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Princess Mononoke (1997)
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Movie Review by Jarrod 
June 2nd, 2008
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'Princess Mononoke' is a masterpiece; it is probably one of the best animated films I have ever seen. It is an epic fantasy adventure from Hayao Miyazaki, who, in an age of digital, computer-generated effects, chooses to stick with hand-drawn animation, and the images he produces are enthralling and intensely imaginative. This is one of his most visually inventive movies, matched only by Spirited Away, which had more commercial success in both the United States and Japan (where it surpassed the box office intake of Titanic). Nothing on display here could feasibly exist outside the realm of animation, but that is precisely the purpose of animation in the first place. As much as I admire the work of Walt Disney and the folks at Pixar, neither have been able to create films that are as involving, intelligent, or thrilling as Miyazaki's. Of course, Miyazaki aims for an older, more mature target audience, though My Neighbor Totoro (from 1981) is more specifically geared towards children. Children could enjoy Spirited Away, too, but probably not 'Princess Mononoke', which has bloody action scenes (arms and heads getting chopped off), and a serious ecological message, about how humans and nature should try to co-exist peacefully with one another. The humans in the movie have destroyed forests so that they can mine for iron, which they use to make weapons and other instruments necessary for war.
This, at least, is the purpose of Irontown, built and ruled by Lady Eboshi (Minnie Driver). While greedy and showing an avid desire to exterminate the remaining animal tribes (these are wolves, apes, and boars), she also has employed (as both soldiers and laborers) former prostitutes, offering them a life outside the brothels. She also takes care of lepers, who show their gratitude by making guns, which she then uses to defend Irontown. One threat comes from the samurai warriors of a neighboring land, and another threat comes from the Wolf God Moro (Gillian Anderson) and her two cubs, along with San (Claire Danes), whom Moro raised as her own child. San hopes to kill Eboshi, to punish her for her crimes against nature. The main character is Ash*taka (Billy Crudup), the prince of an exiled people, who slays the rampaging boar god Nago to protect his village, and is afflicted with a terrible curse. He travels to find the Forest Spirit, whose healing powers may just be able to cure him. This puts him in contact with Eboshi, San, and the duplicitous monk Jigo (Billy Bob Thornton), and sets him up to intervene in the massive conflict that arises between all of the opposing groups. The voice acting is top-notch, equally good in English and Japanese, though I actually prefer the English-language version. The storytelling is exquisite, and what wondrous sights there are to behold, especially those cute little Kodama that make clicking noises, and the Forest Spirit itself, which is essentially a deer with a very human-like face, and the Nightwalker, a gigantic gelatinous creature.
There is an element of romance to be found in the relationship between San and Ash*taka; she distrusts all humans, but his purity and kind-heartedness convinces her and even the more distrustful Moro that, at least in his case, there is a human who desires peace and harmony. Supporting characters are a delight, human and animal alike. Jada Pinkett Smith is great as Toki, an outspoken woman who constantly points out how much of an idiot her husband is, but admits she still loves him anyway. And Keith David as the imposing Okkoto, an old blind boar who musters his last ounces of strength to lead an assault against Eboshi's forces. Billy Bob Thornton does not fare so well with Jigo, traces of a southern accent occasionally slip through, and Jigo comes across as more comical than he probably should be. The editing and scoring are superb. Overall, this is a beautiful and enchanting film, and stands as a transcendent, marvelous achievement.
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