What Will Happen to Go to Playing Castle Wars on the 2007 Movement

2004 Japanese film by Hayao Miyazaki

Howl'southward Moving Castle
Japanese theatrical release poster
Japanese	ハウルの動く城
Hepburn	Hauru no Ugoku Shiro
Directed past	Hayao Miyazaki[1]
Screenplay by	Hayao Miyazaki[2]
Based on	Howl'southward Moving Castle by Diana Wynne Jones[2]
Produced by	Toshio Suzuki[1]
Starring	Chieko Baisho Takuya Kimura Akihiro Miwa
Cinematography	Atsushi Okui[1]
Edited by	Takeshi Seyama[1]
Music by	Joe Hisaishi[1]
Product visitor	Studio Ghibli[1]
Distributed by	Toho[3]
Release dates	five September 2004 (2004-09-05) (Venice) 20 Nov 2004 (2004-eleven-20) (Nihon) [4] [three]
Running time	119 minutes[3]
Land	Nihon[2]
Linguistic communication	Japanese[2]
Upkeep	¥2.4 billion US$24 one thousand thousand
Box office	¥23.2 billion U.s.$236 meg (worldwide)[3]

Howl'due south Moving Castle (Japanese: ハウルの動く城, Hepburn: Hauru no Ugoku Shiro ) is a 2004 Japanese blithe fantasy film written and directed by Hayao Miyazaki. The film is loosely based on the 1986 novel of the same name by British writer Diana Wynne Jones. The movie was produced by Toshio Suzuki, blithe by Studio Ghibli and distributed by Toho. The Japanese voice bandage featured Chieko Baisho and Takuya Kimura, while the English dub version starred Jean Simmons, Emily Mortimer, Lauren Bacall, Christian Bale, Josh Hutcherson and Billy Crystal.

The moving picture is fix in a fictional kingdom where both magic and early twentieth-century applied science are prevalent, confronting the backdrop of a war with another kingdom. It tells the story of a young, content milliner named Sophie who is turned into an old adult female by a witch who enters her shop and curses her. She encounters a wizard named Howl and gets caught up in his resistance to fighting for the king.

Influenced by Miyazaki'southward opposition to the United States' invasion of Iraq in 2003, the film contains strong anti-war themes. Miyazaki stated that he "had a great deal of rage" well-nigh the Republic of iraq war, which led him to brand a flick which he felt would be poorly received in the United States.^[v] Information technology also explores the theme of sometime age, depicting age positively equally something which grants the protagonist liberty. The motion-picture show contains feminist elements also, and carries messages about the value of compassion.

In 2013, Miyazaki said Howl's Moving Castle was his favorite cosmos, explaining "I wanted to convey the message that life is worth living, and I don't think that's changed."^[6] The flick is thematically significantly different from the novel; while the novel focuses on challenging grade and gender norms, the pic focuses on love, personal loyalty and the destructive effects of war.^[7]

Howl'south Moving Castle had its world premiere at the Venice Film Festival on 5 September 2004, and was theatrically released in Nippon on twenty November 2004. It went on to gross $190 million in Japan and $236 1000000 worldwide, making information technology one of the about commercially successful Japanese films in history. The moving-picture show received critical acclaim, with particular praise toward its visuals and Miyazaki'due south presentation of the themes. It was nominated for the University Award for Best Animated Feature at the 78th Academy Awards, but lost to Wallace & Gromit: The Curse of the Were-Rabbit, in 2006, and won several other awards, including 4 Tokyo Anime Awards and a Nebula Award for All-time Script.

Plot [edit]

Sophie, a young milliner and eldest of three sisters, encounters a magician named Howl on her way to visit her sister Lettie. Upon returning habitation, she meets the Witch of the Waste, who transforms her into a xc-year-erstwhile adult female. Seeking to pause the curse, Sophie leaves dwelling and sets off through the countryside. She meets a living scarecrow, whom she calls "Turnip Head". He leads her to Howl's moving castle where she enters without invitation. She subsequently meets Howl's young apprentice Markl and a burn demon named Calcifer, the source of the castle's magic and movement. Calcifer makes a bargain with Sophie, agreeing to pause her curse if she breaks his link with Howl. When Howl appears, Sophie announces that she has "hired herself" as a cleaning lady.

