TENKUU NO SHIRO LAPUTA

DESCRIPTION

CAST

NOVEL AdventureTenkuu no Shiro Laputa

REVIEWS

• 

  AndoCommando

  70/100
  Set the standard for the greatest anime studio of all time.

  Studio Ghibli is arguably one of the greatest anime film studios of all time, setting the standard for Japanese animation many times over since its inception. They are responsible for producing some of the best animated films ever seen; blessing anime fans with several classic films over the decades and creating countless spectacles along with them, many of which were made under the guidance of legendary director and Studio Ghibli founder, Hayao Miyazaki. Together, their library includes the likes of Howl’s Moving Castle, Princess Mononoke, and of course the Academy Award-winning Spirited Away. But before all that, the studio giant had to begin somewhere. And while both Miyazaki and Studio Ghibli were involved in the making of Nausicaa of the Valley of the Wind in 1984, their first official film was released in 1986: that film being Tenkuu no Shiro Laputa, more commonly known as Castle in the Sky.

  The tale of Ghibli’s first feature film is set in a world parallel to ours, except here there is a much greater focus on, you guessed it, the skies. Floating castles, gigantic airships and pirates in the sky are all featured prominently over the film’s 2-hour runtime and in the sky is where we find our heroine of the story, Sheeta. She is held against her will in an airship when suddenly, pirates attack in an attempt to kidnap the girl. However, through all the commotion, Sheeta slips and falls to what appears to be her death, only for her strange-looking necklace to glow and cause her to slowly descend towards the ground, where a young boy sees her and catches her. This all takes place before the 10-minute mark and already we are given so many questions to be answered throughout the film. But thankfully the film never tries to get complicated with the narrative. From the beginning we are thrown into this new, fantastical world that is begging to be explored and from there it takes us on an adventure where two children go out to find Laputa, the Castle in the Sky.

  Some may find the overall narrative of Castle in the Sky simplistic, and I would agree with them, but simplistic does not equate to ‘not good’. For 2 hours, this film is full of action and adventure that will have you entertained from the start. This film is one of the few anime that I believe can be enjoyed by all ages and this is mostly because of its simplicity. Compared to other Ghibli films, Castle in the Sky is not trying to be an allegory of any kind, instead looking at the story’s sense of scale and adventure through the eyes of a child. While I would never consider it to be Miyazaki’s magnum opus in terms of his most developed, breath-taking or meaningful work, it is near-perfect for what it tries to be: an authentic vision of a childhood fantasy, that has the charm to bring out the child in anyone watching.

  Studio Ghibli is responsible for creating some of the most enjoyable cinematic universes in animated form, as they seem to always be able to bring forth these rich, vivid settings that despite feeling similar, are each unique in their own way. Castle in the Sky is the first of a dozen examples of this. There are so many different working parts of this world of imaginative architecture, advanced technology and charismatic personalities. For this film specifically, Castle in the Sky manages to make a distorted version of the industrial revolution, featuring the likes advanced elaborate aircraft to giant robot guardians, seem like something made out of pure imagination as well as something we could very well see made in the not-so-distant future. It also features some environmental commentary towards the end if you are interested at all. But considering that this film was directed by Miyazaki, all of his familiar yet welcome quirks – strong, independent female characters, ecology, aviation and young children – are present in this film.

  Speaking of the characters, the lead duo, whilst basic, fit this kind of story exceptionally well, fitting the orphaned child archetype whilst coming off as sympathetic protagonist that you want to see succeed in their dangerous quest. The boy who found Sheet in the beginning is Pazu, who is trying to find the castle in the sky as his father years before had seen, but was disregarded as a liar by those around him. Pazu has a clear goal in the film, and Sheeta is like Pazu’s angel, literally falling into his life in the beginning and supporting him, while also looking out for his safety. Sheeta also changes overtime in the film, slowly but surely becoming more independent and confident, common characteristics of Miyazaki’s heroines. The rest of the characters however are rather one-note and interchangeable. They still play their part well for a film like this, but I am disappointed that they were not as memorable as anything else in the movie.

  Regarding the production side of Caste in the Sky, it is everything that you would expect from Studio Ghibli. The animation is beautiful, even for today’s standards which, for a 1986 movie is a pretty amazing feat. Throughout the entire film there is no lack in artistry; the backgrounds, characters and sequences all look great. Laputa also happens to be blessed with wonderful cinematography, capturing the overall look of the fantasy epic in every action scene this movie has to offer.

