My Neighbor TotoroNo action scenes. No villians. Essentially no plot. No underlying message. By all accounts a film void of these common ingredients would add up to a huge disaster; unless it’s the work of Hayao Miyazaki.
The third film by world renowned director, Hayao Miyazaki, is evidence that, when handled properly, the whimsical and innocent can have the same emotional impact of other anime requiring the scope of world-wide struggles.
Explaining the story is as simple as the daily lives of the protagonists. Sisters Satsuki, Mei, and their father move to the countryside to be closer to their mother who is stricken with a disease which requires her to stay at the hospital. Upon settling in to their new house and becoming aquainted with the peacefullness of the countryside, Mei and Satsuki learn of the king of the forest, the Totoros, which only are visable to children who believe in their existence.
Review
Some may find the beginning to be a little slow, and that is indicative of whether or not you enjoy slice of life. If you want boobs and explosions then I’d suggest looking elsewhere. Satsuki and Mei, like how children would be, can’t contain their excitement and curiosity of their new surroundings. Simple tasks such as fetching water from a nearby stream and doing chores around their home is like a new journey to them. The joy it brings them, handled in that way only Miyazaki can, is masterfully conveyed to the viewer, which in turn fills you with the same sense of wonder that Satsuki and Mei are feeling.
The animation is what's to be expected by a Miyazaki film. Beautiful and detailed. The countryside setting is a nice change from the usual cityscapes and neighborhoods of most anime. Rather than neon lights and concrete buildings you're presented with lush fields and trees made weary from the tumbling wind, and old fashioned houses that feel like you've lived there. The soundtrack ranges from being as quaint as the setting of the film to grand orchestral pieces that will continuously be heard in your mind long after the film ends.
And then Satsuki and Mei meet the Totoros. Each sister stumbles upon the king of the forest separately. Satsuki is the first to see one as she literally stumbles upon the sleeping big guy. Later Mei is confronted by the same Totoro on a rainy night at a bus stop. Both of these interactions have virtually no dialogue, and yet more is said through body mannerisms and facial expressions than what most anime (or cinema in general) can hope to do through an entire series of build up. The scene at the bus stop as Mei supports her sleeping sister on her back and an umbrella on her shoulder is an experience. You’re not simply watching her first meeting with a giant Totoro, you’re
experiencing it. And when the catbus finally appears from the distance and departs with its furry passenger, showing you where the wind truly comes from, you’re left with the same feeling as Satsuki and Mei… that you want to see the Totoro again. From that point on, whenever the Totoros make an appearance, your attention is transfixed almost permanently on those magical kings of the forest. And that attentiveness carries you right to the ending which will leave you struggling to stop smiling.
Parting thoughts
When you’re outside and waiting in your daily lives, and a gust of wind blows your hair and shakes your clothes, you’ll know it isn’t from the changes in atmospheric pressure… it’s the catbus swiftly running by on route to its next destination where the king of the forest is waiting. 9.5/10