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138 utilisateurs sur 152 ont trouvé ce commentaire utile :
A true work of art that takes animation to an entirely new level, 1 février 2000

Auteur : alvaradj de Chicago, Illinois, USA

I saw Mononoke Hime on its USA release back in late December 1999 under its U.S. title Princess Mononoke. I had read quite a bit about this film and its director but was still totally overwhelmed by the beauty and brutality of this movie. The complexity of this movie is something never seen in the United States in an animated movie and even exceeds that of most live action movies as well. It combines love and hate, war and romance, nobility and deception in ways rarely seen in movies today. Lines of good and evil are anything but clear cut and in the end is hope but no guarantees, no promises. This is truly an adult movie but my children, ages 12 to 15 all loved it and talked about it for days later. Even my wife who holds a strong prejudice against Japanese animation enjoyed this movie.

Go and see this movie. You won't be disappointed.

126 utilisateurs sur 147 ont trouvé ce commentaire utile :
one of the best films i've ever had the chance to see, 7 novembre 1999

Auteur : zetes de Saint Paul, MN

Princess Mononoke is, without a doubt, one of the best films I have ever witnessed. There has never been an animated film even close to this -- I kept thinking after I left the theater, how can Disney even have the guts to make another film after seeing this? Even live action movies pale in comparison to Princess Mononoke. There has never been a film to pay such close attention to details. Watch for the magnificent and subtle flying insects throughout the film, especially in the ancient forest, where bioluminescent dragonflies glide gently around the screen. There are thousands of subtleties such as this. You'd have to see it a dozen times to appreciate this film fully. Aside from it being the most beautiful film I've ever seen, it also has an enormously powerful script. The characters are some of the the most well rounded in all film. Ashitaka especially, the main character of the film, is so nuanced that he has become in my mind one of the great characters in film, up there with Charles Foster Kane and Jake LaMotta. I would compare him to Freder, the main character of Fritz Lang's Metropolis. His role in the film is a mediator between the forces of humans and the gods of nature. Both sides comment several times that Ashitaka must be on the other side, when he is trying desperately to convince everyone that there are no sides. Peace is the way. There is a little to be desired in the American voice talent. Claire Daines was certainly a wrong choice for San (Princess Mononoke), and Billy Bob Thornton just could not hide his southern accent, which made the character of Jigo seem more comical than he was probably supposed to be. Gillian Anderson's voice clashed with her character, the wolf god Moro, a bit. It hardly affected my passion. The film was so spectacular and beautiful that James Earl Jones could have voiced San and it would have detracted little. Definitely, though, I'm praying that they release the DVD with subtitle options. Anyway, Princess Mononoke is the best film of 1999, the best film of the 1990's, and, in my personal top ten list, no lower than #5, but closer to #2. 12 hours later and my heart is still beating with the power of Princess Mononoke! America: SEE IT!

98 utilisateurs sur 107 ont trouvé ce commentaire utile :
Allegory on the balance between humans and nature, 15 avril 2003

Auteur : TanjBennett de Seattle

This seems to be Miyazake's most personal work, clearly a serious design. It is set in an imaginary time which blends the time of the ancient gods (Shinto style, gods of place and nature) with the settlement of humans and the coming of metalworking and war. The world is not in balance, and a distant conflict between industry and nature has wounded one of the gods of the forest, which is then killed by a sentry boy as it rampages into farmland he guards. The evil controlling it transfers to him, beginning a slow takeover, and he must journey to the origin of the conflict to find a way to cure himself and incidentally, as he will learn, to try to restore balance. But this is not a simplistic tale, he finds there are other characters in play, and there is good and evil in everyone, and no easy balance. The Princess (Hime) of the story is a mysterious human who has been raised by wolves (which are themselves powerful forest gods, a little reminiscent of the Amerindian Coyote myth), who becomes both his ally and his enemy. The story is not easy to understand. It has many Japanese mythic elements but even then, it is a work of Miyazake's unique imagination, and is not intended to be simple or to have a clean resolution.

The animation is spectacular, and unusual, with new elements even for Miyazake and marks a new departure for style which you can see continued in his next film, Sen to Chihiro - more nature, more wild, more jamming on elements from Japanese myth and folklore. And, continuing the trend to be more personal, concerned with ethics and character, and less sci-fi. There are at least half a dozen well developed characters threaded through the story, and their animation is wonderful in displaying subtle character.

