DVD Review: My Neighbor Totoro

DVD Reviews

By Frankie Dees Mar 30, 2006, 14:08 GMT

A film for the child in all of us, or for the child we once were. A film for our children or for the children we have yet to have. “My Neighbor Totoro” is a children’s film, and a magnificent one at that. Regardless of age, regardless of whether you don’t have kids, have kids, or even if you don’t like them, only the most hardened of cynics will not find something to adore in this film. An impossibly simple and unassuming story about two young girls with heart and emotion and big as their imagination.

Deemed unmarketable in 1988 (arguably the greatest year in anime, which also produced the now iconic Akira), this Mayao Miyazaki film was double-billed with “Grave of the Fireflies”, Isao Takahata’s equally enchanting fable about two children who have to deal with the aftermath of a firebombing in WWII-circa Japan. In a way, the films are complete opposites, yet…they compliment each other perfectly. Grave of the Fireflies is about two children who find wonder and magic in a cruel or indifferent world, a world of tragedy. My Neighbor Totoro is about two children who find wonder and magic in a supportive and welcoming world (although not completely without drama), a world where you find yourself in the company of a giant beast with big nasty claws and a tendency to roar and instead of running, you curl yourself up on his chest and take a nap. This was Hayao Miyazaki’s first shoujo anime film – anime that features young girls as the protagonists – a theme that obviously appealed to Miyazaki as it’s been featured in almost all of his films, subsequently. This is also the film that seemed to start Miyazaki’s infatuation with Lewis Carroll’s “Alice in Wonderland” with a direct nod to Cheshire the cat. The film starts off in an un-specified time period (clothes and cars suggest the 50’s) where a father and his two young daughters move from the bustle of the city into a rural house surrounded by forest.

The older Satsuki and her four-year-old sister Mei, find much to love about this new house. As their father moves furniture into the house, they take it upon themselves to explore the house, throwing open doors, finding the elusive staircase, running around the empty house in a flurry of excitement. When they are assigned to open the window on the second floor, they peek up from the stairs to find something dark and creepy. They let out a deafening scream, as to let any monsters know they’ll be coming up and to kindly get out of the way. Out of the corner of their eyes, little soot sprites are seen. Hundreds of little, black soot balls with eyeballs that scurry in groups along the walls and into various cracks or holes in the walls. Benign little creatures that we will later see in 2002’s Spirited Away. The first appearance of creatures who just are, no superfluous explanations of why and how.We learn the girls’ mother is in a nearby hospital for reasons not stated in the film (although Miyazaki’s mother had Tuberculosis and he later concedes this could be the reason in a later interview) and seems to be doing well but understandably causes unease in the girls. There always a slight tension bubbling underneath their playful demeanor. Here is where I would like to state a few differences between American and Japanese animation. A mother with a severe illness in a children’s film? Is there any contemporary American children’s film that would even dare approach this subject? I doubt it. A father raising two daughters? There is also a completely innocent, lovely scene where the father is taking a bath with the two daughters that I imagine would probably cause some controversy in America. Little details to be sure, but details that let us know that we are occupying an honest universe for a change. As Satsuki returns to school and the father does research from his study at home, Mei begins to explore outside of the house. Picking flowers for her dad, studying tadpoles, she stumbles comes across a small, furry translucent creature who does it’s best to elude her. Escaping through a path in heavy brush, Mei follows it to a gargantuan tree where she stumbles down a hole hidden in its roots. Here, she finds a giant version of this creature that she immediately pegs as harmless. Climbing upon its belly and playing with its nose, big eyes peer out at her from underneath lazy eyelids. Comforted, Mei curls up and takes a nap. Deeming the large creature “Totoro”, the Japanese equivalent of a troll, Mei relays her story to Satsuki and her father who are nothing but supportive. In a delightful sequence later on, Satsuki and Mei wait at an isolated bus-stop in the woods and rain to meet their father with an umbrella. As night takes over and tire sets in, Mei falls asleep on Satsuki’s back. Satsuki hears loud footsteps and looks over to find Totoro standing right beside her, staring straight ahead. Totoro is waiting for the bus? With two umbrellas, Satsuki kindly hands one over to Totoro. Curious, Totoro takes it, not quite sure what to do with it.

