lush colors, from the blue of the sky to the green of the plants to the red of Sheeta's hairband. Character designs match the proportions of real people and we get the wide array of facial expressions that naturally follow as well as a diverse array of natural skin tones and realistic clothing. Close-ups also reveal interesting details, like the fact that both Pazu and Sheeta have blue eyes. Each background is vastly detailed. The interiors of airships show every nook and cranny you'd expect from a creation of its steampunk nature, Laputa is exactly what you'd expect from a floating city that houses greatly advanced technology, and Pazu's house is as homey as you'd expect while the army base has a fitting calculated coldness and the mines are just as dirty and cavernous as a real one. We also get some cool-looking giant robots and a variety of animals, which are also highly detailed. Miyazaki also pans across various backgrounds to keep the viewer engaged. All of this came off especially well when I saw the film theatrically. Overall, _Castle in the Sky_ couldn't have been animated better. img800(https://cdni.fancaps.net/file/fancaps-movieimages/647597.jpg) The film is also well-acted and well-scripted in both English and Japanese. Van Der Beek and Tanaka are excellent as Pazu. Some have criticized Van Der Beek for the fact that he was 21 years old when Disney dubbed the film in 1998, but that doesn't come anywhere near stopping him. Van Der Beek gives it his all, imbuing the character with all the enthusiasm and energy a 12-year-old boy would have and also supplements this with a wisdom beyond his years as the film progresses, especially in the latter half when he and Paquin's Sheeta have a conversation about Laputa, the crystal and what its power implicates. Then again, I had a naturally deep voice at that age, so I guess it wouldn't bother me. That said, Tanaka does the same, albeit in a different way. The same is true of Paquin and Yokozawa as Sheeta. Paquin has also been criticized by some who have called her “stilted and unreliable” and accused her of (and I'm paraphrasing) “nearly sending the film's English dub crashing down to Earth,” but I disagree. She starts off somewhat wavering but grows more steady as the film goes along, which is actually a perfect match for the character's transformation as she finds her inner strength. Leachman and Hatsui are also excellent as Dola, encompassing the pirate captain's compassion every bit as much as her gruffness. So are Hamill and Terada as Muska, effectively depicting the character's seared-with-a-hot-iron conscience, selfishness, and altogether despicable nature; Hamill sounds like a colder version of Joker as he voiced him in _Batman: The Animated Series_, but it actually works a lot better for Muska than you might initially think. This is also true for the rest of the two casts. All in all, both are full of life, character depth, and purpose and you can't go wrong with either. If you want my advice, watch it both dubbed and subbed and enjoy both for what they bring to the table. img800(https://cdni.fancaps.net/file/fancaps-movieimages/647830.jpg) Joe Hisaishi is a master at musical scoring and he gives one of his best here. Or should I say two of his best since he composed an expanded score for the dub that Miyazaki himself approved? The expanded score actually works together with the excellent voice acting to tip me in favor of the dub. I know, some have claimed the expanded score adds nothing to the experience, but I don't think that's the case. The expanded score serves for a more complete and immersive film. Simply compare the opening minutes with and without _Prologue/Flaptors Attack_ and the two versions of _The Girl Who Fell From the Sky_ that play over the film's opening credits and you'll find that the expanded score is more nuanced. In the morning when Sheeta wakes up, _Pazu's Fanfare_ is also more nuanced in the expanded score where it is more electronic and repetitive in the original score. If I had to name one of my favorite tracks from the expanded score, it's _Confessions in the Moonlight_ which plays when Pazu and Sheeta keep watch, perfectly encapsulating the scene's warmhearted tone. Comparing the film's endgame, the expanded score is more nuanced and complete; the scene where a certain spell is uttered is accompanied by a hauntingly beautiful chanting piece that gives this fan goosebumps _every single time_ he watches the film dubbed. Like the animation, the expanded score is another thing I couldn't help noticing yet again when seeing the film theatrically. With that said, the original synthesizer score is really good for what it is considering what Hisaishi had access to and I'll admit I probably wouldn't be saying any of these things if the expanded score didn't exist. Still, though, the expanded score is a magnificent score for a magnificent English dub of a magnificent film. One thing that remains the same is Azumi Inoue's _Carrying You_ (_Kimi wo Nosete_) playing over the closing credits. It's basically _The Girl Who Fell From the Sky_ with lyrics Miyazaki himself wrote, but it's a perfect note to end the film on and when you look up the English translation, it turns out that it flawlessly matches what the movie is all about. Throw in an amazing sound design and _Castle in the Sky_ does everything right. img800(https://cdni.fancaps.net/file/fancaps-movieimages/648154.jpg) In case it wasn't already obvious, I love _Castle in the Sky_. As far as I'm concerned, it's Studio Ghibli's finest hour, one of Miyazaki's finest, and one of the best films of the 1980s. I've seen the film in the theater and several more times on Blu-ray and it never ceases to impress me in every possible way. The film is not only a fun and exciting adventure but an emotionally satisfying look at love, honor, compassion, friendship, selflessness, and the triumph of the human spirit. The film is also visually stunning and the various chase scenes continue to thrill with each new watch. Its most likable characters are easy to become invested in all over again and its story is all too easy to find oneself swept along in as if seeing the film for the first time. Pazu and Sheeta's battle against evil remains as compelling as ever. The bond that forms between them will remain etched within your subconscious for ages and both of Hisaishi's scores, especially the expanded score, as well as Inoue's theme song will ring inside your ears long after the credits roll. Oh, yes, _Castle in the Sky_ earns __my highest recommendation.__
