Among Hayao Miyazaki’s animated films, I’ve always found My Neighbor Totoro (Tonari no Totoro; 1988) the easiest to appreciate and relate with because, notwithstanding its supernatural elements, the story is essentially grounded in reality (with subtle autobiographical brush strokes) and takes place in a sleepy rural setting.
My Neighbor Totoro has no overt violent scenes, which should make this animated feature fairly suitable even to young children, although it does deal with the threat of loss and pain as only a child can sense it. The film radiates with childlike wonder, discovery and ready acceptance of extraordinary incidents. Basically, it’s one anime title that I’d be pleased to recommend to anyone regardless of his/her age.
The animation, as expected for a Studio Ghibli offering, is top-notch, and the characters are well delineated. The story focuses on two young girls who, along with their father (a college professor), move into an old country house — a quaint, rustic structure complete with cobwebs, rotting posts and rattling windows — in order to be near the hospital where their mother is being treated. In one of her rambles, 4-year-old Mei (and later, along with the her older sister Satsuki) stumbles into the slumbering guardian spirit of the forest — a huge, cuddly, bear-like creature called Totoro, who’s apparently only visible to young children…
Without giving away the rest of the story (I really don’t want to spoil the experience for those who still haven’t seen it), there are several items in this film that should be fairly obvious to a Miyazaki enthusiast. The main protagonist is a young girl (or in the case, girls) who’s learning to grapple with the complexities of life (a recurring theme in many Studio Ghibli films such as Spirited Away, Kiki’s Delivery Service, Laputa Castle, Porco Rossi, etc.). There’s also an endearingly clumsy young boy, Kanta, who shows an abiding interest in planes/aviation (Kiki’s Delivery Service, Laputa Castle), a trait that Miyazaki shared as a child.
My Neighbor Totoro likewise highlights, in unobtrusive but touching instances, the way the Japanese show respect for their old and the ‘natural’ spirits around them.
i seem to be listening to a lot of anime tunes lately. i think i must have downloaded about 160+ (via LimeWire) of them by now. i even compiled a separate playlist for these songs in my mp3 player (my good old reliable Zen Vision: M).
the funny thing is that if anyone ever asks me about their titles, i'd probably end up scratching my head because i can't commit them to memory -- except maybe to say that this particular song is featured in a certain anime series/movie. i'm better at remembering the tunes though.
some of my favorite tunes are closely associated with anime features that i also happen to like. for instance,
Azumanga Daioh: Shin Gakki, Soramimi Cake
Fruits Basket: Black and white Haru, Momiji's Onsen Song
Final Fantasy X: 1000 words (can't remember the japanese title, sorry)
Full Metal Panic: Karenai Hana, Kimi ni Fuku Kaze
and the list goes on...
and of course, the songs sung and/or written by super-seiyuu Megumi Hayashibara, like themes from Love Hina, Abenobashi Magical shopping District, Evangelion, Ranma 1/2, and many more.
for sheer collective appeal, though, my top 3 favorites are the soundtrack from Trigun (vols. I & II), Ouran High School Host Club and School Rumble. i may have been partly attracted by these songs because they strongly remind me of certain scenes and characters in these series. for instance, when i listen to Guilty Beauty Love i am immediately reminded of Tamaki's goofy expressions, and each time i hear harima kenji's guttural rendition of his solo numbers i naturally think of his hilarious misadventures. and who can forget the offbeat and strangely hypnotic charm of the guitar-driven themes (opening and ending) in Trigun? first time i heard it, my gut reaction was "whoah, brilliant!" (i bought the CD, too).
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