  As for the music; it sounds stunning! The entire soundtrack fits the tone and style that this movie has, and it is not surprising given that Joe Hisaishi was behind the music. Hisaishi did a great job with the entire soundtrack. If there were any issue on the soundtrack however, it would be that there is no standout themes there, at least in my opinion. Some people really love the main theme for Castle in the Sky, but to me, it cannot compare to some of his other tracks like Legend of Ashitaka from Princess Mononoke. The English dub for this is also solid, but given that Disney was behind the dub, it should come as no surprise it would be anything but. The dub can make the two leads sounds more mature than their character implies, but in no way does it detract from the overall enjoyment you will have when watching this Ghibli classic.

  If I haven’t made it obvious enough, Castle in the Sky is a film that despite the score, means a lot to me as a fan of anime. It is a brilliantly executed adventure story that is not hindered by age, and as long as you watch it for what it is: an adventure, you will enjoy it. There is more that I could talk about regarding this film, but that would be at the cost of spoilers and I want everyone who reads this that has not seen Castle in the Sky to go into it as blind as possible. It is essentially the film that put Ghibli on the map, and set the standard for what you should expect from one of the greatest anime studios of all time.

  Continue on AniList
• 

  user106549

  90/100
  A Fantástica Aventura de Laputa

  Miyazaki sempre foi um diretor que, à parte de sua grandiosa identidade, não se importava em utilizar alguns clichês ou abordagens mais simplórias em suas obras. Entretanto, o segredo disso era a maneira com que ele os implementava. Mesmo em situações caricatas ou de aspecto clichê, a composição fundamental sobrepôs o que parecia evidente. Sejam elas esplêndidas técnicas visuais que compunham a cena, arrojadas abordagens sonoras implementando essência as obras, marcantes técnicas de câmera e perspectiva ou seu formidável _modus operandi_ de fantasia e ação. Todos esses aspectos sobrepunham o que indicava ser um erro, tornando-o um ponto de refinamento, como, igualmente, estão presentes em Laputa. __Técnicas Visuais__ A constante movimentação dos diversos corpos que constituem o cenário, aliada da exploração de perspectiva e profundidade foram fatores de grande destaque dentro deste agitado enredo. De modo igual, as técnicas de interação dos corpos sobre os demais elementos da composição. Com fluidez e ótima geração de impacto, o contato dos corpos produziam diversas partículas, desconstruindo o cenário e originando novos objetos. Fomentando uma dinâmica muito eficiente para todas as finalidades emergentes. Sem dúvidas, uma das maiores sacadas introduzidas neste filme é a exploração de perspectiva e profundidade. A câmera não necessita agir sozinha ao trabalhar múltiplos planos, pois, em diversas cenas as personagens movimentam-se conjuntamente em diferentes posicionamentos, porém, ainda no mesmo ângulo, o que proporciona uma ampla exploração do ambiente e do fluxo da ação. Igualmente aplicada na cenografia, dando uma noção estrutural excêntrica aos _frames_ e complementado com excelência o visual. Vale ressaltar também um característico design de cores, muito harmonioso, demonstrando ótimas aplicações de contraste e saturação. Tal-qualmente, complexos designs mecânicos e de edifícios aderindo muita estilização a obra. __Trabalho Sonoro__ Um fator vital a síntese. Caracteriza e permeia substancialmente todas as cenas. Embora não possua grande variedade, compensa na aplicação musical, formando uma mecânica conjunta ao constante uso de silêncio. __O Dinamismo da Ação__ Seja na tensão, na aventura ou mesmo em uma mínima cena constituída pela ação, as personagens sempre estão expostas a múltiplos perigos. Explorando essa margem de imprevisibilidade que o filme fomenta seu dinamismo. O princípio essencial para que os demais fatores de sua direção possam operar. Empregando incerteza a aventura, intensificando a tensão e proporcionando constância a ação. __MacGuffin__ Laputa é um excelente _MacGuffing_ para o gênero narrarivo do filme. O Castelo Voador é a origem de todos os ocorridos, é o que todos perseguem, porém, é também, a origem do incerto. O seu princípio é cercado por mistérios e muita curiosidade. As ações dos personagens e os acontecimentos da narrativa instigam o espectador a tal sentimento. Tornando Laputa não só o pináculo do _world build_, como a principal força motriz de todo o filme. Uma autêntica força motriz que exala a maravilhosa essência do anime. __Comédia__ Apesar de pouco utilizada, ainda pode ser observada em escassos usos de comédia física e algumas cenas clichês hilárias ao em torno dos vinte minutos e, posteriormente, já em uma hora decorrida de filme. Não ganha ressalvas nem deméritos. O atenuante cômico de maior saliência fica reservado a esquadrilha pirata, que rouba os holofotes sempre que fazem presença. __O Planador__ Aos meados de uma hora e quinze de filme, é contado que a vigia em que os protagonistas se situavam poderia se transformar em um planador que ficaria preso a um imenso cabo telefônico. O próprio conceito desse elemento do roteiro já é muito interessante para o momento, então, ao instante em que o planador fica suspenso no ar, temos o grande alvoroço vigente sendo cortado pela imensidão do céu e seu silêncio, para que novamente as constantes adversidades da aventura venham a agir em uma súbita turbulência que atinge o veículo dos protagonistas. Sendo guiada por um trabalho de câmera muito dinâmico. Assim se criam três constantes perigos nas cenas que viriam: o avião militar que estava tentando destruí-los, o péssimo clima dentro das nuvens e o fino fio que separava as personagens de sua instável segurança nos céus. O objetivo predominante era o de alcançar Laputa, os sentimentos de tensão e curiosidade permeiam a atmosfera. Intercalando entre o uso de silêncio e uma musicalidade extremamente efetiva. E, claro, animações fluidas, preenchidas por um design de cores surreal. Uma cena que evoca a genuína síntese aventureira e fantasiosa de uma narrativa. __Conclusão__ Tenkuu no Shiro Laputa é um marco às produções da década de 80', introduz técnicas únicas a indústria e funda um legado em seus gêneros narrativos. Sem dúvidas, um ponta pé inicial excepcional para um estúdio visionário.
  Continue on AniList
• 