Castle in the Sky is no doubt one of the most magical experiences I have ever had in my life. You might think that to be a little depressing at first before you actually watch the movie. There are dozens of layers to appreciate the film on and each is so well crafted that even one or two of the elements and themes presented in this film could easily make another great. There are so many things to say about this movie that it's hard for me, even writing this review after just having completed it, to remember them all accurately to the level of detail they were presented in the film but nonetheless I'll try my best to give you a _quick_ rundown for the sake of getting you to _watch this movie right fucking now_. ~~~__Visuals:__~~~ img820(https://nerdist.com/wp-content/uploads/2016/05/castle-in-the-sky.jpg) Obviously, as a studio Ghibli film, this movie is going to look quite amazing but the quality of everything to do with looking at this movie is incredible. There character designs are simple and convey each character's personality well without being over complicated or hard to look at. Their simplicity also makes them easy to animate which you can see through how Miyazaki animates characters in a way in which their emotions are told through their movement. Every shot is compelling and the animation is great throughout. I can't count on my fingers and toes the amount of times I just wanted to pause to movie and screenshot a particular moment of it (I couldn't because I as watching it with my friend) and overall the film looks absolutely beautiful. ~~~__Music:__~~~ youtube(https://www.youtube.com/watch?v=gdpEnkcT7Io) The music of Joe Hisaishi is, at this point, inseparable from the works of Ghibli and Miyazaki. His soundtracks are always stunning but I think he really outdid himself with this one. Every track is amazing and, just as importantly, used appropriately to accentuate the themes and emotions of the scene. Just as impressive as the music is the lack of it in many places. The use of music in this film shows real maturity and it makes it all the better to watch. ~~~__Characters__~~~ img820(https://homemcr.org/app/uploads/2011/04/Laputa-2-940x460.jpg) I don't want to spend too long on this one but let's just say I loved all of the characters. Except Muska. Muska is a first class asshole and if you don't hate him after an hour then you certainly will by the end. The pirates were so fun and the ending with all of them filled me with unbridled joy. Obviously the main characters are your archetypal Ghibli boy and girl but the part that sells it is how they interact with one another. They had such a fantastic relationship and chemistry together I was almost annoyed they didn't at least promise to marry each other by the end (idk if that counts as spoiler or not). ~~~__Aesthetic__~~~ img820(https://i.pinimg.com/originals/51/d5/a0/51d5a0b97cd9b8efbc04b961a7f423d1.jpg) This may seem like a weird thing to put in here as so far I've covered very obvious things that every movie needs to be successful on at least some level (You could say that aesthetic falls into that category as well but it isn't really the first thing you think of.) but I'd argue that aesthetic has a great impact on how movies, especially ones by Miyazaki, impact people. All of Miyazaki's films (that I've seen) draw highly upon aesthetic to sell the tone and themes of the movie and Castle in the Sky is no exception. There is a great presence of steampunk which is harshly contrasted by the beauty of the nature on Laputa, adding to the theme of man's creations wreaking havoc on nature because of how man has forgotten how to appreciate it (a common theme among Miyazaki's works). The aesthetic of the sky and clouds is a middle ground between these two as it is the medium in which both meet (the nature on Laputa and technology of the airships) ~~~__World:__~~~ img820(https://images.vogue.it/imgs/galleries/peole-are-talking-about/musica-teatro-cinema/013113/1-545455_0x440.jpg) The worlds of Miyazaki are always rich and feel much greater than the scope of the movie. They feel unbelievably real and vivid, like you could live directly in it alongside the characters. Of course, Castle in the Sky is no exception. This kind of ties into the aesthetic but this is definitely one of Miyazaki’s most unique and fun worlds I have seen. Many of Miyazaki’s films’ success ride off of the richness of their worlds and Castle in the Sky is propelled to great heights by its unique setting. I would write more but I'm finding it hard to think of more things I could praise this film for without diving into gross and unnecessary depth because in the end the whole goal of this was to share my thoughts and hopefully convince you this film is worth a watch and I think I've done enough to (hopefully) check both those boxes. Like I said this was one of the most magical experiences of my life so far and it instantly shot up in my favorites list just about the time when I was thinking I hadn't watched a favorite tier anime in a while. Also, my friend (the one I watched the movie with) said he'd give it a 10/10 so if you want a second opinion there ya go. I apologize for this reading like an essay but I really didn’t know how to do this any other way and I also suck at writing anything humorous so it turned out like this. Anyway, thanks for reading. Cheers! ~~~__TL:DR__~~~ ~~~This is a really fucking good movie watch it right now.~~~
