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Shilling, Mark (17 December 2002). "New Hayao Miyazaki film heads Toho line-up". ScreenDaily. Archived from the original on 17 August 2003 . Retrieved 5 September 2013. Giardina, Carolyn (17 July 2017). "Gkids, Studio Ghibli Ink Home Entertainment Deal". The Hollywood Reporter . Retrieved 17 July 2017.
Like several other Miyazaki films, Howl's Moving Castle reflects the director's love of flying. [12] Aircraft of inventive design appear in the film, and Howl frequently transforms into a bird. [15] Miyazaki examines flight as a theme most directly in the later film The Wind Rises. Miyazaki stated that he was attracted to military aircraft as a child, but that he grew to detest them because of the destructive purpose for which they are created. Thus Howl's Moving Castle contains images both of aircraft shown as harmless and beautiful, and large military craft depicted as ugly and destructive. [15] Cavallaro writes that Miyazaki wants to "portray flight as an object of admiration and awe," but that he is not "[blind] to its abuse by unscrupulous strategists and rulers." [15] Parsons, Elizabeth (19 October 2007). "Animating Grandma: the indices of age and agency in contemporary children's films" (PDF). Journal of Aging, Humanities, and the Arts. 1 (3–4): 221–229. doi: 10.1080/19325610701638243. hdl: 10536/DRO/DU:30007845. Archived from the original (PDF) on 10 December 2020 . Retrieved 24 September 2019.Puig, Claudia (9 June 2005). " 'Howl's Moving Castle' enchants". USA Today . Retrieved 2 June 2013. Influenced by Miyazaki's opposition to the United States' invasion of Iraq in 2003, the film contains strong anti-war themes. Miyazaki stated that he "had a great deal of rage" about the Iraq war, which led him to make a film which he felt would be poorly received in the United States. [1] It also explores the theme of old age, depicting age positively as something which grants the protagonist freedom. The film contains feminist elements as well, and carries messages about the value of compassion. In 2013, Miyazaki said Howl's Moving Castle was his favorite creation, explaining, "I wanted to convey the message that life is worth living, and I don't think that's changed." [2] The film is significantly thematically different from the novel; while the novel focuses on challenging class and gender norms, the film focuses on love, personal loyalty and the destructive effects of war. [3]
Cavallaro, Dani (2014). The Late Works of Hayao Miyazaki: A Critical Study, 2004-2013. Jefferson, NC: McFarland. ISBN 978-1-4766-1909-5.Wilson, Carl; Wilson, Garrath T. (2015). "Taoism, Shintoism, and the ethics of technology: an ecocritical review of Howl's Moving Castle". Resilience: A Journal of the Environmental Humanities. 2 (3): 189–194. doi: 10.5250/resilience.2.3.0189. S2CID 191753828. Ebert, Roger (9 June 2005). "Howl's Moving Castle Movie Review (2005)". RogerEbert.com . Retrieved 2 June 2013. Kimmich, Matt (2007). "Animating the Fantastic: Hayao Miyazaki's Adaptation of Diana Wynne Jones's Howl's Moving Castle". In Straytner, Leslie; Keller, James R. (eds.). Fantasy Fiction into Film. Jefferson, North Carolina: McFarland & Company.
Smith, Lindsay (1 April 2011). "War, Wizards, and Words: Transformative Adaptation and Transformed Meanings in Howl's Moving Castle". The Projector Film and Media Journal. 11 (1). Official Awards of the 61st Venice Film Festival". labiennale.org/. 11 September 2004. Archived from the original on 9 October 2004. Miyazaki stated that an attractive aspect of the story of Howl's Moving Castle was the relatively positive light it shed on growing old. [12] When Sophie becomes old as a result of the witch's spell, she also feels more able to speak her mind. According to Miyazaki, old women are only infrequently allowed to dominate the screen as in Howl's Moving Castle, which made it a risky concept. [12] Elizabeth Parsons stated that the film disrupts the stereotype of "aged unattractiveness," when the artificially aged Sophie manages to rescue two attractive men (who come to love her) and to unintentionally end the war in her country. [18] Sophie's actions are those usually associated with grandmothers, such as being kind and nurturing to those around her, and engaging in housework; however, these actions are depicted as being powerful and heroic. [18] Sophie is one of several strong female protagonists in Miyazaki's films. [14] According to Parsons, this gives the film a feminist aspect as well. [18] Additionally, even though Sophie manages to make her presence in the castle legitimate by claiming to be a cleaning lady, the film goes on to show that the housework is equitably distributed, strengthening its feminist aspect. [18] Burr, Ty (10 June 2005). "Though unintelligible at times, Miyazaki's 'Castle' is magical". The Boston Globe . Retrieved 18 July 2016.In the United Kingdom, the film's Studio Ghibli anniversary release was 2015's eighth best-selling foreign language film on home video, and fifth best-selling Japanese film (below four other Studio Ghibli anime films). [45] It was later 2018's fourth best-selling foreign language film in the UK (below the Japanese films My Neighbor Totoro, Your Name and Blade of the Immortal). [46] Critical response [ edit ] Japan Media Arts Festival Awards" (in Japanese). Japan Media Arts Plaza, Agency for Cultural Affairs. Archived from the original on 4 April 2010 . Retrieved 1 March 2009. Miyazaki went to Colmar and Riquewihr in Alsace, France, to study the architecture and the surroundings for the setting of the film. [21] Additional inspiration came from the concepts of futuristic technology in Albert Robida's work. [23] Commentators have stated that Miyazaki's imagery was influenced by his fondness for the "illusion art" of 19th-century Europe. [24] Suzuki stated that unlike many Western films, in which the imagery went "from the general [to] the specific," [12] Miyazaki employed a uniquely Japanese approach, frequently beginning with a very specific image and moving from there. [12] However, Howl's Moving Castle, and Miyazaki films in general, have a focus on realistic imagery in a way that other anime films do not. [12]
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