Meanwhile, Sophie's nation is defenseless up in a war with a neighboring kingdom, which is searching for its missing prince. The King summons Howl to fight in the war. However, Howl decides to ship Sophie to the King (nether the pretense of being his female parent) to tell him that Howl is too much of a coward to fight. Before leaving, he gives Sophie a charmed band that leads her to Calcifer and guarantees her condom. Sophie meets Suliman, the king's caput sorceress, and also the Witch of the Waste, whom Suliman punishes past draining all of her power and reverting her to her truthful historic period, that of a harmless sometime woman. Suliman warns Sophie that Howl will run across the same fate if he does not fight for the king. Howl then arrives to rescue Sophie. Suliman tries to trap him by turning him into a monster, but with Sophie'south aid he remembers himself and merely barely avoids decease. The duo escapes along with the old Witch of the Waste and Suliman's canis familiaris Heen. In the meantime, soldiers from each kingdom break into the homes of both Jenkins and Pendragon (Howl'south aliases in those kingdoms). Even so, the men only discover an empty courtyard and warehouse, as the castle'due south magic nature allows travel between four separate residences.

Sophie learns that Howl's life is somehow bound to Calcifer's and that Howl has been transforming into a bird-like brute to interfere with both sides in the war, but each transformation makes it more difficult for him to return to human form. Howl so has the castle magically linked to Sophie'south home, parking the castle itself on the town's outskirts. A few days later, the town is bombed past enemy aircraft and Suliman'due south henchmen attack the house and Sophie's chapeau store. Howl heads out to protect the group. Sophie and then moves everyone out of the business firm and removes Calcifer from the fireplace, which collapses the castle. The Witch of the Waste product realizes that Calcifer has Howl's center and grabs the burn demon, setting herself on fire. Sophie panics and pours water onto the Witch, which douses Calcifer. The residual of the castle then splits in two; Sophie falls down a chasm and is separated from the grouping.

Following the charmed ring, Sophie wanders into a scene from the by, where she sees a immature Howl catch a shooting star – Calcifer – and give him his middle. Sophie calls for them to observe her in the future equally she is teleported away. She returns to the present, finds Howl, and they reunite with the others. The Witch returns Howl's center, and Sophie places it dorsum inside Howl, reviving him and freeing Calcifer, though he decides to stay. Sophie's curse is cleaved, though her hair remains white. After she kisses Turnip Caput on the cheek, he returns to human form revealing himself to be Justin, the missing prince from the enemy kingdom. He reveals that but his true honey'south kiss can suspension his curse. After seeing Sophie's affection lies with Howl, he promptly heads for domicile to cease the war, but promises he will run across them once again. Suliman, watching through a crystal globe, likewise decides to end the war. Sometime later, bombers wing nether nighttime skies over a recovered and green countryside headed to another state of war, while Sophie, Howl, and the others travel in the reverse direction in a new flying castle.

Voice cast [edit]

Chieko Baisho, who voiced Sophie in the Japanese version of the film

Emily Mortimer, who voiced the young Sophie in the version of the moving picture dubbed into English language

Graphic symbol	Japanese vox actor	English dubbing actor[8]
Sophie Hatter ( ソフィー・ハッター , Sofī Hattā )	Chieko Baisho	Emily Mortimer (immature) Jean Simmons (erstwhile)
Howl ( ハウル , Hauru )	Takuya Kimura	Christian Bale
Witch of the Waste ( 荒地の魔女 , Arechi no Majo )	Akihiro Miwa	Lauren Bacall
Calcifer ( カルシファー , Karushifā )	Tatsuya Gashuin[2]	Billy Crystal
Markl ( マルクル , Marukuru )	Ryūnosuke Kamiki[2]	Josh Hutcherson
Suliman ( サリマン , Sariman )	Haruko Kato	Blythe Danner
Lettie ( レティー , Retī )	Yayoi Kazuki	Jena Malone
Honey ( ハニー , Hanī )	Mayuno Yasokawa	Mari Devon
Prince Justin / Turnip Head ( カブ , Kabu )	Yō Ōizumi	Crispin Freeman
Rex of Ingary ( 国王 , Kokuō )	Akio Ōtsuka	Mark Silverman
Heen ( ヒン , Hin )	Daijiro Harada	Dee Bradley Baker (uncredited)