  SteveFreeling

  100/100
  Still one of Miyazaki's best

  Some films simply transcend the border of what's on the surface. Legendary Japanese animator Hayao Miyazaki's Castle in the Sky (known as Laputa: Castle in the Sky internationally) is such a film. Miyazaki has crafted a fun and exciting adventure film that also doubles as an emotionally satisfying journey into the human condition, a film that meditates on love, compassion, friendship, selflessness, and what really determines one's worth. The result is my favorite film produced under the Studio Ghibli banner, only bested by Nausicaä of the Valley of the Wind for the top spot as my favorite Miyazaki film and I have no problem saying it's become one of my favorite films in general. Yes, Studio Ghibli's first official film has stood and will continue to stand the test of time for years to come.

  

  It is the 19th century. While returning to work in a mining village with his boss's dinner one night, 12-year-old engineer's apprentice Pazu (James Van Der Beek in the 1998 Disney dub, Mayumi Tanaka in Japanese) catches a sleeping girl his own age after seeing her float down from the sky, a glowing crystal around her neck keeping her afloat. After getting off from work, Pazu takes the girl to his house where he has lived alone ever since his father passed away while it is unknown what befell his absent mother. When she wakes up the next morning, she reveals herself as Sheeta (Anna Paquin, Keiko Yokozawa) and the two quickly form a bond. When Sheeta notices a framed photo of Laputa, the titular castle which was also visited by Gulliver, Pazu reveals that even though his father took the photo from an airship, no one believed him, but also says that his father was no liar and resolves to prove Laputa's existence. After a chase with pirates who want Sheeta's crystal, where the army (who also wants her crystal) intervenes, Pazu and Sheeta enter the underground caves where Sheeta reveals that after losing her parents, she was abducted from her farm by the army. It is also here that they encounter Uncle Pom (Richard Dysart, Fujio Tokita) who reveals that only the people of Laputa knew how to mine the element Sheeta's crystal is composed of, also stating that it's dangerous to abuse the crystal's power for selfish reasons. Having vowed to find Laputa together, the two are soon ambushed by the army, Pazu is pistol-whipped, and both are taken to a nearby army base. This base is where, in order to advance his ulterior motives, Colonel Muska (Mark Hamill, Minori Terada) coerces Sheeta into cooperating with the promise that they will release Pazu. Sheeta tells Pazu to forget about Laputa, but he can't forget, arguing that Laputa means too much to both of them. Even so, Pazu returns home in despair after a nasty encounter where Muska shoves money into his hand, only to find 60-year-old pirate captain Dola (Cloris Leachman, Kotoe Hatsui) and her boys waiting for him. When they reveal that they're going after Sheeta, Pazu insists he be allowed to rescue her. After Pazu rescues Sheeta, a race against the clock begins as they set out with Dola and the pirates to find Laputa before Muska can enact whatever evil plans he has for the legendary island.