__Movie Review__: Laputa: Castle in the Sky (Hepburn: Tenkū no Shiro Rapyuta) - _a wonderful fantasy drama with the blend of amazing score and unfeigned romance_ __Rating:__ 4.7 stars out of 5 (Still one of the best Studio Ghibli movies) __Honourable Mentions: __Joe Hisaishi's soundtrack album for Castle in the Sky won't cease to amaze you !! https://www.youtube.com/watch?v=PTuXYwU-unQ&list=PLF2BCEDE281E229E2 __Review:__ Castle in the Sky is a classical fantasy romance drama by Studio Ghibli which is ranked #43 Highest rated anime all time and #40 most popular anime all time in the anilist.co site (https://anilist.co/anime/513/Laputa-Castle-in-the-Sky/) The music of this anime is composed by Joe Hisaishi who also composed the score for other Studio Ghibli movies "Spiritted Away", "Howl's Moving Castle", "Princess Mononoke" to name a few. This anime movie is a wonderful treat to watch and surpasses the likes of animated movies like The Lion King, Aladdin and the little mermaid. Castle in the Sky is beautiful and wise in it's story-telling aspect. It's suitable for cinephiles of all ages and categories. This movie is beautifully drawn and the character development we get to see in this movie is an absolute delight to watch. __Story (Spoilers Alert):__ The movie has two main characters Sheeta and Pazu. Other characters i liked in this movie are Dola and Uncle Pom. Captain dola's character is absolute delight to watch. The movie starts when a crew of pirates headed by Captain Dola attacks the plane in which Sheeta was kidnaped. Sheeta manages to escape from that plane but she falls of the plane and thus Captain Dola couldn't get the crystal. The crystal of Laputa has special powers and these can only be used by Sheeta - the true heir of Laputa. Pazu who is the main protagonist in this movie and is my favourite character sees Sheeta - a girl coming from the sky above. He holds her and thus the union takes place. The score played in that sequence makes the scene epic. https://www.youtube.com/watch?v=Yy8MEO_2AYo What comes next is an excellent fantasy adventure which Sheeta and Pazu undertakes to find LAPUTA - the castle in the sky. Meanwhile, the cute romance blossoms between Sheeta and Pazu and it becomes the important constituent of this epic 2 hours long movie. __Favourite soundtracks from the movie:__ 1. The girl who fell from the sky https://www.youtube.com/watch?v=Yy8MEO_2AYo 2. The levitation crystal OST https://www.youtube.com/watch?v=Tl5xTQOtP-I 3. The Legend of Laputa https://www.youtube.com/watch?v=WLd8bH3mAn8 4. Floating with the Crystal https://www.youtube.com/watch?v=JER5MM5jcsY 5. Memories of Gondoa https://www.youtube.com/watch?v=kQG8qC2oFYA 6. Confessions in the Moonlight https://www.youtube.com/watch?v=Pt0Ek5LZPBA 7. The Lost Paradise https://www.youtube.com/watch?v=U2EDABZX_Ow 8. The forgotton robot soldier https://www.youtube.com/watch?v=ACYksTUcE3U 9. The destruction of Laputa (Choral Version) https://www.youtube.com/watch?v=nEDVsUDRuRY 10. The eternal tree of life https://www.youtube.com/watch?v=FRfklQNZkqw __Favourite quotes:__ 1. Uncle Pomme: The earth speaks to all of us, and if we listen, we can understand. 2. Sheeta: [after falling on Pazu from roof] Oh, I'm sorry. Are you all right? Does it hurt much? Pazu: Hey, if my head was any harder, you could use it as a cannonball.
~~~__Spoilers__~~~ img(https://cdna.artstation.com/p/assets/images/images/006/270/778/large/zakuro-aoyama-laputa.jpg?1497291797) Artist: [Zakuro Aoyama](https://www.artstation.com/artwork/qdy9P) Even from an early point in his career, Hayao Miyazaki brilliantly showcases his ability to conjure up fantastical worlds into film. _Castle in the Sky_, deservedly so, stands as one of Studio Ghibli’s most iconic fantasy movies. Of course, from today’s point of view, Ghibli’s whimsical quality has become more of an expectation rather than an exception. Following films like _Howl’s Moving Castle_, _My Neighbor Totoro_, and _Spirited Away_, it is clear to see how Ghibli’s otherworldly yet cozy sense of setting originated in this film. # Worldbuilding and Ambience These films draw upon a _mélange_ of awe and familiarity to establish its setting. Pazu’s comfortable home greets us with the sounds of a trumpet and joyful birds, juxtaposed by the background of the Slag Ravine’s steep cliffs and steampunk industry. The familiarity of brick houses and a warm breakfast invite the viewer not to view the world presented to them as alien. Even if its flying galleons and hovering ancient cities are entirely fiction, it instills a sense of wonder into the viewer, making them feel enchanted by the film. It is openly inviting them to find this ‘enchantment,’ as Tolkien would have described it, in their own worlds as well, beyond the screen. I am sure this an observation that can be made of many of Ghibli’s films. But it is appreciated more in _Castle in the Sky_ due to its place in Ghibli’s timeline: at the beginning of the studio’s career. I would say _Spirited Away_ is the film that completely masters this technique of embracing the magical as part of a relatable word. Unlike high fantasy, which often decides to ‘transport’ the viewer instead of ‘incorporating’ the fantastical into the audience’s minds. ~~~img(https://feelinganimatedblog.files.wordpress.com/2019/11/castle-in-the-sky-scenery-6.jpg?w=600)~~~ These worlds, which Miyazaki invites the viewer into, use the unreachable to surprise the viewer. The city of Laputa is ingrained into the viewer’s mind the same way a child thinks of Santa. A ludicrous reality which we accept as possible. There is a certain suspension of disbelief not found in many other pieces of fiction. Indeed, Laputa does not exist in our world, but Pazu and Sheeta’s world is so close to ours that we almost believe it does, possibly amongst the clouded sky. Most notable about Miyazaki’s worldbuilding technique is that which is left unseen; these glimpses that are never expanded upon. I would qualify this as a strength of the film rather than a flaw. These missing components ultimately make the world more mystical—repeatedly making the viewer inquire upon the nature of _Laputa_’s world and its unexplored aspects. What sort of kingdom do these people live in? What other Seussian machinations have these people invented? How did the robot soldier fall from the sky? All of these questions, leading the audience deeper into the caverns of the imagination, piquing their interest in what’s been shown to them and what they might imagine on their own. img(https://miro.medium.com/max/2625/1*hzrp15mGCkzv_MyasU0C3g.png) # Script This ‘untapped world of wonder’ serves, not only as a worldbuilding tool, but also as the protagonists’ driving ambitions. The story of Pazu and Sheeta is that of discovery. It is a path of self-discovery and pioneering across the light blue expanse. It is a lighthearted coming of age story of two young teens beginning to experience the world. Pazu’s wish to explore the skies and Sheeta’s determinism towards uncovering her family history combine to tell a thrilling story of character growth. Pazu and Sheeta both demonstrate bravery and wit even in the direst moments: from rescuing others to escaping from danger. Sheeta even showcases to her mentor, Dola, captain of the “Tiger Moth,” that her gender is not a constraint. img(https://pbs.twimg.com/media/EGDfCuQWkAI84bT.jpg) The plot is structured like an extended chase scene: amongst pirates and soldiers storming after Sheeta, then Pazu rescuing Sheeta, and then Sheeta and Pazu chasing after Muska. It seems fitting considering the central theme of the movie is ‘to chase.’ The Dola family chase after treasure; Pazu chases after his dad’s lost dream; and the antagonist chases after power. Ultimately the movie contrasts the childlike ‘chase for wonder’ exemplified in the protagonists’ thirst for adventure against Muska’s desire for control. Pazu and Sheeta chase after the wonders of Laputa not because of greed but rather for the adventure laying above. Verticality resides at the core of the film, guiding both the movie’s art and writing direction. Visually, the film depends on the vertical nature of _Laputa_’s world. The altitude, presented either through steep cliffs or by soaring the skies, is a fundamental aspect of its action scenes—ultimately engulfing the viewer in awe and suspense, given our association of danger and heights. Nevertheless, in all their bravery and boldness, the protagonists lift themselves into flight (or throw themselves into the abyss), adding to the spectacle of it all. Vertical set-pieces inhabit every scene in _Laputa_. Even the towns are crafted out of wooden scaffolding, connected through levitating railways. img(https://i2.wp.com/sojapan.jp/wp-content/uploads/2016/10/castle-in-the-sky.jpg?fit=1024%2C576&ssl=1) The script and characters of the movie further explore ‘verticality’ through the context of hierarchies. Pazu and Sheeta are characterized as the social strata’ breakers, defying their assigned gender roles amongst the crew and combating authority. In their entry to the pirate crew, they embrace their identity as rule-breakers refusing to accept their prescribed roles. Sheeta, most notably, showcases wit where Mama Dola would not have expected any from a girl. Furthermore, even as a royalty member, she refuses to utilize her bloodline to govern and conquer; instead, she decides to cast away the city’s destructive power. An apparent act of defiance against the corruption that power provides is the movie’s climax. The film comments on authority and power, deciding to question its intentions, prompting us to cast away any greed and lust for strength to preserve peace and nature. Moreover, the film praises humility amongst its cast, never looking to shame Pazu for his profession or the ravine for its makeshift buildings. The caves of the underground are not characterized as dirty; instead, they hold eternal charm. Contrarily, the mighty high castle of the army is a sign of fear, not of glamour. The film appreciates the ‘little guys,’ refusing to praise the ‘higher castes,’ the way the antagonist would have wanted others to do so. img(http://www.animecourtyard.com/blog/wp-content/uploads/2012/05/laputa_01.jpg) Furthermore, _Castle in the Sky_ paints a compelling dichotomy between technology and nature. There is an evident appreciation for nature in how vines and trees revolt against the aristocratic halls of Laputa—refusing these robots of death to roam free, transforming the city into a sanctuary of life. The way rock and soil are appreciated as a part of life in the ravine and how steel, bricks, and gunpowder are disdained as part of the military. However, technology itself is not condemned, but the way violent actors have utilized it is criticized. After all, the end of the film showcases the atomic bomb imagery, typical of Japanese animation, in all of its horrific cruelty. Technology can be seen in unity with nature, similar to how the gardener robot tends after its remote monastery. Flying machines are part of Pazu’s dreams, and these can be used for the search of wonder rather than the interests of war. To explore the world while in peace with mother nature seems to be the movie’s message. img(https://www.rotoscopers.com/wp-content/uploads/2017/03/laputa-castle-in-the-sky-c2a9-studio-ghibli.jpg) # Conclusion _Laputa: Castle in the Sky_ presents the viewer with an atmospheric land of enchantment, inviting the viewer into scenic action pieces amongst the clouds. Miyazaki presents a masterful showcase of wonder and color, utilizing every environment to excite the audience. The film uses its characters to draw upon a youthful and rebellious appreciation of nature and peace. It guides its audience members to sympathize with the outcasts, driven by independent journeying, and scorn the institutionalized machinations of force. _Castle in the Sky_ is a high-spirited odyssey of bravery and boldness, inviting the viewer to explore and defy. ~~~img(https://modernmoviemeltdown.files.wordpress.com/2018/06/the-destruction-of-laputa-2-the-castle-flies.jpg?w=584)~~~
#In a Shellnut The wind has always been a part of this world. The earliest men built windmills to harness the divine breeze, and from there only built larger; Industries rose on revolving vanes and only time stood between them and the skies. Great airships rose, settlements in the sky, and the ground eventually followed as well as they sent giant islands up among the currents. A powerful civilisation thrived, hovering above the earth, but as all things do, they fell. Quite literally. Now, even the legends of the floating islands and the fallen civilization they carried have faded with time, and only one last tale remains. Few believe in Laputa now, but a there are still some who pursue it -be it for greed, for power, or for curiosity- and the key to it all is a girl who would rather see that terrible past buried for good. #Strong Points It's very pretty, the backgrounds especially, and the atmosphere is great. The intro is also very well made and it must have taken forever. The characters are great and set the tone very well in the scenes they're in. The lore is simple but quite pleasant, with a constant and well-communicated