Themes [edit]

Pacifism [edit]

Howl'due south Moving Castle contains strong anti-war themes, influenced by Miyazaki's distaste for the 2003 Iraq War.^{[5] [9] [10]} When he received an Oscar for Spirited Away, he said that he "had a great deal of rage most [the war]. So [he] felt some hesitation almost the award."^[five] Miyazaki identifies as a pacifist.^{[9] [10] [xi]} On the eve of the Iraq War, Miyazaki decided to make a film that he felt would be poorly received in the Usa. Despite the film's success in that country, literary scholar Dani Cavallaro stated that Miyazaki was able to "create a motion picture which ought, in principle, to take caused a certain unease among American audiences."^[5] In the movie, Madame Suliman appears to have only sadistic motivations for creating conflict,^[5] and despite existence omniscient, is unable to recognize the idiocy of the war until the very terminate of the story. This reflects Miyazaki's desire to show real-world conflicts as also beingness somewhat arbitrary and fueled by the desires of capricious people.^[12] Cavallaro stated that the depiction of the war carried "an unmistakable biting gustation."^[5] She also writes that the military presence and warfare was highlighted in the motion-picture show.^[13] From the early concept sketches military elements were emphasized, and when the motion-picture show shows the humming commercial commune the soldiers in uniforms stand out intentionally.^[13]

The universe of Howl's Moving Castle is depicted as not having clear-cut villains and heroes; instead, the characters are complex, and even those that are initially portrayed in a negative light, such as Howl, are shown as capable of modify.^[14] Matt Kimmich has stated, however, that the simplistic message of the film is that "war is bad."^[11] A scene where Sophie is standing in a beautiful field of flowers is interrupted by a war machine, "a finger accusing empire every bit the destroyer of peace."^[15] This portrayal is in strong contrast to other Miyazaki films similar Princess Mononoke, which criticizes military conflict in a more nuanced manner.^[11] Andrew Osmond stated that "Howl's pure-hearted anti-war stance is presented as nihilism with no culling as he fights forces from each side and becomes the worst terror of all," in the form of the monstrous bird. By transforming into the bird, Howl risks losing his ain humanity; Calcifer comments at i point that he will soon not be able to return to human being class.^[11] In contrast, Ashitaka in Princess Mononoke fights the demonic sickness with which he is affected, and tries to negotiate a peace between the ii sides.^[eleven] Osmond states that both films besides point out the limits of masculinity, as exemplified by Howl and Ashitaka.^[11]

Flying and critique of modernity [edit]

Like several other Miyazaki films,^[xiv] Howl's Moving Castle reflects the director's love of flight.^[16] Sequences in the movie include both several aircraft of inventive blueprint, as well equally Howl transforming into a bird.^[xvi] Miyazaki examines flight as a theme most directly in the later moving picture The Wind Rises.^[xvi] Miyazaki stated that he was attracted to military aircraft as a child, only that he grew to hate them because of the destructive purpose for which they are created.^[16] Thus Howl'southward Moving Castle contains images both of aircraft shown equally harmless and beautiful, and large military arts and crafts depicted as ugly and destructive.^[16] Cavallaro writes that Miyazaki wants to "portray flight as an object of admiration and awe," but that he is non "[blind] to its abuse by unscrupulous strategists and rulers."^[16]

The nuanced view of flying is part of Miyazaki's broader critique of modernistic lodge and engineering science. Margaret Talbot writes that in person, Miyazaki exhibits "a profound dissatisfaction with modern life,"^[14] particularly with the effects of technology and a disconnection from nature.^[14] Many of his films depict technological hubris as among the roots of evil.^[17] The battleships which are seen moving over the landscape are depicted equally "gleaming with modernity and parading righteousness,"^[18] but are and so shown to exist highly subversive.^[xviii] In contrast, the semi-organic castle demonstrates "Miyazaki'due south Taoist presentation of industrialism needing to be aligned with nature" according to Carl and Garrath Wilson.^[18] Antonio Lioi writes that Miyazaki often depicts beautiful scenes in contrast to those containing symbols of modernity, such as the scene where Sophie'south reverie is interrupted by a war machine. This contrast is part of an ecological criticism of modernity, but Miyazaki besides offers an alternative, in the form of beautiful natural scenery.^[15]

