My Neighbor Totoro (1988)
Directed by Hayao Miyazaki
Two sisters move to the country with their father in order to be closer to their hospitalized mother, and discover the surrounding trees are inhabited by Totoros, magical spirits of the forest. When the youngest runs away from home, the older sister seeks help from the spirits to find her.
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4 films that influenced My Neighbor Totoro
What critics say influenced My Neighbor Totoro
Adapted from a Monkey Punch manga that was itself based on Maurice LeBlanc's popular super-spy Lupin, Hayao Miyazaki's first feature-length film The Castle of Cagliostro came about as an offshoot of his experiences producing television episodes of a popular Lupin series (1977-1981).
Of his nine other major films, those best known in the U.S. are ''Kiki's Delivery Service'' (1989), ''Castle in the Sky'' (1986), ''Warriors of the Wind'' (1984) and ''The Castle of Cagliostro'' (1979).
After a few films (The Castle of Cagliostro, Nausicaä of the Valley of the Wind, Castle in the Sky) indebted to both science fiction and serial-extravaganza genres, Miyazaki utilized his next project as a sort of spiritual reconciliation with his homeland.
I complained - or maybe, "observed with reservations" is a better way of putting it - that Laputa: Castle in the Sky was not as rich to look at as Nausicaä of the Valley of the Wind , and Totoro is softer and more pastel yet.
Nausicaä of the Valley of the Wind and Castle in the Sky depicted the struggle between innocence and adulthood, but My Neighbor Totoro is a celebration of innocence and meditation on the fact that it will never last.
Elements that he used in his previous masterpiece Nausicaä of the Valley of the Wind are expanded on and forwarded - the coming of age of a young girl, the fascination with flight, the battle between old world and new world ways, and most importantly, the belief in a destiny beyond the everyday and mundane.
After a few films (The Castle of Cagliostro, Nausicaä of the Valley of the Wind, Castle in the Sky) indebted to both science fiction and serial-extravaganza genres, Miyazaki utilized his next project as a sort of spiritual reconciliation with his homeland.
It invigorates me with the same sense of gleeful pleasure that most people talk about when they describe movies like E.T. and The Wizard of Oz, but I�d gladly take it over either of those two classics.
Even in Miyazaki’s previous Studio Ghibli production, the action-packed Castle in the Sky, he provided room for his characters to breathe, allowed quiet moments to settle in, and let those moments define his work more than the explosions or pretty airships.
One need look no further than Disney’s recent two-disc rerelease of three of Miyzaki’s most important, foundational films (Castle in the Sky, My Neighbor Totoro, and Kiki’s Delivery Service) to see why.
Of his nine other major films, those best known in the U.S. are ''Kiki's Delivery Service'' (1989), ''Castle in the Sky'' (1986), ''Warriors of the Wind'' (1984) and ''The Castle of Cagliostro'' (1979).
After a few films (The Castle of Cagliostro, Nausicaä of the Valley of the Wind, Castle in the Sky) indebted to both science fiction and serial-extravaganza genres, Miyazaki utilized his next project as a sort of spiritual reconciliation with his homeland.