The original Japanese soundtrack has some amazing singing and draws upon some of the best talent available for voices - in Japan, Miyazake is universally known and this was a masterpiece carefully crafted. Japanese television documented a lot of the production. The English translation drew on some good talent but they seem not to have "gotten it" quite so intensely as the Japanese crew.

If you haven't seen Miyazake, give it a try (but maybe look at Sen to Chihiro first, or even Laputa or Kiki's Delivery Service, for easier and lighter introduction to his work). Some say he is the Japanese Disney, but I don't like that. His work has a depth and sophistication that goes beyond Disney cute. There is no other animation like it. This is truly an adult work: children might like some of the visuals, but I doubt that many kids below teen age will have any idea what it is all about, and even adults will get more out of this each time you see it again.

99 utilisateurs sur 116 ont trouvé ce commentaire utile :
Very touching movie!, 14 août 2004

Auteur : misty6767 de Canada

The first time I saw Princess Mononoke I was completely moved and surprised. Since it was a Studio Ghibli film dubbed by Disney I liked the fact that it wasn't a "they all lived naively ever after" film. There were no complete "good" or "bad" guys. Even Lady Eboshi the most antagonist character in the movie had a reasonable motive for trying to get rid of the animal gods and cutting down the forest. Although it her actions were environmentally damaging and wrong in general, she did it to help her people survive which is what all the species on Earth strive for. Another wonderful aspect of the plot is that it sends a message - Protect the Earth and all will survive in peace - a message either discreetly or strongly portrayed in many of Miyazaki's films. Perhaps the portrayal of this message (and the tiny hint of San and Ashitaka's romance and Moro's views on nature) was what made the film so touching to me.

Like many Miyazaki movies, the animation (as always) is wonderful and nicely detailed which is also another quality that genuine Disney films lack (thank goodness for Studio Ghibli). The music was beautiful and well suited to the movie.

The only predicament to the movie is that it is a bit downbeat and does not contain much happy laughter (oh well, I can watch My Neighbor Totoro - also a good movie - for happy laughter.).

10/10 - And my favourite movie of all time.

72 utilisateurs sur 86 ont trouvé ce commentaire utile :
Japanese JEWEL, 16 février 2005

Auteur : Belísia Sayão (belis_kikyo@yahoo.com.br) de Brésil

Fantastic film! It makes me speechlessly. Good dialogs, beautiful soundtrack,incredible animation effects (take a look at the rain, at the movement of the grass, hear the sounds of the steps) and interesting characters,who are everything but ordinary. Ashitaka is captivating (what a strength, what a heart, what a soul!); San (the Princess Mononoke herself) is intriguing; and Lady Eboshi is ambiguous -is she the villain? I don't think so. After all, who can blame her? Don't let the over exploration of themes related to ecology discourage you. Go ahead and watch Mononoke. It's a totally new way of treating the conflict between men and nature, which is far from its ending. Definitely, a jewel among the predictable animations of Disney and Pixar's also predictable jokes. There are no jokes here. TAKE A LOOK AT IT!

70 utilisateurs sur 88 ont trouvé ce commentaire utile :
This film has "raised the bar" in the world of animation., 24 juillet 2000

Auteur : Aaron de California

I have seen many many animated features, but none compare to the talent that is shown in this anime. After seeing this for the first time, I could see why so many animators (especially disney animators) consider Mr. Miazaki a GOD! His animation style has the best "flowing motion" I have ever seen.

The American dubbing team, whoever they are did an excellent job picking voices, they got top notch actors to do the job right (unlike most animes today). They even took on the hair-pulling task of RE-ANIMATING the mouth movements to match!

This is by far one of the best films I have ever seen.

63 utilisateurs sur 76 ont trouvé ce commentaire utile :
Stunning and sharp (in any language), 11 janvier 1999

Auteur : James Kelly de NYC, New York

I saw this film in Japan, in Japanese with no sub-titles, I don't speak a word of the language and I was still enthralled! It is Miyazaki most visually intense (surpassing, at long last, Nausicaa) and is alive with color and movement the like not yet seen in anime.