Old age and compassion [edit]

Miyazaki stated that an attractive aspect of the story of Howl'due south Moving Castle was the relatively positive low-cal it shed on growing old.^[14] When Sophie becomes old every bit a result of the witch's spell, she also feels more able to speak her mind. Co-ordinate to Miyazaki, sometime women are only infrequently allowed to dominate the screen as in Howl's Moving Castle, which made it a risky concept.^[xiv] Elizabeth Parsons stated that the movie disrupts the stereotype of "aged unattractiveness," when the artificially aged Sophie manages to rescue two attractive men (who come to dear her) and to unintentionally end the state of war in her country.^[19] Sophie's actions are those usually associated with grandmothers, such as being kind and nurturing to those around her, and engaging in housework; yet, these deportment are depicted equally being powerful and heroic.^[19] Sophie is one of several potent female protagonists in Miyazaki'southward films.^[15] According to Parsons, this gives the film a feminist aspect as well.^[19] Additionally, even though Sophie manages to make her presence in the castle legitimate by claiming to be a cleaning lady, the film goes on to show that the housework is deservedly distributed, strengthening its feminist aspect.^[19]

In 2013, Miyazaki stated that Howl'southward Moving Castle was his favorite creation, and explained his choice by saying "I wanted to convey the message that life is worth living, and I don't call up that's inverse."^[vi] In the motion picture, Sophie is shown to overcome extreme challenges past learning to put the well-being of those she cares nigh above her own self-involvement, a quality which Miyazaki refers to as devotion.^[6] Several of the protagonists in Miyazaki'south films, such as Ashitaka and San in Princess Mononoke and Sheeta and Pazu in Castle in the Sky larn to survive by learning the same lesson.^[vi] Cavallaro states that Miyazaki spreads this moral through the entire film, to convey homo beings' ability to be empathetic, such equally when the scarecrow holds an umbrella over Sophie's head when it rains.^[vi] Over the grade of the pic, Howl, its most vain and selfish graphic symbol, too learns to put others before himself.^[19] When Madame Suliman returns the Witch of the Waste to her truthful form every bit a bedraggled old woman, Sophie takes her in and cares for her, despite the witch existence responsible for Sophie'due south curse, thus strongly demonstrating the thought of compassion.^[nineteen] The witch then nigh destroys Howl through her selfish behavior, but too helps save the castle at the end. Parsons writes that "In Miyazaki's balancing act, onetime women can be powerful and weak, positive and negative, nurturing and selfish, maligned and loved; in short, they tin can non be just categorized or stereotyped, and they can not be dismissed equally fantasy malefactors embodied by evil witches."^[19] They are also given a lot of space in the film as active characters, something not commonly plant in western movies.^[nineteen]

Product [edit]

In September 2001, Studio Ghibli appear the production of 2 films. The offset would become The True cat Returns and the second was an adaptation of Diana Wynne Jones' novel, Howl'southward Moving Castle.^[20] A rumor persists that Miyazaki had an idea to do Howl's Moving Castle during a visit to Strasbourg Christmas market.^[xx] Toshio Suzuki, who produced Howl's Moving Castle, stated that Miyazaki was inspired to make the film when he read Jones' novel, and was struck by the prototype of a castle moving around the countryside.^[21] The novel does not explain how the castle moved, and Miyazaki was interested in figuring out how the castle might movement, which led to the image of a castle on craven legs.^[14] The circuitous moving castle changes and rearranges itself several times throughout the movie in response to Howl'southward eccentricity and the various situations.^[xx] The bones structure of the castle consists of more than than eighty elements including turrets, a wagging tongue, cogwheels and craven legs, that were rendered equally digital objects.^[20]

Mamoru Hosoda of Toei Animation was originally selected to direct the film, only quit the project later on Studio Ghibli's executives rejected many of his concept ideas.^[22] The film was shelved until Miyazaki took over.^[22] The project resumed with product in February 2003.^[20] It was scheduled to be completed in the spring of 2004, and released in the summer of that year.^[22]

