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Miyazaki also included a theme advocating the prevention of greed: those swallowed by No-Face were attempting to receive the gold he made. Similarly, in a monomyth format, Yubaba's rich accommodations and interest in gold dominate the "road of trials" portions of the film, while Zeniba's rustic home and grandmotherly demeanor arguably mark Chihiro's gain of the "boon" in her quest. Also, Chihiro's parents' grotesque transformation after consuming too much food not meant for them is another representation of human greed, and may also be a reference to The Odyssey. A stage adaptation of Spirited Away was announced in February 2021 with a world premiere planned in Tokyo on 28 February 2022. It is written and directed by John Caird, with Toho as the production company, with Studio Ghibli's blessing. The role of Chihiro is played by both Kanna Hashimoto and Mone Kamishiraishi. [136] [137] In August 2023, it was announced that the production would have its European premiere at the London Coliseum from April 2024. [138] Main Cast A co-recipient of the Golden Bear with Bloody Sunday at the 2002 Berlin International Film Festival and the first, and to date only, hand-drawn and non-English-language animated film to win the Academy Award for Best Animated Feature at the 75th Academy Awards, [16] Spirited Away is regarded as one of the greatest films of all time and has been included in various "best-of" lists. At first, she tries to get work with Kamajī, who works at the boiler room, but is rejected. Kamajī instead hands Chihiro off to the worker, Lin, to take her to Yubaba. In Yubaba's penthouse suite, Chihiro repeatedly asks for a job, overriding the monstrous witch's refusals. Yubaba ultimately consents, on condition that Chihiro give up her name. Yubaba literally takes possession of Chihiro's real name (荻野 千尋 , Ogino Chihiro) by grasping the kanji characters from Chihiro's signed contract, leaving Chihiro with one part of one character of her original two-character name, in isolation pronounced "Sen" (千). Taking a person's name gives Yubaba power to keep its owner in her service permanently; it is revealed that Haku is also in Yubaba's service, and remains so because she has taken part of his full name.
While the rest of the workers celebrated after the leaving of the unnamed River Spirit, No-Face was seen sitting in a corner, watching as the workers fought and argued for leftover gold on the ground. Having learned that gold was important, No-Face baited an unsuspecting Aogaeru to come closer to him when the latter was digging for gold in the middle of the night, swallowing the frog spirit and gaining his corruptive properties soon after. With the negative qualities in Aogaeru reflecting in him, No-Face demanded a luxurious bath from the workers, throwing magically conjured gold to the workers in the process and becoming larger by ingesting large amounts of food. Finally, another starting point for Spirited Away is an anecdote told by Suzuki to Miyazaki. The latter spoke of hostess bars, where the latter are often shy, forced to learn to communicate with men. They pay to be able to express themselves as well. This image has remained etched in Miyazaki's mind and exploited it in his film: Chihiro is forced to learn to express himself when she is serving in the baths, while No-Face fails to express himself. and uses violence and money to be able to do so. All these elements combined led to the creation of the final proposal of the film. When asked why the film centered around Chihiro having to work, Miyazaki explained, "I got the idea from a documentary I saw on the NHK TV channel, about child labor in Peru. I thought that, if I were to make a film for the sake of all the children on earth, it would have to be something that any child could understand, no matter what sort of life they were living. I really didn't want to make a film that only Japanese kids would understand. And besides, the idea that children don't have to work is really very new. My grandfather, for example, went off to work as an apprentice at the age of eight, and as a result he never learned how to read. That's the way things were in Japan until recently. The only reason kids don't have to work today is because Japan experienced a period of high economic growth after the war. In reality, most children in the world still have to work. I'm not saying that's good or bad, just that we need to remember it. In truth, people are social animals, so it's not good for us to live without some sort of connection to society. We have to work.Animage • Animage Home Video • Ghibli ga Ippai Collection • Ghibli Museum • Ghibli Museum Library • Ghibli Park • Totoro no Furusato Foundation • Totoro no Mori Towards the end of the film, No-Face meets with Zeniba, another witch who works alone, in contrast to Yubaba, who runs her bathhouse with a complex hierarchy. Perhaps attempting to match the rules of the new tiny society, No-Face starts spinning and knitting and appears proficient in the job. Happy with his new environment, he accepts Zeniba's proposal to stay with her as an apprentice.