The story is complex, and after talking with Japanese friends, it is clear that much of it went over my head (particularly that relating to specific Japanese myths), but the important elements came through. Miyazaki's long infatuation with technology verses nature and man's relation to God (or gods) weave throughout the film as does his trend for strong women characters.

Even with the language barrier, the film is of such intense emotion that it caries you through to the end. The change in dynamic between the crashing fight scenes and the quiet scenes of healing by the lake is so broad and so well paced that I can't remember a film where my emotional state was so expertly varied.

If you have a chance to see this film, in any language, I recommend you do.

45 utilisateurs sur 52 ont trouvé ce commentaire utile :
I'm going to show you how to kill a god, 19 janvier 2005

Auteur : composer_mike de Edoass

-The story here is very, very, epic and grand in its scale. One moment we're in a tiny little village watching people defend themselves from a boar gone mad with hatred to the next walking around in a vast forest that is home to gods. It never feels drawn out or boring but just as long and as epic as it needs to be. All the characters help the movie achieve its pseudo fantasy and realistic feel to it by not being the clichéd fantasy movie characters that were used to seeing. There are no wizards nor is there a great sword that will change the course of mankind but instead the characters are all normal people trying to make the best of their lives in a world filled with giant wolves and clacking white spirits called Okudamas. Eboshi is played out as the villain but she's not really evil more like an opportunist trying to make it in the world, it's just that the way she achieves her goals is what makes her a bit dodgy. San and Ashitaka are great and both go through their own little journeys but I think Eboshi is the one that people will walk away talking about.

-The sense of magic married with realism is what sells the movie for me. On one hand it's a pure fantasy movie with talking animals and spirits of the forest where as on the other hand is a very real sad story of humans moving into the animals' field and cutting down trees which leads to the animals losing their god like abilities and pretty much driving them to the brink of extinction. Miyazaki somehow combines these two elements and creates a very real fantasy movie that after a while you start to think could have actually happened which is great credit to him and everyone else involved in the story. I love "Two Towers" with a very strong passion but that is one fantasy movie that you know is pure fantasy and can never actually happen where as in this movie you get the feeling that is happened a very long time ago.

-That dazed and lost feeling you get when you first wake up in the morning or the feeling you get when you're driving on the highway around 6 a.m. and the sun is starting to crack is what Joe Hisashi captures with the score in the movie. It has this mystical feel to it without being too overly dramatic which is not to say that there isn't great action cues because the movie is loaded with them. I love that little string set he plays for the scene when the Boar god slowly falls to the ground after he's shot in the eye, and that great action piece he does for when Ashitaka calls on his Yak then starts to fix his arrow is also amazing but the real treat with the music here is the odd dreamlike stuff he writes. There is a great scene in the movie when the Spirit of the Forest is walking back to his land and in that scene Hisashi plays this really odd music that captures the whole off kilter feel of the character and more importantly it's great to listen to. At the end when everything is said and done and the trees are growing back he has this great piano accompanied by soft strings that's so beautiful that I dare anyone not to fall for it after listening to it.

-What they did with the animals in the movie is really amazing because unlike most animated movies their faces aren't animated to match that of humans nor do their lips move when they talk. One great thing that I really love about the English 5.1 is how the sound mixers added in some animal sounds for their speech. When Moro speaks we hear low growling wolf sounds which is appropriate since she is a wolf and the boars speak you hear pig squealing sounds. That approach makes them a tad more realistic instead of having their lips move around and make them seem like comedic characters instead of the gods they're suppose to be. The Okudamas in the movie are absolutely adorable and do provide some moments of humor in the story. They pretty much look like glorified fire flies with white skins and black spots to represent their faces. It's cool the way they can phase in out of things with ease and that playful demeanor they have does fit them properly. The cracking sound they make every now and then is pretty adorable too although when they all join in and do it does get a bit frustrating. If were up to me the whole movie would be about them but it's probably best that it's not up to me.

-If you like your fantasies loud and tongue in cheek then you probably won't like this but those looking for an intelligent fantasy movie that absolutely gets it right then you'll do no better than this.