theme throughout. There is some really good music here, at least three tracks explicitly caught my attention. #Weak Points The ending is somewhat hasty and I would have appreciated a bit more resolution. It's a children's show, so the story is basic and forgoes potential conflicts to cater for the audience. Also both main characters are 13 year old orphans who just sort of take care of themselves, which is slightly unrealistic, I think. Perhaps this is a cultural thing, but the main female character is often approached by significantly older men, so that may bother some. I did not find it offensive, but my friend was weirded out. # Similar Shows Nausicaä of the Valley of the Wind by Studio Ghibli, This is their first film and shares many thematic similarities. Any other movie by Studio Ghibli #Elaboration This is very similar to their first movie (Nausicaä), but it is different enough that it isn't an issue. They share similarities in theme, narrative, and social commentary, but this one is somewhat less violent (at least in terms of upfront person v. person violence), though both were kept very child-friendly. The violence in this movie was tonally muted very effectively. Despite the combat and generally war-like nature of the narrative, no-one is ever explicitly dead and no attention is drawn to it. Instead, you have to actively consider the events and logically conclude that a character died, which is a good way of making it harder for the children watching to notice it while still allowing the story to seem realistic to adults. One thing I find funny is the mixed Biblical and Hindu symbolism, which is used once out of the blue. I've heard that the Japanese see it as being this foreign, monolithic thing that immediately grants a subject a very mystical and otherworldly nature (which is a common theme throughout the movie) and that is exactly how it was used in context, so I am inclined to believe it. It reminds me somewhat of Evangelion in that sense. The artwork really stands out to me here. I feel like modern animes often focus a lot on characters and their designs, relegating the background art to being more functional than visually pleasing; This movie, however, really merits being called artwork. There are several scenes that I still remember and the amount of effort that was put into drawing pieces that would only be used for a few seconds is honestly astounding. It really gives off a labour of love vibe that has undoubtedly contributed to the cult success of Ghibli's films. #Spoiler Section ~!This movie shows off some very classical Japanese takes on artwork. Though it takes place in an arguably western setting, the way it's portrayed is clearly done in a Japanese style. There are also moments where it goes purely silent, with no music or sound whatsoever. While this does happen in most media at some point, it is often done in a way that the audience doesn't notice -at least not consciously- but here it is blatant to the point that I wondered if my headset had been disconnected. Some might find it strange, but I think it is a cultural difference. Western interpretations of art dislike or are overtly hostile towards emptiness, and I was myself repeatedly told that, when I produced something, that nothing should be empty or else it would be seen as inferior. The Japanese mentality is very different, with their traditional art emphasising large amounts of whitespace in their paintings. It's intimately linked to the minimalist and refined aesthetics that defined the Japanese upper class, and an artist being able to do so tastefully was a strong show of elegance and decorum. I feel like it is this heritage that found it's way into the sound design and I think that those few silent moments are used in this exact way very skillfully and to great effect. I quite like the robots in this movie. Unlike in Nausicaä, they are more human (one of the last functioning robots takes care of birds and small animals as well as tending to an ancient headstone) while retaining the same terrifying, futuristic power. Once again, they fire lasers that can destroy any modern weaponry and are near impervious to anything that the army can throw at them. (Except perhaps several massive naval cannons, which put the robots at the same level of combat capability as a warship). I especially liked how the robot was destroyed by burning up on the inside like a magazine as well as the other robot that jingled as it walked. Post-war era symbolism makes it's return again in this movie and it's very much one of my favourite aspects of these movies. It's a pervasive thing that pops up every now and then -such as in the scene where Muska shows off the power of Laputa by firing a nuclear bomb laser thing into the ocean below- but it's always there. One of the core messages is a cautionary tale of how man is abusing it's power over nature and how they are the ones who will ultimately cause their own demise. The antagonist is a man himself, but the real villain is what he seeks, a foreign power that could wipe out modern society with a little effort and very little warning, and I think that must reflect pretty well how Japan felt about the United States after WWII. The villain is rather standard fare for a kid's show (Power seeking, doesn't care about human losses and even relishes in it, will do whatever to further his own megalomaniac desire, etc. etc.), except for one thing; He's actually the rightful heir to the throne of Laputa. Often you'll see the villain being a false pretender to the throne with the main character being the rightful heir, and the story is resolved with the correct successor being put in power (which is a weirdly pro-monarchy stance that few people question). Here though, the villain is actually correct and would have been considered right in taking the power (had anyone been still alive to acknowledge it) but he is stopped by Shiita, who is also the rightful heir and chooses to destroy her inheritance, so that was pretty cool. There is a lot of subtle visual story-telling, and two in particular struck me as being rather clever. The first is when Muska picks up the necklace at the destroyed fortress. He states that it points directly to Laputa and the light shines directly at his head. It's a stealthy way of saying that the Laputa that he fantasizes about and has been searching for is a construct of his imagination and not necessarily what the actual island is, which ultimately turns out to be true as he fails to seize world-ending power and it is destroyed by a word. The second is when the two main characters join the pirates to go to Laputa. The scene shows Pazu's hometown in the distance and after a quick shot of them looking on, it returns to the hometown slowly being covered by clouds, which is a neat way of showing how they're leaving behind their old life behind (well, not Shiita I guess) to go off into the sky in pursuit of their goals.!~