Spirited Away ( Japanese: 千と千尋の神隠し, Hepburn: Sen to Chihiro no Kamikakushi, lit. 'Sen and Chihiro's Spiriting Away') is a 2001 Japanese animated fantasy film written and directed by Hayao Miyazaki, animated by Studio Ghibli for Tokuma Shoten, Nippon Television Network, Dentsu, Buena Vista Home Entertainment, Tohokushinsha Film, and Mitsubishi and distributed by Toho. [7] The film features the voices of Rumi Hiiragi, Miyu Irino, Mari Natsuki, Takeshi Naito, Yasuko Sawaguchi, Tsunehiko Kamijō, Takehiko Ono, and Bunta Sugawara.Taking Yubaba as a single character, we spent ten times more time connected to her, observing her, and thinking about how to depict her, than we did actually drawing storyboards for her-so much so that I don't even remember how far we developed her in the storyboards." [3] With his assumed large amount of wealth, No-Face became a sensation with the workers who constantly begged for tips from him. After witnessing Chihiro reject his offering of gold, No-Face dropped the gold onto the ground in despair, forcing greedy workers to fight for a piece. Angered in assuming that a worker insulted him, No-Face consumes two other people, and his true nature is revealed to the horrified workers. Speech is a force. In the world where Chihiro got lost, the act of uttering a word constitutes an act of decisive weight. At the baths run by Yubâba, if Chihiro pronounces the words: "I don't want," "I want to go home," the witch immediately throws her outside; all that remains is to wander with nowhere to go and disappear, or be turned into a hen and lay eggs until eaten. Conversely, when Chihiro says: "I will work here," witch she is, Yubâba cannot ignore it. Today, the word has an unlimited lightness, you can say anything, it is received like a bubble and only restores a reflection of reality. Yet the fact that speaking is a force is still true today. A word is only vain, without force, because it is emptied of its meaning.
Miyazaki explained, "Recently my friends and I use the word asamashii [despicable or disgraceful] a lot. It's a word that's fallen out of favor these days, but it seems perfectly suited to describe the current Japan. It originally refereed to things that should have been more embarrassing and shameful of all." New lyrics were improvised by John Ratzenberger for the English version of a song sung by Aogaeru, as well as his exclamation, "Now that's an esophagus!" Marvelous Village Veiled in Mist by Sachiko Kashiwaba proved to be a major inspiration for Miyazaki. The grueling work at Studio Ghibli, and the storyboards for the film. Many employees reported working to exhaustion.
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Likewise, for the character design of the characters, the director was inspired by those close to him. Chihiro is the faithful representation of the little girl who motivated him in making the film. Chihiro's father is the faithful portrait of the little girl's father, particularly in his voracious attitude. The mother of the heroine is the carbon copy of a regular Miyazaki collaborator within the studio. This was clearly his attempt at anchoring this fantastical work to contemporary Japan. Spirited Away Ghibli Textbook <12> Bungeishunju
Production of the film began at the end of 1999 and ended in June 2001. As usual, Hayao Miyazaki realized that the film would last more than three hours, if he had made it according to his original proposal. Much of the original script was cut to expedite the film's length. Due to relatively tight production deadlines (one and a half years instead of three for Princess Mononoke), Spirited Away is the studio's first film not to have been entirely made in Japan. The development of part of the scenes was therefore entrusted to the Korean studio DR Digital, which had already worked on animated films as prestigious as Metropolis or Jin-Roh. The film earned a massive ¥31,680 billion in Japan, a record only beaten by Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train in 2020. [1] It received multiple international awards, including the Golden Bear Award at the 52nd Berlin International Film Festival and the second Oscar ever awarded for Best Animated Feature, the first anime film to win an Academy Award, and the only winner of that award to win among five nominees. Due to his efforts in promoting the film in North America, John Lasseter, one of the founding fathers of Pixar, became the executive producer of the English dub. Spirited Away (PG)". British Board of Film Classification. 14 August 2003. Archived from the original on 28 January 2015 . Retrieved 23 January 2015. The old woman did not look at Rina. As if she knew who it was without looking, she went on eating her biscuit and drinking tea. The bathhouse workers dislike Sen, but give her work as Lin's assistant. Later that night, when Yubaba leaves, Haku finds Sen and shows her her parents, who are being held in pigpens. Haku explains that Yubaba controls people by taking their names; if she completely forgets hers like he once did, she will never be able to leave the spirit world. Sen is ostracized by the other workers. While working, she invites No-Face inside, accidentally believing him to be a customer.
This film possesses or appeals to a persuasive force according to which the word represents an own will, an energy. There, the fact of having realized a fantasy taking place in Japan has a meaning. Even though this is a fairy tale, I didn't want to do a western fairy tale, with many loopholes. This film may seem to be in imitation of a different world, but rather I wanted to think about a direct line with the tales of the past like Suzume no Oyado (The house of the hawk) or Nezumi no Goten (The Palace of Mice). Sunada, Mami (Director) (16 November 2013). 夢と狂気の王国[ The Kingdom of Dreams and Madness] (Documentary) (in Japanese). Tokyo: Studio Ghibli. Archived from the original on 7 July 2014 . Retrieved 12 July 2014. Interview with Toshio Suzuki
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