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The novel depicts Howl's castle as a tall, dark and sinister wizard's tower, very different from the complex image in the film. The film's castle may be seen as a parody of the machines seen in the movie, driven both by steam-engines and by magic. In the film, it is a "rotund collage of chimneys, roofs, steam pipes, and other odd appendages, borne along on mechanized bird legs" [31] that is similar to Baba Yaga's hut in the popular fairy tale. It is vaguely organic, and almost depicted as a life-form. [31] Similarly, Calcifer is a demonic figure in the book, as compared to the "endearing" persona and image that he has in the film. [31] Both film and novel try to render fantastic elements as mundane and ordinary things. Although they are set in a fantasy universe, the characters are often shown performing routine tasks, like cooking breakfast or washing up, in contrast to the heroic actions typical of a fantasy universe. [33] In the novel, Jones disrupts the fantasy-world setting by including scenes in which the characters travel to the real-world Wales. The movie, however, avoids this digression, and maintains a constant setting. [34] Music in the movies: Joe Hisaishi". Den of Geek. Archived from the original on 15 December 2017 . Retrieved 14 December 2017. Burr, Ty (10 June 2005). "Though unintelligible at times, Miyazaki's 'Castle' is magical". The Boston Globe . Retrieved 18 July 2016. Scott, A. O. (10 June 2005b). "A Cursed Teenager Turns 90. Let the Adventures Begin". The New York Times . Retrieved 18 July 2016. Howl's Moving Castle contains strong anti-war themes, influenced by Miyazaki's distaste for the 2003 Iraq War. [8] When he received an Oscar for Spirited Away, he said that he "had a great deal of rage about [the war]. So [he] felt some hesitation about the award." [1] Miyazaki identifies as a pacifist. [9] On the eve of the Iraq War, Miyazaki decided to make a film that he felt would be poorly received in the United States. Despite the film's success in that country, literary scholar Dani Cavallaro stated that Miyazaki was able to "create a film which ought, in principle, to have caused a certain unease among American audiences." [1] In the movie, Madame Suliman appears to have only sadistic motivations for creating conflict, [1] and despite being omniscient, is unable to recognize the idiocy of the war until the very end of the story. This reflects Miyazaki's desire to show real-world conflicts as also being somewhat arbitrary and fueled by the desires of capricious people. [10] Cavallaro stated that the depiction of the war carried "an unmistakable bitter taste." [1] She also writes that the military presence and warfare was highlighted in the film. [11]

Mamoru Hosoda of Toei Animation was originally selected to direct the film, but quit the project after Studio Ghibli's executives rejected many of his concept ideas. The film was shelved until Miyazaki took over. [22] The project resumed production in February 2003. [19] It was scheduled to be completed in the spring of 2004, and released in the summer of that year. [22] Cavallaro, Dani (2014). The Late Works of Hayao Miyazaki: A Critical Study, 2004-2013. Jefferson, NC: McFarland. ISBN 978-1-4766-1909-5. Miyazaki went to Colmar and Riquewihr in Alsace, France, to study the architecture and the surroundings for the setting of the film. [21] Additional inspiration came from the concepts of futuristic technology in Albert Robida's work. [23] Commentators have stated that Miyazaki's imagery was influenced by his fondness for the "illusion art" of 19th-century Europe. [24] Suzuki stated that unlike many Western films, in which the imagery went "from the general [to] the specific," [12] Miyazaki employed a uniquely Japanese approach, frequently beginning with a very specific image and moving from there. [12] However, Howl's Moving Castle, and Miyazaki films in general, have a focus on realistic imagery in a way that other anime films do not. [12] Hunter, Stephen (10 June 2005). "The Emperor Has No Story". The Washington Post. Archived from the original on 20 November 2016 . Retrieved 20 November 2016. Geoghegan, Kev (5 December 2011). "Howl's Moving Castle adapted for the stage in Southwark". BBC . Retrieved 24 July 2016.Official Awards of the 61st Venice Film Festival". labiennale.org/. 11 September 2004. Archived from the original on 9 October 2004. Japan Media Arts Festival Awards" (in Japanese). Japan Media Arts Plaza, Agency for Cultural Affairs. Archived from the original on 4 April 2010 . Retrieved 1 March 2009. Ebert, Roger (9 June 2005). "Howl's Moving Castle Movie Review (2005)". RogerEbert.com . Retrieved 2 June 2013. David, Margaret (27 September 2022). "The 12 Best Studio Ghibli Movies, According To Letterboxd - Did They Get It Right?". /Film . Retrieved 3 December 2022.

Kimmich, Matt (2007). "Animating the Fantastic: Hayao Miyazaki's Adaptation of Diana Wynne Jones's Howl's Moving Castle". In Straytner, Leslie; Keller, James R. (eds.). Fantasy Fiction into Film. Jefferson, North Carolina: McFarland & Company. Giardina, Carolyn (17 July 2017). "Gkids, Studio Ghibli Ink Home Entertainment Deal". The Hollywood Reporter . Retrieved 17 July 2017. May 2007). "110万冊無料配布。"ゲドを読む。"の狙いを読む 宮崎吾朗監督作品「ゲド戦記」DVDのユニークなプロモーション". Nikkei Business (in Japanese). Nikkei Business Publications. Archived from the original on 16 August 2018 . Retrieved 16 August 2018. Levi, Antonia (2008). "Howl's Moving Castle". Mechademia. 3: 261–263. doi: 10.1353/mec.0.0059. S2CID 201752967. Shilling, Mark (17 December 2002). "New Hayao Miyazaki film heads Toho line-up". ScreenDaily. Archived from the original on 17 August 2003 . Retrieved 5 September 2013.

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The Locus Index to SF Awards: 2007 Nebula Awards". Locus. Archived from the original on 5 June 2011 . Retrieved 6 December 2011. Metacritic: 2007 Film Critic Top Ten Lists". Metacritic. Archived from the original on 14 December 2007 . Retrieved 4 January 2008.