Miyazaki went to Colmar and Riquewihr in Alsace, France, to written report the architecture and the surroundings for the setting of the flick.^[xx] Additional inspiration came from the concepts of future technology in Albert Robida'due south work.^[20] Commentators take stated that Miyazaki's imagery was influenced by his fondness for the "illusion art" of 19th century Europe.^[23] Suzuki stated that dissimilar many Western films, in which the imagery went "from the general [to] the specific,"^[14] Miyazaki employed a uniquely Japanese approach, frequently get-go with a very specific image and moving from at that place.^[14] However, Howl's Moving Castle, and Miyazaki films in general, have a focus on realistic imagery in a way that other anime films practise not.^[xiv]

The film was produced digitally, but the original backgrounds were drawn past mitt and painted prior to existence digitized, and the characters were also drawn by paw prior to scanning them into the computer.^[twenty] The 1400 storyboard cuts for the film were completed on 16 Jan 2004.^[24] On 25 June the in-betwixt blitheness was completed and checking was completed on 26 June.^[25] Studio Ghibli used digital technology to run many copies of the still portions of a scene, a process which avoids inconsistencies betwixt various still frames, but tin create an impression of artificiality. Therefore, the studio chose to manually retouch the digitally altered images, recreating the "feel" of a hand-fatigued image.^[26]

Like with the other Studio Ghibli movies, the pic was co-produced with other companies, which were Tokuma Shoten, the Nihon Television Network, Dentsu, Buena Vista Habitation Entertainment, Mitsubishi and Toho.^[1]

Comparisons betwixt film and novel [edit]

The flick has several differences from the novel, partly due to the different requirements of the two media. Diana Wynne Jones' novel has a very large cast of characters, and several plot threads that were too complex to be transferred into the film.^[27] As a issue, characters such as Sophie's 2nd sister Martha are left out, as is the plot thread involving Markl (who is called Michael in the novel, and depicted as an adolescent, rather than as a young boy) courting her.^[28] Jones discussed the film with Studio Ghibli representatives, simply did not have whatever input or involvement in the production of the film. Miyazaki traveled to England in the summertime of 2004 to give Jones a private viewing of the finished film. She has been quoted as saying "It's fantastic. No, I have no input—I write books, not films. Yes, it will be dissimilar from the book—in fact information technology'due south likely to be very different, but that'south equally it should exist. It volition still be a fantastic moving-picture show."^[29]

The novel depicts Howl'due south castle as a tall, nighttime and sinister magician's tower, very unlike from the circuitous image in the picture. The film's castle may be seen as a parody of the machines seen in the flick, 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 forth on mechanized bird legs"^[28] that is similar to Baba Yaga's hut in the pop fairy tale. Information technology is vaguely organic, and near depicted as a life-course.^[28] Similarly, Calcifer is a demonic figure in the book, every bit compared to the "endearing" persona and epitome that he has in the film.^[28] Both flick and novel effort to render fantastic elements every bit mundane and ordinary things. Although they are set in a fantasy universe, the characters are oftentimes shown performing routine tasks, like cooking breakfast or washing up, in contrast to the heroic deportment typical of a fantasy universe.^[30] In the novel, Jones disrupts the fantasy-world setting by including scenes in which the characters travel to the real-earth Wales. The motion picture, nonetheless, avoids this digression, and maintains a constant setting.^[31]

Miyazaki's biggest addition to the plot of the volume was the utilize of the war equally a large office of the plot. In the book, the war is just tangentially referred to; the king orders Howl to detect the king'due south missing brother Justin, considering Justin's military skills are needed for a forthcoming war.^[32] Howl'due south frequent disappearances are because of his womanizing habits, which makes Sophie see him as a superficial and cowardly person.^[32] In the flick, however, Howl disappears in society to transform into a giant bird and disrupt the battle plans of both armies.^[32]