Upon Satsuki’s example, he holds the tiny umbrella over his giant head, his ear making a tiny indentation in the umbrella. Delighted with the rain hitting the umbrella, Totoro begins to jump up and down. Satsuki stares in disbelief. Lights appear down the road and their father’s bus finally seems to be coming their way. The lights appear closer and closer…when a giant cat bus with headlights for eyes, a Cheshire grin, and numerous centipede-like legs pulls up in front of them. A door appears in its fur and Totoro steps inside with the umbrella and takes a seat. The cat-bus takes off, leaving the girls in the rain stupefied and without their father’s umbrella.As you might suspect, this film isn’t about a constant momentum of the plot, but small details that show themselves slowly. Small, wonderful, nostalgic moments about childhood and imagination. The wonders of exploring a new house, or exploring the forest around your grandparent’s house, of imaginary creatures and of secret hiding spots. Miyazaki creates two wonderful heroines in Satsuki and Mei, sisters who act like sisters with fascinating lifelike personalities. Miyazaki completely succeeds in putting the viewer behind the eyes of these children. When the climax finally happens, full of grand sweeping emotion and the fantastical front and center, most would agree that their watching something special.The film is presented in 1.85:1 widescreen and is enhanced for widescreen televisions. This DVD represents the first time this film has been available in its original aspect ratio here in the states. The original Japanese, French, and English audio tracks are provided in 5.1. The new English dub features the voices of Dakota Fanning, her sister Elle Fanning and Tim Daly. A pan and scan version with an English dub only was released by Fox several years back under its “Family Features” banner. A lot of people were scratching their heads over Fox’s mediocre treatment of such a great film, but apparently, this version which featured a different English dub by Carl Macek (of Robotech fame) and was originally handled by Troma was the only version they had the rights to. Now, this is where it gets tricky, a lot of anime enthusiasts (read: geeks) consider the English adaptation by Macek to be one of the best dubs out there, with arguably a more faithful translation and the voice acting by the sisters (Cheryl Chase and Lisa Michaelson) to be more natural and in tone with the Japanese cast. I own both versions and can attest to the superiority of Macek’s dub, but it in no way makes up for the cut-up print you get that goes along with that dub. Disney’s English dub with the Fanning sisters is certainly acceptable and while the Fanning’s may be a little grating for older viewers, unless you’ve heard the Macek version to make comparisons, it makes little difference. The glorious widescreen transfer is the name of the game here and I would go with Disney’s version over Fox’s any day of the week because of it.

The usual array of Disney/Ghibli special features are all here. A Behind the Microphone featurette showcasing the Fanning sisters being, well, sisters. The original Japanese Trailer, the opening, and closing animation (without credits) are also provided along with a 2nd disc being solely devoted to the complete original Japanese storyboards.

One of the most revered children’s films of all time (Roger Ebert proclaims it “most beloved of all family films” and includes it on his great movies list); it’s hard not to see why. Young or old, it’s a film that should prove hard to forget with image after image of subtle wonderment and joy. Speaking as the father of a seven-month old little girl, I for one cannot wait to bound down the stairs with my daughter in a couple years to share in the joy of “My Neighbor Totoro” on a sunny Saturday morning. And did I mention that I might just be a couple steps ahead of her on the stairs? My Neighbor Totoro is now available at Amazon. As of yet, there is not a release date for the UK. Visit the DVD’s database for more information.

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SuperPopeMar 30th, 2006 - 16:30:02

Actually, 'Nausicaa of the Valley of the Wind' in 1984 was Miyazaki's first anime to feature a young girl as the protagonist. It was then followed by 'Laputa: Castle in the Sky' in 1986 which had a young heroine as well. So Totoro in 1988 was Miyazaki's third film with female lead characters, and every single other film he's made since then has followed that formula. So, when you really get down to it, 'Castle of Cagliostro' was the only film he ever made without a female lead, and the princess in that movie was pretty heroic herself.

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Frankie DeesMar 30th, 2006 - 18:08:56

Well, I said My Neighbor Totoro was Miyazaki's first Shijou film, Shijou meaning Manga or Anime which was originally marketed to young girls. While the films you mention (along with Princess Mononoke)certainly have female protaganists, they were and are above all else adventure/fantasy films which were not directed at young girls versus My Neighbor Totoro or Kiki's Delivery Service. I probably should have been more specific with the term Shijou, instead of referring to the rather broad description 'female protaganist' in which you are most certainly right about Nausicaa and Castle in the Sky.

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Jeff SwindollMar 31st, 2006 - 01:53:53

Here is where I would like to state a few differences between American and Japanese animation. A mother with a severe illness in a children’s film?

Well, Bambi's mother catches a severe illness in the forest. Think it was too much iron in the blood ;).

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Frankie DeesMar 31st, 2006 - 07:18:17

Heh, well death is certainly an extreme illness and certainly the sequence in Dumbo when the mother is jailed is heartbreaking but at the same time, we are talking about animals here...a slight detachment I think as opposed to My Neighbor Totoro or Grave of the Fireflies where even when there are fantastical elements involved, is very much a real universe with some very real thematic issues. I just don't see the death of Mufasa in The Lion King as a comparative. Don't get me wrong, though, I love both types of animation equally, and think Disney has made some extraordinary films in the past but there are definitely key differences between our cultures and it shows in the respective films. I think both deserve accolades and a equal amount of reverence but it just so happens that children are completely unfamiliar with Miyazaki and I think that's a shame. These are wonderful films with great messages that don't speak down to children or insult their intelligence and honestly are much better than what Disney has been putting out the past 10 years or so...and certainly better than a lot of the CGI crap (with the obvious exception of Pixar)we've seen lately and will certainly see more of...

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Calcifer BlueJul 27th, 2006 - 05:39:21

You guys all have interesting and correct thoughts about the animations. Im just 17 so I cant come up with any big explanation on certain things. I do know that I loved My neighbor Totoro both in Japanese and American. Howl's Moving Castle was great in American, but lacked a few points With the voices in Japanese.

I'm just a few days away from having all of Hayao Miyazaki and Joe Hisaishi movie creations.

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