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The Tale of Princess Kaguya: Love, Loss and Line-art

A film review by David Quinn

The Tale of Princess Kaguya, released by Studio Ghibli in 2013, recently opened in Australia. The studio is known for its extraordinarily whimsical animated films, such as My Neighbour Totoro,  Howl’s Moving Castle, the Academy Award-winning Spirited Away, and – possibly their biggest international hit – Princess Mononoke. Seen by many as the brainchild of legendary animator Hayao Miyazaki, there were concerns that his recently announced retirement could mean the demise of Studio Ghibli, or at least a noticeable drop in the quality of their films. If this film is anything to go by, however, there is no need for concern!

Princess Kaguya retells one of the oldest known Japanese narratives, a 10th Century folk tale called  "The Tale of the Bamboo Cutter". A story that is, in some ways, a precursor to science fiction, though here it is seen through a magical, almost spiritual and religious lens. An ageing bamboo cutter happens upon a tiny, beautiful princess embedded in a bamboo shoot. He brings her home with him, assuming that she is a blessing from Heaven. However, she suddenly transforms into a seemingly normal baby, whom the bamboo cutter and his wife raise as their own. The baby grows unnaturally fast, visibly increasing in size each time she learns something and gains a new experience. This draws the attention of the local children, who initially mock the little girl, but soon grow to love her.

Through a series of magical interferences, the bamboo cutter and his wife become rich and decide that their child should be raised as a true and noble princess. Tales of her beauty spread and she is courted by many, including noblemen and princes. Her life becomes progressively more complex and she longs for the simplicity and freedom of her childhood. The film changes pace and shifts in tone, with a melancholic conclusion of a type rarely seen in animation made outside Japan.

The plot is simple, but emotionally engaging. The lead character can be quite reactive, which would not be an ideal focus point for the story, but eventually finds agency and seems to take control of her destiny, while occasionally, others around her can range from aimless caricatures to fully fleshed-out and motivated people. The Tale of Princess Kaguya is a slow burn, and at times has the potential to feel a bit wandery and unfocused.

The true standout is that visually, this film is beyond stunning. It looks like an animated combination of watercolours and pencil, which gives it a feeling of a children’s book, or an old painting or scroll, and it is achingly beautiful. There are also moments where the visual style changes to echo the action taking place, from rough scratchy pencil in an emotionally charged chase sequence, to a more traditional wood-cut style to demonstrate a switch to a completely different time, place, or character’s point of view. At every turn, the visual language is effortlessly classical and technically brilliant without ever being ostentatious or overwrought.

The soundtrack throughout is subtle and at times very beautiful, though most notably the music at the story’s climax is astonishing in its incongruous inappropriateness. It stands out like a funeral march at a wedding, yet somehow it works as an almost ironic counterpoint to the emotional message being delivered. Done differently, it could easily have broken the scene, but miraculously manages to support the narrative and increase the emotional impact.

Even if the plot does not completely engage you, the beautiful visuals will almost certainly entrance you. If The Tale of Princess Kaguya is any indicator, Studio Ghibli is still producing wonderful, challenging films and has a strong future ahead.