The roles of several characters also differ between novel and film due to this plot change. The Witch of the Waste is the chief antagonist of the book, whereas in the picture she is reduced by Madame Suliman's magic to an ultimately harmless old woman who evokes sympathy in the audience and in Sophie.^[32] In contrast, the moving-picture show conflates the novel's two characters of Mrs. Penstemmon and the sorcerer Suliman into Madame Suliman. Although Suliman comes closest to being a traditional villain in the film, she is shown every bit having ambiguous motivations, and reviewers have stated that the real villain is war itself.^[32] Howl loses the "rakish" womanizing aspect that was a significant part of his character in the novel.^[32] In contrast, Sophie becomes a more conventional effigy in the moving-picture show; she is less grumpy and outspoken, and demonstrates her love for Howl before and more explicitly.^[32] The storyline in the novel of Sophie beingness a powerful sorceress in her own right is muted in the film, although she is yet shown to have control over her curse.^[7]

The thematic focus of the story also differs between the novel and the moving picture. Reviewer Antonia Levi wrote that the experience of watching the film was similar to reading loftier quality fan fiction; although the characters and the setting were the same, the story was different.^[7] Although in both cases the story begins with Sophie beingness a prisoner of her circumstances and of social norms, the challenges she faces are slightly different. Levi said that "Jones uses Sophie, Howl, and Calcifer in a fairytale format to tell a story nigh challenging class and gender expectations, Miyazaki uses the same characters to tell a story about personal loyalty, dear, and war."^[7]

Music [edit]

The score was composed and conducted past Joe Hisaishi, and performed by the New Japan Philharmonic.^[33] The soundtrack CD was first released on 19 November 2004 by Tokuma Japan Communications. Hisaishi too composed and conducted a Howl's Moving Castle: Symphony Suite, an anthology published on 21 Jan 2004 which includes ten re-arranged pieces from the original soundtrack. He and Youmi Kimura besides composed Howl'due south Moving Castle CD Maxi-Unmarried, a CD single published on 27 October 2004 which includes the motion picture's theme song, sung by Chieko Baisho (the Japanese vocalization actor for Sophie), its karaoke version, and a piano version of the picture show's primary theme, "The Merry-Go-Round of Life".^[34]

Release and reception [edit]

Box role [edit]

The film opened at the 61st Venice Moving picture Festival in 2004,^[4] and was released in Japan on 20 November 2004.^[3] The film grossed $14.v million in its outset week of release in Japan lonely.^[14] The motion picture was distributed in Nippon by Toho, and made $190,000,000 in that state.^[3] It was distributed internationally past various companies, and made approximately an boosted $45,000,000 exterior Japan, for a worldwide total of $235,184,110.^[3] The moving picture was later dubbed into English under the supervision of Pete Docter of Pixar, and released in the Usa past Walt Disney Pictures on 10 June 2005.^{[35] [3]} Information technology was one of the most commercially successful Japanese films ever made.^[4] Soon later its release, it became the 3rd most financially successful pic in Japan, backside Titanic and Spirited Away.^[17]

Habitation media [edit]

On habitation video, Howl's Moving Castle sold two.viimillion units in Nihon,^[36] and grossed nearly $17 1000000 in the United States.^[37] It was released in the U.s. on DVD on 7 March 2006 and on Blu-ray by Walt Disney Studios Dwelling house Entertainment on 21 May 2013.^[38] GKIDS re-released the film on Blu-ray and DVD on 17 October 2017.^[39]

Disquisitional response [edit]

The review aggregator website Rotten Tomatoes reports an 87% approval rating based on 181 reviews, with an boilerplate rating of 7.47/10. The website's disquisitional consensus reads, "Exquisitely illustrated past main animator Miyazaki, Howl'southward Moving Castle volition delight children with its fantastical story and touch the hearts and minds of older viewers as well."^[38] The moving picture also holds an 80/100 average on Metacritic, based on 40 reviews, indicating "universal acclamation".^[ii]

