THE TALE OF THE PRINCESS KAGUYA
(Kaguyahime no Monogatari)
The Tale of the Bamboo Cutter and the story of Kaguya-hime is considered the oldest surviving folk tale in Japanese history. Appearing sometime in the 10th Century, it details how a bamboo cutter finds a tiny child inside a bamboo stalk and how he and his wife decide to adopt her, where she grows up gaining a reputation for her beauty, before discovering her birthplace from The Moon and returning home. There have been numerous stage, ballet and manga adaptations of the story. It had previously appeared before on film with Kon Ishikawas live-action Princess of the Moon (1987).
Isao Takahata has chosen to make a film that looks very different to the usual Studio Ghibli product. He has abandoned Miyazakis ligne claire style that dominates every other Ghibli film. Indeed, you could even say that he has abandoned the look of anything that approaches modern CGI-driven animation The Tale of the Princess Kaguya has the look of a film that might have been hand-drawn in the 1970s. The characters are all simple and uncomplicated, the backgrounds handcrafted watercolours. The film has deliberately been given the feel of a traditional ukiyo-e woodprint in both style and the form of the characters.
The story follows The Tale of the Bamboo Cutter closely the discovery of the princess in the bamboo shoot, the princes who come seeking her hand and the series of impossible tasks she sets them, the arrival of the emperor and her final return home to The Moon. Within this, Isao Takahata creates a good deal of charm. Much of the fun of the film is the lyrical delight of Kaguyas playing in the bamboo fields and woods during the early sections and, during the later scenes, her lack of interest in learning the proper court rules that her station mandates. Clearly, Takahata places the emphasis on what interests him the pleasures in life are the simple and unadorned things and his sympathies are with the peasantry, while he regards the matters of court as absurd and the princes as comically pompous and only worthy of deflation. In this respect, Kaguya is another Studio Ghibli heroine, the one whose purity of heart shines like a beacon through everything around her.
On the other hand, The Tale of the Princess Kaguya never moved me as much as Hayao Miyazakis films do. It is surprisingly slow in pace and you feel that many of the scenes with the courtiers even though they belong in the story could have been trimmed. It is also makes Takahata into more of a traditionalist he spends a good deal of time depicting the art of bamboo cutting, weaving, the peculiar rules of court life of the era and the film has less the feel of one that slips off into fantasy than of an old man wishing for the solidity of tradition and a simpler life where everything used to be the way it was. (Takahata was 77 when The Tale of the Princess Kaguya was released. Of much fascination is the Studio Ghibli documentary The Kingdom of Dreams and Madness (2013), which was shot during the making of Princess Kaguya, which depicts how the production dragged on forever and where Miyazaki and others are frequently given to voicing comments that Takahata was getting past or didnt want to complete the film). You could compare Princess Kaguya to Miyazaki films that feature young magically empowered children as in My Neighbor Totoro (1988), Kikis Delivery Service (1989) and Spirited Away (2001). Miyazaki fills you with a delight, whereas Takahata merely occasionally charms and makes you laugh but never quite produces a work where the fantasy soars.
(Screening at the Vancouver International Film Festival)