  

  Miyazaki has filled the film's story to the brim with depth, heart, and soul and it serves as 124 of the most worthwhile minutes you'll ever spend watching a film. Pazu and Sheeta have lived alone ever since losing their parents, but after finding each other, it is likely they will never have to be alone ever again, or at least not for very long. The love that grows between them is one of the most beautiful things put on film and perhaps nothing better exhibits its beauty than a scene in the latter half where they keep watch in the late hours of the night. Dola and the pirates show that there is more to a person than what they might initially seem. The friendship that forms between them and the two kids is one that will bring smiles to a whole lot of faces and continue to do so with repeated viewings. Miyazaki also expertly shows how greed and selfishness can corrupt the heart and soul. No character proves this point better than Muska, who is arguably the most evil villain Miyazaki's ever created. His complete lack of compassion has consumed him before the film even opens and he pays the price. Contrast this with Pazu and Sheeta, who don't want any of Laputa's treasures but end up finding the greatest treasure of them all, more precious than any material thing. Material treasures can never match the value of a human being, the value of love, the value of compassion, the value of honor, or the value of friendship. Character traits such as compassion, honor, and selflessness define a person's worth more than money or any other materialistic treasure ever can. Pazu and Sheeta recognize this. The pirates, for as much as they seek treasure, also recognize this and are thousands of times more decent human beings than Muska. Even so, Muska is simply a figurehead for the sinister principles our heroes stand against. We also get to watch as, bit by uplifting bit, Sheeta garners the inner strength to make a pivotal decision that may turn the tide of the battle against evil and we get to see not only her old wounds, but Pazu's as well, finally heal. On top of that, the scene where they finally make it to Laputa is as satisfying a scene as one could ask for and we get an endgame that closes things out perfectly, serving as not only an ending but also a beginning. It may be the end of the search for Laputa, but it is also clearly only the beginning for Pazu and Sheeta, a magnificent end to a magnificent film and one that is, in a way, both triumphant and poignant. There are also subtle bits of depth that reveal themselves with each new watch, making repeat viewings just that much more rewarding.

  

  The animation is everything you'd expect from a Miyazaki film. There is an abundance of lush colors, from the blue of the sky to the green of the plants to the red of Sheeta's hairband. Character designs match the proportions of real people and we get the wide array of facial expressions that naturally follow as well as a diverse array of natural skin tones and realistic clothing. Close-ups also reveal interesting details, like the fact that both Pazu and Sheeta have blue eyes. Each background is vastly detailed. The interiors of airships show every nook and cranny you'd expect from a creation of its steampunk nature, Laputa is exactly what you'd expect from a floating city that houses greatly advanced technology, and Pazu's house is as homey as you'd expect while the army base has a fitting calculated coldness and the mines are just as dirty and cavernous as a real one. We also get some cool-looking giant robots and a variety of animals, which are also highly detailed. Miyazaki also pans across various backgrounds to keep the viewer engaged. All of this came off especially well when I saw the film theatrically. Overall, Castle in the Sky couldn't have been animated better.

  

  The film is also well-acted and well-scripted in both English and Japanese. Van Der Beek and Tanaka are excellent as Pazu. Some have criticized Van Der Beek for the fact that he was 21 years old when Disney dubbed the film in 1998, but that doesn't come anywhere near stopping him. Van Der Beek gives it his all, imbuing the character with all the enthusiasm and energy a 12-year-old boy would have and also supplements this with a wisdom beyond his years as the film progresses, especially in the latter half when he and Paquin's Sheeta have a conversation about Laputa, the crystal and what its power implicates. Then again, I had a naturally deep voice at that age, so I guess it wouldn't bother me. That said, Tanaka does the same, albeit in a different way. The same is true of Paquin and Yokozawa as Sheeta. Paquin has also been criticized by some who have called her “stilted and unreliable” and accused her of (and I'm paraphrasing) “nearly sending the film's English dub crashing down to Earth,” but I disagree. She starts off somewhat wavering but grows more steady as the film goes along, which is actually a perfect match for the character's transformation as she finds her inner strength. Leachman and Hatsui are also excellent as Dola, encompassing the pirate captain's compassion every bit as much as her gruffness. So are Hamill and Terada as Muska, effectively depicting the character's seared-with-a-hot-iron conscience, selfishness, and altogether despicable nature; Hamill sounds like a colder version of Joker as he voiced him in Batman: The Animated Series, but it actually works a lot better for Muska than you might initially think. This is also true for the rest of the two casts. All in all, both are full of life, character depth, and purpose and you can't go wrong with either. If you want my advice, watch it both dubbed and subbed and enjoy both for what they bring to the table.