Usa Today critic Claudia Puig gave the film a positive review, praising it for its power to alloy "a childlike sense of wonder with sophisticated emotions and motives".^[forty] Helen McCarthy in 500 Essential Anime Movies said that the natural earth was "beautifully represented", with "some absolutely breathtaking mountains and lakeside landscapes". She also praised the design of the castle and added that Miyazaki added his own themes to the film: "man's relationship to nature, the futility of war, and the joy of flight".^[41] Joe Morgenstern of The Wall Street Journal called the movie "a moveable feast of delights".^[42] Richard Corliss of Time wrote, "Palaces and shimmering lakes, warplanes and fire sprites all come to life at the jiff of Miyazaki's graphic genius."^[43] Writing for The Boston World, Ty Burr said, "At its best, 'Howl'south Moving Castle' offers a rich fantasy of adolescent escape, of romance in the onetime and ballsy sense. At its worst, it'due south the almost astonishing 12-course meal you tin't bring yourself to stop."^[44] A.O. Scott of The New York Times wrote, "Admirers of [Hayao Miyazaki's] work, which is wildly imaginative, emotionally intense and surpassingly gentle, will find much to appreciate in this film considering it demonstrates, once again, his visual ingenuity and his sensitivity as a storyteller. For newcomers to his earth, "Howl's Moving Castle" is a plumbing fixtures introduction to one of modern cinema'due south great enchanters."^[45]

Conversely, Roger Ebert of the Chicago Sunday-Times gave the film two and a half out of 4 stars, and called it a "disappointment" compared to Miyazaki's other recent movies.^[46] Jonathan Trout of the BBC said, "Youngsters and Miyazaki fans will coo at the globe'south depth and rich surreality, but opaque plotting, and a tendency to mope with Sophie whilst Howl is off affecting events allow the momentum of the first act vanish into thin air."^[47] Writing for Salon, Stephanie Zacharek said, "the plot of Howl'due south Moving Castle meanders and so listlessly that its details get less and less mannerly. Miyazaki's storytelling style resembles that of a incoherent young tot who's fearlessly exercising his newfound powers of expression."^[48] Stephen Hunter from The Washington Post criticized the plot of the motion-picture show, saying "In that location is no story, or rather, there's no forcefulness to the story, which meanders nigh casually this mode and that for no apparent reason."^[49] However, he said that the picture show also empowered young women, and was "beautiful beyond telling."^[49] David Rooney, writing in Diverseness, stated that "the narrative motor roars ahead in the opening hour and is more erratic thereafter," and suggested that better translation would help.^[1] Literary scholar Matt Kimmich stated that the film came across as "uneasy compromise between two plots and ii imaginations," referring to Jones' original story and Miyazaki's style of animation and storytelling.^[l] However, he stated that those scenes which were non dependent either on Jones' original plot or Miyazaki'southward added plot threads establish "a visual humor that recalls the exact wit and lightness of Jones'due south novel,"^[51] and that the "animation manages to free itself from the demands of the two plots—and flies."^[51]

Top 10 lists [edit]

"There's a word for the kind of comic, dramatic, romantic, transporting visions Miyazaki achieves in Howl's: bliss."

—Peter Travers, Rolling Stone [35]

The film appeared on many critics' elevation x lists of the best films of 2005.^[52]

• 2nd – Ella Taylor, LA Weekly (tie)
• quaternary – Kenneth Turan, Los Angeles Times
• 5th – Tasha Robinson, The A.Five. Club
• sixth – Lawrence Toppman, The Charlotte Observer
• 6th – Jonathan Rosenbaum, The Chicago Reader (necktie)
• 8th – Michael Sragow, The Baltimore Sun
• 8th – Michael Wilmington, The Chicago Tribune
• NA – Peter Rainer, The Christian Science Monitor (listed alphabetically)

Accolades [edit]

Year	Award	Category	Event	Recipient	Reference
2004	61st Venice Pic Festival	Osella Awards for Technical Achievement	Won	Howl'southward Moving Castle	[53]
	Mainichi Picture Awards	All-time Japanese Movie Overall (Readers' Choice Honor)	Won	Howl'due south Moving Castle	[54]
	Japan Media Arts Festival	Excellence Prize, Animation	Won	Howl'due south Moving Castle	[55]
2005	Tokyo Anime Laurels	Animation of the Yr	Won	Howl's Moving Castle	[56]
		Best Director	Won	Hayao Miyazaki	[56] [57]
		Best Voice Actor/Extra	Won	Chieko Baisho	[56] [57]
		Best Music	Won	Joe Hisaishi	[56] [57]
	Maui Picture Festival	Audition Accolade	Won	Howl's Moving Castle	[56] [57]
	Seattle International Film Festival	Aureate Space Needle Laurels	1st Runner-up	Howl's Moving Castle	[56] [57]
2006	78th Academy Awards	Best Animated Feature	Nominated	Hayao Miyazaki	[58]
	Saturn Awards	All-time Blithe Pic	Nominated	Howl'southward Moving Castle	[59]
2007	Nebula Accolade	Best Script	Won	Hayao Miyazaki (script), Cindy Davis Hewitt, and Donald H. Hewitt (English translation)	[60]