In the early 1980s, a man named Hayao Miyazaki was just hot off the success of one of his first animated features, Nausicaa and the Valley of the Wind. With all the money that came in thanks to Nausicaa's success, he decided to make his own company. With lots of hard work and help from friends, namely Isao Takahata and Toshio Suzuki, Studio Ghibli was born. The first movie Ghibli ever made was this one, Laputa: Castle In The Sky, or just Castle In The Sky, since Laputa is apparently an offensive Spanish slur, not that the producers knew that at the time. From all the information I could find, Castle In The Sky was a hit, raking in lots of money and helping to establish Ghibli as a movie-making force to be reckoned with, to the point where it inspired many other works that would come later, with many considering it to be one of the first modern steampunk classics. Hironobu Sakaguchi has gone on to confirm that Castle In The Sky had a big influence on early Final Fantasy titles, particularly the airship designs. But how well does the movie hold up now? Let's take a look! The story begins with a girl named Sheeta escaping an airship, having been kidnapped by a group of military agents who want to use her magical crystal necklace. She is saved by a young boy named Pazu, who works in a mine. The two become fast friends, but both the military agents and a group of pirates led by a woman named Dola are still after Sheeta, and Pazu is determined to help her in any way he can. Pazu is also trying to find the mysterious floating castle known as Laputa, which some say doesn't really exist. But as it turns out, Sheeta has more of a connection to Laputa than anyone realized, and one man in particular, Muska, is dead set on finding Laputa and using it for his own evil purposes. Pazu and Sheeta have to work together to not only save themselves, but Laputa and the world below. If you're thinking the storyline is rather cliche, what with a boy helping a damsel in distress princess who has a magical McGuffin that everybody wants and fighting an evil man who wants to use said McGuffin for whatever, then you're right. By today's standards, the story isn't really much to write home about, as a lot of these things have been done before, with some doing it better than this. But there's really no such thing as originality anymore, so it really depends on the execution. In that aspect, I think Castle In The Sky, while it does use a lot of tropes and cliches common in most stories we know off, manages to handle them very well with what it had. But it can't be denied that it does stumble and make a few missteps, so the movie's not without its flaws. But I don't want to damper the review with the negatives just yet, so I'll focus on the good aspects first. I don't think I need to talk too much about Ghibli's animation because, well, everybody knows how great Ghibli is with their animation, so talking about how great it is would be redundant. I can say that the amount of creativity that Miyazaki and the animators put into the fantasy setting is really original. From the mining town to the Laputa castle itself and its mixture of technology and nature, the setting really draws you in. The lush colors, the fantastical creatures, the stone caves with lights that look like tiny galaxies and starscapes, and the hyper detailed airships really draw you into the movie and its world. I can only imagine that this movie must have been revolutionary for its time period, and in that aspect, Laputa definitely succeeds on this front. The soundtrack is just as good, which is no surprise, since Joe Hisaishi worked on it. Every piece of music works in their assigned scenes, knowing when to hold back and when to let loose, and setting the mood and atmosphere for each part. The ending song by Azumi Inoue is also very nice and well sung. Oddly enough, when Disney got the license to the movie, they commissioned Joe Hisaishi to rerecord the soundtrack for the movie with an orchestra and adding more music exclusively for their release back then. I did watch the dub with the rescore, since that was what I had found at first, and I did watch the Japanese version later, and I like both soundtracks for what they are. Considering I heard that the rescore was lambasted and hated when it first came out, I couldn't comprehend what the problem was. I mean, the music still works and fits the mood of the movie, even with a bit of lull destruction here and there, but it doesn't overpower the quiet scenes or ruin the atmosphere. Hey, I think we can all agree that the rescore is far and away better than...I don't know, every single Saban soundtrack that's made for every anime dub they (Saban) work on ever (Digimon and the recent dubs of Smile and Doki Doki Precure/Glitter Force, anyone?). Yeah, those soundtracks can be guilty of killing or ruining quieter moments and trying to add unnecessary, obnoxious, unsubtle music to EVERY SCENE due to the so-called idea that kids will hate any kind of silent or atmospheric moments. even a millisecond of it. At least Hisaishi's rescore doesn't do that. The characters, I'm a bit conflicted on. They're not bad or anything, far from it. The side characters--namely Dola's pirate gang--are all colorful, fun, and full of personality, even if we don't know them very well...except for Muska, who is definitely a stereotypical evil bad guy who wants Sheeta and her crystal necklace so he can take control of Laputa and use it to take over the world. He doesn't have a whole lot of substance, and we don't really learn why he's like that in the first place, so he's not a very interesting villain. Though, to be fair, Mark Hamil's voice for him definitely