  

  Joe Hisaishi is a master at musical scoring and he gives one of his best here. Or should I say two of his best since he composed an expanded score for the dub that Miyazaki himself approved? The expanded score actually works together with the excellent voice acting to tip me in favor of the dub. I know, some have claimed the expanded score adds nothing to the experience, but I don't think that's the case. The expanded score serves for a more complete and immersive film. Simply compare the opening minutes with and without Prologue/Flaptors Attack and the two versions of The Girl Who Fell From the Sky that play over the film's opening credits and you'll find that the expanded score is more nuanced. In the morning when Sheeta wakes up, Pazu's Fanfare is also more nuanced in the expanded score where it is more electronic and repetitive in the original score. If I had to name one of my favorite tracks from the expanded score, it's Confessions in the Moonlight which plays when Pazu and Sheeta keep watch, perfectly encapsulating the scene's warmhearted tone. Comparing the film's endgame, the expanded score is more nuanced and complete; the scene where a certain spell is uttered is accompanied by a hauntingly beautiful chanting piece that gives this fan goosebumps every single time he watches the film dubbed. Like the animation, the expanded score is another thing I couldn't help noticing yet again when seeing the film theatrically. With that said, the original synthesizer score is really good for what it is considering what Hisaishi had access to and I'll admit I probably wouldn't be saying any of these things if the expanded score didn't exist. Still, though, the expanded score is a magnificent score for a magnificent English dub of a magnificent film. One thing that remains the same is Azumi Inoue's Carrying You (Kimi wo Nosete) playing over the closing credits. It's basically The Girl Who Fell From the Sky with lyrics Miyazaki himself wrote, but it's a perfect note to end the film on and when you look up the English translation, it turns out that it flawlessly matches what the movie is all about. Throw in an amazing sound design and Castle in the Sky does everything right.

  

  In case it wasn't already obvious, I love Castle in the Sky. As far as I'm concerned, it's Studio Ghibli's finest hour, one of Miyazaki's finest, and one of the best films of the 1980s. I've seen the film in the theater and several more times on Blu-ray and it never ceases to impress me in every possible way. The film is not only a fun and exciting adventure but an emotionally satisfying look at love, honor, compassion, friendship, selflessness, and the triumph of the human spirit. The film is also visually stunning and the various chase scenes continue to thrill with each new watch. Its most likable characters are easy to become invested in all over again and its story is all too easy to find oneself swept along in as if seeing the film for the first time. Pazu and Sheeta's battle against evil remains as compelling as ever. The bond that forms between them will remain etched within your subconscious for ages and both of Hisaishi's scores, especially the expanded score, as well as Inoue's theme song will ring inside your ears long after the credits roll. Oh, yes, Castle in the Sky earns my highest recommendation.

  Continue on AniList

SIMILAR ANIMES YOU MAY LIKE

• ANIME

  AdventureIma, Soko ni Iru Boku
• ANIME

  AdventureFushigi no Umi no Nadia
• ANIME

  AdventureMirai Shounen Conan
• MOVIE

  ActionKaze no Tani no Nausicaä
• MOVIE

  AdventureSakasama no Patema
• MOVIE

  AdventureMimi wo Sumaseba
• MOVIE

  AdventureHoshi wo Ou Kodomo
• ANIME

  AdventureKujira no Kora wa Sajou ni Utau
• MOVIE

  ActionKurenai no Buta
• MOVIE

  AdventureGed Senki
• MOVIE

  AdventureGiniro no Kami no Agito
• MOVIE

  DramaLayton Kyouju to Eien no Utahime