References [edit]

1. ^ ^{a b c d due east f g h} Rooney 2004.
2. ^ ^{a b c d e f chiliad} Metacritic 2005.
3. ^ ^{a b c d eastward f m h} boxofficemojo 2016.
4. ^ ^{a b c} Geoghegan 2011.
5. ^ ^{a b c d e f} Cavallaro 2015, pp. 61–62.
6. ^ ^{a b c d due east} Cavallaro 2015, pp. 171–172.
7. ^ ^{a b c d} Levi 2008.
8. ^ Smalley, Gregory J. (xxx May 2019). "A Look Back at Miyazaki's Steampunk Classic "Howl's Moving Castle"". The Spool . Retrieved 24 October 2019.
9. ^ ^{a b} Gordon 2005.
10. ^ ^{a b} Smith 2011.
11. ^ ^{a b c d east f} Kimmich 2007, pp. 134–135.
12. ^ Cavallaro 2015, p. 8.
13. ^ ^{a b} Cavallaro, Dani (2014). The Belatedly Works of Hayao Miyazaki: A Disquisitional Study, 2004-2013. Jefferson, NC: McFarland. pp. 26–30. ISBN978-1-4766-1909-5.
14. ^ ^{a b c d e f one thousand h i j grand} Talbot 2006.
15. ^ ^{a b c} Lioi 2010.
16. ^ ^{a b c d e f} Cavallaro 2015, pp. 146–147.
17. ^ ^{a b} Scott 2005a.
18. ^ ^{a b c} Wilson & Wilson 2015.
19. ^ ^{a b c d e f thousand h} Parsons 2007.
20. ^ ^{a b c d e f g h} Cavallaro 2006, pp. 157–171.
21. ^ "Japanese Walt Disney - Film - Entertainment - theage.com.au". www.theage.com.au. 18 September 2005. Archived from the original on 14 October 2014. Retrieved 14 Dec 2017.
22. ^ ^{a b c} Shilling 2002.
23. ^ Cavallaro 2015, p. 145.
24. ^ Schnell 2013, p. 7.
25. ^ Schnell 2013, p. 23.
26. ^ Cavallaro 2015, p. 137.
27. ^ Kimmich 2007, p. 127.
28. ^ ^{a b c d} Kimmich 2007, p. 128.
29. ^ nausicaa1 2016.
30. ^ Kimmich 2007, p. 129.
31. ^ Kimmich 2007, pp. 129–130.
32. ^ ^{a b c d eastward f yard} Kimmich 2007, pp. 132–133.
33. ^ "Music in the movies: Joe Hisaishi". Den of Geek. Archived from the original on 15 December 2017. Retrieved 14 December 2017.
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38. ^ ^{a b} Rotten Tomatoes 2019.
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40. ^ Puig 2005.
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52. ^ Metacritic 2007.
53. ^ Biennale 2004.
54. ^ animenews 2016.
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56. ^ ^{a b c d east f} imdb 2016.
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60. ^ Locus 2007.

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• Corliss, Richard (5 June 2005). "Movies: For Children of All Ages". TIME . Retrieved xviii July 2016.
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External links [edit]

• Official Website by Disney
• Howl'due south Moving Castle at IMDb
• Hauru no ugoku shiro at The Big Drawing DataBase
• Howl's Moving Castle at Rotten Tomatoes
• Howl's Moving Castle at Metacritic
• Howl's Moving Castle at AllMovie
• Howl'due south Moving Castle (anime) at Anime News Network's encyclopedia
• "ハウルの動く城 (Hauru no ugoku shiro)" (in Japanese). Japanese Movie Database. Retrieved 21 July 2007.

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Source: https://en.wikipedia.org/wiki/Howl%27s_Moving_Castle_(film)

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