Everything of Now, Is Everything of the Past: The Beauty and Wonder of The Tale of Princess Kaguya

Welcome to another edition of ‘Fi’s Favourites’. I realise I didn’t introduce this subsection very well during my discussion of Alejandro G. Iñárritu’s Biutiful, but this is where I write about films I really enjoyed and love in the hope that I will share their beauty and charm with others.

I was trying to recall when I first watched The Tale of Princess Kaguya (TTOPK), or Kaguyahime no Monogatari as it's known in Japanese. I can’t remember when, but it is a film I have never forgotten, and I am certain, never will.

In preparation for a project I was doing, I did a little research into Japanese cinema, particularly animation and manga. What I learned allowed me to appreciate the film even more as I learned of the mindset of Japanese filmmakers and viewers.

In the West, we look at animation in a very particular way. Here, it's mostly associated with children. It’s a magical fantasy world for children to enjoy. In Japan, it is still a fantasy world, but it’s not exclusive to children. This fictional space is often used to explore things not possible in the real world. This is why overly violent or sexual anime are popular; such themes can be explored and experienced in a safe fictional space. We can see the influence of such anime in Western adult animations such as Rick and Morty, which is comedic and open to darker topics.

One of the most interesting things I discovered during my research is that James Cameron’s Titanic remains one of the most popular films in Japan. Your first question, of course, is: why? It is those final moments of the film when Jack stays in the water so Rose can stay afloat, It is his self-sacrifice that means so much to the viewer. Japanese audiences appreciate honesty and reality. We want Jack and Rose to be together but in reality, we can not always have a happy ending. Sometimes the hero dies, the bad guy wins and terrible things happen to good people. This is what happens in life, but there is also a beauty to be found in tragedy. We are more used to a happily ever after, perhaps because most of our animation targets children. Still, these harsh realities have important lessons to be learned from them and viewers are likely to encounter them in their own lives. Many life lessons seem unfair and can be difficult to take. The Japanese do not change this in their storytelling. What is difficult remains difficult.

TTOPK is thought to be one of Japan's oldest fables. Sometimes it is called ‘The Tale of the Bamboo Cutter’ and is dated to somewhere between the ninth and tenth century. There have been many retellings of this story. I suppose it is unfair to say that Isao Takahata’s version is my favourite when I am not aware of all other versions, but if you watched it, I am sure you would find it hard to disagree with me. Sadly, this was to be his last film, making it even more poignant.

So what makes this film so wonderful? Let's start with the aesthetics. This film is a Studio Ghibli production. They are the producers of some of the most beloved animation globally, but this is a very different venture for them stylistically. Much of the film's beauty is in its animation and this alone is more than an acceptable reason to watch it. The animation is so layered and detailed, yet has the simplicity and charm of a free form sketch. Every frame has such uniqueness, but all blend beautifully.

This film is based on cel animation. There is less of a focus on recreating the image perfectly for the next frame. The artist is given more freedom and with freedom comes great expression. There are many emotional moments in this film; this artistic freedom means that often these moments can be expressed however the artist desires. This often leads to them being expressed abstractly. Rather than a perfectly formed drawing of a character punching a wall in anger or wailing in sadness, in TTOPK, sadness, anger or isolation may be expressed as a shape or a sound; it's an experience. After all, our feelings are sometimes more complicated or much bigger than something seen merely on the surface.

The film is not just about heavy and complex emotions, though. There is great humour and joy in this film. There is a theme of nature and our effect on it, which is classic for Ghibli. There is childishness and the happiness that comes with that. Reflecting on the simplicity that childhood brings and the fun in the mischief, we all find ourselves returned to childhood.

What I love about this film is how it subverts your expectations. I have spoken about the difference between East and West when it comes to cinema and anime. While watching this film, I was most likely basing my interpretation on animations I had already seen. I found myself trying to predict the narrative, but I was wrong every time. Not in a dramatic way, not like the film is trying to shock or surprise. It casually takes a turn down a road you weren’t expecting. I searched for a romantic twist or signs of the happy ending, hoping everyone would get what they want, but it slowly guided me to realise that there are other options.

The film's pace is slow, and it is not always filled with lessons or an emotional climax. It gives us time to explore the more mundane reality of life. To some, this may be boring, but it is a joy to sit back and enjoy the beautiful imagery the animation produces, and a delight to watch a different pace of life and another way of living. When films are long and slow, it can be easy to let your mind wander, but there is just so much to marvel at in this film visually and the story carries you along gently, like flowing gently down a stream.

I am very cautious not to say a lot about Kaguya and her tale. It’s such a wonderful story. It should be enjoyed with little outside influence (yes, I see the irony). I will say that it is a captivating film about a young girl discovering who she is and trying to carve her own path when so much is out of her control. It’s about family, freedom, simple life and appreciating what you have while you have it. This a delicately crafted film with an even more charming and captivating story. It is sad to think it was Takahata’s last, but he has left a lasting legacy and a true gem for generations to discover.

I have two disclaimers before I sign off. One, please do not watch the version that is dubbed in English. I have an aversion to dubbing, so I am biased here, but I always feel that things get lost in translation when films are dubbed. And, second, have a tissue or two at the ready. This is a film that has stuck with me and one I will return to time and time again. Maybe the hero doesn’t always get what they want, but the viewer certainly gets what they need.