gives him a lot of charisma and makes him seem both cunningly charming and menacing, so I'll give him that. I like Pazu well enough, he's okay, but in the end, he doesn't really carry the weight of the movie, and he spends a lot of his time doing impossible heroic feats that no kid his age should be able to do. He's not a bad, poorly written character, but he could have done more. That said, I've seen people give Sheeta a lot of flak for supposedly being a useless damsel in distress, and I think those complaints are unfounded. She's not a super strong badass action girl, but she doesn't need to be. She's smart, she's resourceful, and while it's clear she's not a fighter, she at least makes an effort to get out of her bad situations when she can and tries not to let anyone walk all over her, as shown in the beginning when she whacks Muska with a wine bottle and escapes the airship, bites one soldier trying to catch her, and attempts other escapes from her captors. I'd compare her to Maya Fey from the Ace Attorney series. She's not physically strong, but they say true strength lies within, and I think Sheeta deserves some recognition for that. So the movie is lavishly animated and scored and has a unique setting that feels intriguing, but falls into a lot of cliches. I guess you can say it's both timeless and dated at the same time, if such a thing is possible. The idea of a boy saving a mysterious girl who turns out to be the queen of an extinct race has been done to death lots of times over the past few decades, and while it is nicely done here, it still feels a little vanilla. Plus, there are some details the movie just forgets about in its quest to make heart-pumping action. Like, one character destroys a roof, and nobody bothers to fix it, and nobody complains about the damage that's been done to their mines and how they have to deal with the construction afterward. Heck, a wooden bridge for mine carts is destroyed, and then it disappears, completely forgotten. So in the movie's attempts to have a lot of action, it winds up not following up on some of the more minor details that would have added some realism to the movie. But some other details they add are really good, such as an entire mining town going way out of their way to stop a bunch of pirates from kidnapping a little girl they know nothing about. In the end, I wouldn't call Laputa: Castle In The Sky Ghibli's best movie. Kaguya, Marnie, and Whisper of the Heart are my personal favorites, and I feel that they're better. But that definitely doesn't mean Laputa doesn't deserve the popularity that it's gotten, especially considering the impact it's had on the anime and game industry in general. If we didn't have Laputa, stuff like Steamboy and the original Final Fantasy games probably wouldn't exist. It's still a fairly nice, exciting, imaginative movie that doesn't insult the audience's intelligence and has a lot of heart. Flaws and all, I still consider this a movie worth watching, especially if you want to introduce someone new to anime as a whole.
Ghibli films often have this sense of magic in they way they're able to craft a unique and expansive world and distinctly feel as if the viewer is only able to see a very small aspect of it rather than feel as if they've functionally experienced it all, and I feel like Castle in the Sky does this very strongly. There are so many characters here that appear for 5 minutes at most and yet end up feeling so significant in their own ways, as if they're clearly interacting with things far outside what the viewer is directly informed of, all feeling like the lifeblood for this absolutely gorgeous town that feels almost as wonderous as the giant floating island that the movie's named after. Uncle Pomme is literally just some old guy who lives underground and appears for a single scene and is never mentioned again, and even someone such as him feels vital to the experience this is trying to craft, a film about people just doing their own thing and happening to intersect time and time again in ways both intentional and accidental. Some might call it contrived for so many things to occur due to happenstance, but a lot of the most important moments nonetheless are distinguished in the way they're swayed by the choices people make. Sure, these two people happened to cross paths without meaning to, but that's not the important part as much as what comes after that, which is where things really shine. More than anything, Castle in the Sky attempts to cram as many different perfect pieces of imagery into its runtime as possible, each seemingly more awe inspiring than the last. The especially prominent focus on air and the sky is something I'm a huge fan of in particular, with so many different takes on what huge flying behemoths can look like all throughout. For as obviously gorgeous as the clashing of foliage across the futuristic architecture of Laputa is, my favourite would have to be the clumsy, industrial look of the pirate airship, with the perfect middle ground between looking majestic and as if it's about to completely fall apart, which ties to a pretty consistent visual theme throughout having even the most incredible displays being on the verge of collapsing. It's also cool to see that Miyazaki's perpetual burning hatred towards people willingly destroying the natural world is once again on full display, and while it might be a bit less overt than the heavy handed dialogue in Nausicaa, I'd say that it's more effectively conveyed here. The way that this untouched paradise is immediately ransacked and exploited for power the moment people decide to land is the best part of the film with the way it's able to evoke this intense feeling of dread as things are torn apart, yet it still ends up making for a surprisingly understated conclusion in certain respects, with the most energetic and chaotic scenes taking place right near the start of the whole adventure. Overall I think that this is a really strong movie with an insane amount of charm and a seemingly endless sense of wonder. Might not be my favourite of what I've seen from a narrative standpoint due to the fact that there are quite a few moments that feel a bit too disjointed, but it's still great and is paired with some of Ghibli's greatest imagery I've experienced yet.
