The Tale of Princess Kaguya – Review

When Hayao Miyazaki called time on his remarkable, illustrious career as one of the greatest animators of all time and a shining light for Studio Ghibli, there was a fear that the magic may be gone with him: that the sense of enchantment he provided would never quite be captured again. Needless to say, the studio’s latest endeavour, The Tale of Princess Kaguya, left in the dependable hands of Isao Takahata (Grave of the Fireflies) has squashed any such apprehensions, in what is yet another alluring and mystical offering that both moves and compels in equal measure.

Based on old Japanese folklore, when a bamboo cutter (James Caan) comes across a glowing stalk of bamboo, inside he finds a living object that will change his life forever: a miniature princess. Taking home this incredible discovery to his wife (Mary Steenburgen), the tiny and yet perfectly formed girl magically manifests into a regular-sized child, though a child that continues to grow, in rapid fashion, eventually becoming a beautiful young woman (Chloe Grace Moretz) – Princess Kaguya. Enthralling and beguiling every man in the city, what Kaguya wants from her life soon becomes a secondary concern.

First and foremost, this picture is quite breathtaking to watch up on the big screen, and rather different to what we usually see from the studio. Instead, the narrative is presented with a pastel, water-coloured palette, with some scenes shown in mere charcoal and pencil sketches. This adds to the enchanting ambiance that exists, as a gracious, serene atmosphere is created. That’s not quite in accordance with the narrative however, which displays inherent human flaws, while finding a contemporary strand amidst the mythology, of a young woman wanting to be herself and live her own life, but feels as though she’s being moulded into someone else’s idea of perfection, without having any real say in the matter. The expectations placed upon her as a Princess, and how she feels forced to marry somebody noteworthy, irrespective of her romantic feelings towards them. It’s these themes that ground this tale, and allow for us to relate, amidst the surrealism that exists.

However perhaps the abundance of themes is detrimental to the project too, as we deviate carelessly from simplicity. What transpires is a picture that is longer than it needs to be, while losing its way towards the end – just losing the audience when we’re most needed on-side. But it’s a mere blemish on an otherwise indelible, and ineffably charming production that proves there’s still plenty of life in Ghibli left, with or without Miyazaki.