There are a lot of people who enjoy Studio Ghibli films, but a surprising number of them would probably say they don’t much care for Anime, if they can even claim to have really seen it, and I would likely be one of them.
Hayao Miyazaki’s “Nausicaa of the Valley of the Wind” treads that line between Japanese Disney masterpiece and “Dragonball Z” territory more than any of his other films, mainly because it’s based on Miyazaki’s own seven volume manga of the same name. It’s Miyazaki’s second film and his first under the Studio Ghibli name, and although it has the hand-drawn visual splendor and establishes most of the dominant environmental themes that would carry through the rest of his films, it’s an action heavy movie most closely comparable to “Princess Mononoke” or “Howl’s Moving Castle,” lacking the sense of humor and whimsy that made me and so many others love him.
The story is a bit of an apocalyptic mess. For a thousand years since modern day, the human race has been threatened by toxins from the Sea of Decay, an ever growing ecology of monstrous bugs and poisonous pollens that threatens to engulf the whole planet. Nausicaa is the princess of a peaceful safe haven powered by windmills, and her gifts with animals teach of patience and resolve but also a love for nature. She moves about magically on a rocket glider, clinging to it in a pommel horse pose and emerging in and out of mountains and seas of clouds. She realizes that nature itself is not toxic, humans are, and the obvious metaphor that pops up is that when you attack one insect, a swarm of others become enraged and nature destroys you.
These naturalistic ideas are years ahead of their time for an ’80s film, as are of course the visuals. Some of the early images in one destroyed village or all those in the depths of the planet are so foreign from anything on Earth that to have come from one man’s pen and paper is astounding. Miyazaki makes images of towering scope and depth that would be virtually impossible in a live-action film, like the ravenous ohmus with golden feelers, glowing red eyeballs and enormous layers that make it look like a steampunk beetle.
Nausicaa herself is a wonderful heroine. She’s the one youthful, likeable and multi-dimensional figure in the movie, whereas most of the other humans are destructive forces driven to violence by ignorance. They’re not completely villainous in the way you see with most kids movies, but they’re part of an elaborate war of cataclysmic explosions and firefights. The film can get tiring, and you long for “Nausicaa’s” quieter moments that, although they would be beyond the kids, offer some adult magic.