####This review contains spoilers. --- Soaring through the air in a lookout glider, Pazu and Sheeta are scanning the skies for a military gunship, the Goliath, when the enormous aircraft bursts through the clouds and attacks the mothership they are tied to. To their left, they see an enormous swirling cloud, whisked furiously by impossibly high winds blowing in the opposite direction to its surroundings. Suddenly, the tether breaks and Pazu sees no option but to fly their glider into the storm. Lightning crackles around them like furious snakes, but Pazu holds steady. Ahead of him, he sees a vision, his late father and his airship – Pazu’s connection to the skies and to the mysterious city of Laputa his father had told him stories of. And, before any harm can be done to the pair, they emerge from the black clouds into the eye of the storm. In it, a castle in the sky, built around an enormous tree. ~~~img800(https://i.imgur.com/Ks2paen.jpg) ~~~ This moment, when we see the Castle for the first time, can only be described as magical. And it is magical moments like these that leave lasting impacts on viewers, and that come to define the work of Miyazaki. Moments such as when the Laputan robot gently offers Sheeta a flower are why _Laputa: The Castle in the Sky_ has left such an impression on audiences. Miyazaki imbues his work with passion and wonder in a universally loveable way. In my eyes, this is why _The Castle in the Sky_ remains a constant touchstone more than three decades after its release. Despite the progress Miyazaki would make as both a director and storyteller in the years that would follow, and despite this not being the strongest of the Ghibli films, _The Castle in the Sky_ proved that this fledging studio was worth its salt and continues to hold a place in our hearts. --- To see how The Castle in the Sky fits into the Miyazaki canon, we have to go back eight years before its release. In the late 70s, Miyazaki was working for [Nippon Animation](https://anilist.co/studio/22/Nippon-Animation). The studio was known for its work as part of the [World Masterpiece Theatre](https://en.wikipedia.org/wiki/World_Masterpiece_Theater) (although nowadays it's perhaps better known for [_Hunter x Hunter_](https://anilist.co/anime/136/Hunter-x-Hunter/)). So, in 1978 Miyazaki was given his first chance to direct (well… unless you count his work on [_Lupin the 3rd_](https://anilist.co/anime/1412/Lupin-the-3rd/), for which he co-directed most of the series with Ghibli cofounder Isao Takahata). The job was an adaptation of a 1970 post-apocalyptic novel written by Alexander Key called [_The Incredible Tide_](https://en.wikipedia.org/wiki/The_Incredible_Tide). Miyazaki aged down Key’s young adult novel into a story for kids, called [_Future Boy Conan_](https://anilist.co/anime/302/Future-Boy-Conan/). And Miyazaki’s opinions about storytelling already show here as he polished Key’s pessimistic and bleak story into something much more optimistic. _Future Boy Conan_ is important for the development of _The Castle in the Sky_ in that the latter is unquestionably a refinement of the former. Simply looking at images of _Future Boy Conan_ and the similarities are obvious. Lanna in particular, who is discovered by Conan after she escapes her abduction, is very obviously Sheeta. It also features a crew of pirates who Conan joins in hopes of saving Lanna from the clutches of a greedy militaristic enemy. And _Future Boy Conan_, much like _Laputa_, is coloured by themes of naturalism and environmentalism, stemming from the source material itself, but I think furthered echoed by Miyazaki. ~~~img800(https://i.imgur.com/MDSa5NR.jpg) ###_Can you figure out which one inspired Sheeta?_~~~ --- Miyazaki is a perfectionist through and through, so it should be no surprise that given the opportunity and full creative control, he returns to a past project to perfect it. Abstracting the story from the source material that inspired it, Miyazaki injects his inspirations into the work. The town at the start of the film is based on his travels to Wales in 1984, where he witnessed, with admiration, the spirit of the UK miner’s strike. The town's population were inspired by what he saw of the strikers who “[battled to save their way of life](https://www.theguardian.com/film/2005/sep/14/japan.awardsandprizes).” And, of course, Miyazaki tears the seafaring _Future Boy Conan_ from the ocean and launches it into the sky. His carefully designed aircraft are effective storytelling devices, quickly conveying information to the audience about their airborne passengers. The armour-clad Goliath is ugly, it’s gun turrets appear as wart-like protrusions on its muddy-brown camo body (but what, exactly, the camouflage paint aims to blend in with is unclear). There’s no doubt that The Goliath belongs to the bad guys. Conversely, Pazu and Sheeta discover Laputa for themselves aboard an unpowered glider as opposed to one of Dola’s ornithopters, a symbolic showing of their acceptance of the forces of nature. Throughout the film, flight is emphasised as a calling transcendent of morality, both good people and bad people are called to the sky. But there is no mistaking Miyazaki’s message. As Pazu and Sheeta recite the spell of destruction, bringing the destruction of Laputa’s world-threatening underbelly, we watch as the remains of Laputa and the enormous roots of the tree float higher into the sky. The result of filling this story with Miyazaki’s passion is a much more personal, and, I think, consequentially a much more magical movie. And this magic left a mark on the world. _Castle in the Sky_ immediately proved itself as central to the steampunk genre and directly influenced anime that would follow, most notably Hideki Anno’s 1990 anime [_Nadia: The Secret of Blue Water_](https://anilist.co/anime/1251/Nadia-The-Secret-of-Blue-Water/). Elsewhere, its mark can be seen in the airships of _Final Fantasy_ and _Mario_, and even in Pixar’s films, such as Up and _Wall-E_. The robots even found their way into _Minecraft_ with the iron golems. --- Yet despite the enormous mark it left, Miyazaki is Miyazaki. So it just as unsurprising that he would return to many of the elements and themes of _Castle in the Sky_ in his later works to improve them further. Most obviously Miyazaki’s love of flight is more expansively seen in _Kiki’s Delivery Service_ and _Porco Rosso_. And I’d argue his exploration of environmentalism and militarism is more nuanced and honed in _Princess Mononoke_. Further, and throughout all of his stories, the way Miyazaki would go on to write villains quickly departs from the route taken with Muska. Rather than portray completely irredeemable characters, Miyazaki’s villains are more akin to the treatment received by Dola, reflecting a sympathetic streak in Miyazaki for his villains that developed out of work on _Laputa_. In this regard, _The Castle in the Sky_ quite soundly fits at the end of the beginning of his journey as a storyteller. As much as I enjoy this and _Nausicaä_ (and the even earlier [_Castle of Cagliostro_](https://anilist.co/anime/1430/Lupin-The-3rd-The-Castle-of-Cagliostro/)), I would find it difficult to argue they are his best films. And this is an amazing thing to be able to say because they are truly incredible films. Inspiring and full of magic. Miyazaki’s Magic. And there is no secret behind Miyazaki’s Magic. His animations would improve, and his stories would become stronger. But the magic was always there. Because the magic is him. He puts himself into his films, and they’re filled with life as a result.