Princess Mononoke on the Guild’s big screen, an event for the ages
That’s right, on film. The fact that these are not being presented digitally is very specifically at the request of director Hayao Miyazaki who wanted them to be seen in a theater with light passing through them, film grain clearly perceivable, rather than reduced to a 1080p digital approximation. He’s a stickler as he goddamn well should be.
As with Miyazaki’s first feature, Nausicaä of the Valley of the Wind, seeing Mononoke on the big screen in this country has been a rare event. Unlike more recent Ghibli films, which have received a solid marketing push from distributor Disney and Pixar frontman John Lasseter, Princess Mononoke was always an anomaly: a dark, not-so-family-friendly fantasy saga initially released by Disney subsidiary Miramax and rated PG-13. Its limited theatrical run was a disappointment to Disney, but was nevertheless something of a sleeper hit, playing to full houses in Albuquerque for weeks. I think I managed to see it four times at three different theaters. Then it vanished from U.S. theaters for 13 years.
Mononoke is one of the best fantasy films ever made. Its incredible attention to detail and earthy, naturalistic backdrops create a convincing secondary world in which the old gods are starting to fall before the might of the machine age. As Alibi reviewer Devin O’Leary pointed out in 1999, “The prevailing theme presented here is nothing less than mankind’s inevitable movement away from ancient, pastoral living to modern, industrial civilization.” That’s some heavy lifting for a cartoon, but this is no ordinary cartoon.
Devin again on Mononoke’s merits: “A carefully crafted script translation by Brit comic book writer Neil Gaiman (best known for his Sandman series) retains all of Miyazaki’s rich symbolism and historical context. The greatest testament to Miyazaki’s skill is that his characters never slip into easy caricature. For example: Had this film been made by Disney, Lady Eboshi [the antagonist] would have been portrayed as an evil, cartoonish shrew. Instead, she is a fully-faceted character—an admirably strong-willed woman who dreams of building a haven for the outcasts of feudal Japan. Ashitaka and Princess Mononoke are similarly portrayed as good people who frequently give in to their darker, baser urges.”