When an unconfident young woman is cursed with an old body by a spiteful witch, her only chance of breaking the spell lies with a self-indulgent yet insecure young wizard and his companions in his legged, walking castle.
In order to power the city, monsters have to scare children so that they scream. However, the children are toxic to the monsters, and after a child gets through, 2 monsters realize things may not be what they think.
Chihiro and her parents are moving to a small Japanese town in the countryside, much to Chihiro's dismay. On the way to their new home, Chihiro's father makes a wrong turn and drives down a lonely one-lane road which dead-ends in front of a tunnel. Her parents decide to stop the car and explore the area. They go through the tunnel and find an abandoned amusement park on the other side, with its own little town. When her parents see a restaurant with great-smelling food but no staff, they decide to eat and pay later. However, Chihiro refuses to eat and decides to explore the theme park a bit more. She meets a boy named Haku who tells her that Chihiro and her parents are in danger, and they must leave immediately. She runs to the restaurant and finds that her parents have turned into pigs. In addition, the theme park turns out to be a town inhabited by demons, spirits, and evil gods. At the center of the town is a bathhouse where these creatures go to relax. The owner of the bathhouse ...Written by
The theme of not looking back is an homage to the Shinto Myth of Izanagi (& Izanami) escaping from the Underground World of Death (Yomino Kuni), which is very similar to the Greek myth of Orpheus and Eurydice. Many of the characters in this animation are based on Shinto Myth and have Shinto Gods' names. For example, Haku's true name 'Nigihayami Kohakunushi' is taken from an actual God's name Nigihayahi. See more »
After Haku flies out of the bedroom we see Sen's left hand touching more of the blood on the railing. The elevator attendant sees it on the same hand
after grabbing her arm as she tries to board it. Not much later we see her looking at the same hand again before running across the pipe.
It isn't till after being held captive by the baby under the cushions that the blood switches hands as he holds her by the left arm revealing no blood on that hand at all. See more »
[reading a card]
I'll miss you, Chihiro. Your best friend, Rumi.
See more »
The credits have a series of still images from the film. The last image before the film fades is Chihiro's shoe in the river. See more »
Various dialog is added to the English dub to explain settings, translate Japanese text, or traditions; for example, when Chihiro first sees the bathhouse, in the English dub, she says "It's a bathhouse", which isn't present in the Japanese version. See more »
Actually I dislike his or her comments badly. If you didn't get it watch it again. This is not a piece to just entertain, the creator has put his own feeling and I believe life experience and the fear always buried in children's mind into it. It is a comely tale that express the creator's thoughts in some way, whilst shining as a attractive animation piece with so many details that you might have ignore if you were careless. It is a rich story and I can see the efforts creators put into it in many spots and frames.
e.g. While Chihiro was walking towards the garden where Haku told her to meet him, she passed some stairs where she can see an island, there are some house on it, she stopped for it for a little while, that, represents her longing to human world, her own world, this kind of details can be ignored by many people but they don't mind putting it in to make the whole story richer, more truthful, full of power of humanity.
Apart from that, did you ever notice that some "camera language" was used very well to tell the story in a more entertaining and better pace.e.g. When Kamaji was telling Chihiro how Haku turned up to this world before just like what she did, the "camera" panned to where the little rat(changed from the fat baby)was showing off to soots by putting his foot into the spell melted print while Kamaji's introduction about Haku's background is also getting across to the audience. This is just one of the details that shows how much story telling skills and rhythm control of plots.
There're many other things like this, shouldn't be ignored if you want to make a nice comment, even though as an American viewer you might miss a lot of the story by lack of the culture background, but that's not the reason that you can comment it as anyway you want without even really READ the film.
I am a visual effects person and film maker but I can't tell where the jerking of the footage and the stopping of character's movement are in the film. could Gazzer please enlighten us? As also a fan of Pixar I hope I don't have bias on either American animations or Japanese ones, but as a Chinese who might have some resistance towards Japanese products for national esteem or historic reason, I still admires Ghibli Studio's work. "Spirited Away" is a masterpiece of elegant picture and touching story, if Gazzer-2 knows what that means.
"Ice Age" was a pretty cute one of Fox productions, but not good enough to compete with "Spirited Away" I'm afraid. And I'd laugh at the opinion that the story of "Ice Age" is much simpler hence Oscar committee didn't recognise it, actually I believe "Spirited Away" was beautifully hand-painted frame by frame while "Ice Age" had a giant crew in 3d animation and visual effects. I'm afraid Ice Age was the much more complicated one.
392 of 527 people found this review helpful.
Was this review helpful to you?
| Report this