43 utilisateurs sur 64 ont trouvé ce commentaire utile :
One to convert the sceptics, a rich, thoughtful and charming animation, 11 février 2003

Auteur : Jeremy-93 de Oxford, England

If, like me, your heart sinks at the prospect of another pious, sanctimonious, tub-thumping eco-fable, give "Mononoke Hime" a chance all the same. It does have a distinct, and far from subtle, ecological message, of the "can't we just live together?" variety, but on the other hand it's far from clear that the answer the film suggests is "yes", and there are plenty of nuances and subtleties along the way. More to the point, there's a proper story, well-conceived and well told, there's a memorable, beautiful and violent world, credible characters and a good deal of charm.

The animation is mostly very fluent and careful, though not flashy in the way we're getting used to in this CG age. ("Mononoke" uses cgi, but subtly and with restraint, so that the feel remains that of a group of traditional craftsmen under one guiding hand). Quite often one finds that there are more static elements in a tableaux than you'd expect in a Disney animated feature, but I think this is an aesthetic choice rather than a mere economy: it stylizes and formalizes, while focussing attention on the important elements in the frame. But there is occasional jerkiness, though not enough to detract seriously, and perhaps it wouldn't trouble audiences whose frame of reference isn't so western as mine - I'm not sure.

Talking of the western and eastern sensibilities, the Region 2 DVD which I'm reviewing gives you a choice of English and Japanese dialogue, and though I watched the American dub first, I'd generally prefer the Japanese version, for the key roles of Ashitaka and San. Billy Crudup is appealing but too low-key, and Clare Danes strikes me as badly miscast: she sounds a bit too old, and altogether too urban to bring out the core of wildness or the steely sense of loyalty to her world. Like other reviewers, I have trouble with the Texas drawl of Billy Bob Thornton, which is just too regionally specific to match the look of the character (please understand that I'm not suggesting the cast should all have done fake Japanese accents!). On the other hand, it's pretty much a toss-up between Yuko Tanaka and Minnie Driver (who's very closely attuned to the aesthetic of the original) as Eboshi, and Gillian Anderson and Jada Pinkett Smith are just right. Still, overall you get more vividness and conviction from the original voice cast. Oddly, the lip-sync seems more approximate in the Japanese version, perhaps a fault in the synchronization on the R2 DVD. The subtitles unfortunately but understandably come from Neil Gaiman's adaptation of the screenplay rather than re-translating the Japanese - one's aware, for example, that Gaiman has added bits of extra, explanatory dialogue.

With all that out of the way, let's concentrate on what makes the film work: it delineates a world that's at once mythological and believable, and refuses to sentimentalize or simplify (even if it occasionally allows itself to preach). There are feuds and failures of trust not just between the humans and the animals, but within each world - and the animals seem as ready as the humans to exclude the other from their world. Indeed the conceit of the film seems to be that language, rather than being a product of distinctly human evolution, was originally shared among mammals at least, and it's as the war with the humans goes on that the animal kingdom becomes more brutish and less coherent. For all the prince's idealism and the delicate rapprochement some of the characters inch towards, one gets the impression that the logic of conflict will be hard to resist.

Perhaps the most appealing and intriguing element in this world is the kodoma: the little, voiceless tree-spirits seem to be a cross-between a mushroom, a toddler and a rattle, and I defy anyone not to be captivated by them.

14 utilisateurs sur 14 ont trouvé ce commentaire utile :
An extremely good movie that superseded my preconceptions about the animation style it is presented in., 21 avril 2007

Auteur : beardyfriesen de Etats-Unis

A few years ago I would have tossed this film into a collection of movies I like to call the rubbish pile. Recently, however, I have forced myself, with great difficulty, to open my mind and look at the entire picture. Instead of focusing on one or two aspects of the movie I do not like and formulating a biased opinion based on my hasty and clouded notions, I can now decipher both the good and bad points of a given flick. Upon watching Princess Mononoke, I must say I first thought it would be very difficult to look past the animation style and see it for what it was- a dynamic film directed be the highly acclaimed Hayao Miyazaki. After about ten minutes of dwelling on the follies (and there are, in my opinion, many) of the "anime" style of art, I became enthralled with the quickly unfolding plot and the subsequently dire fate bestowed upon Ashitaka, the protagonist of the film. After Ashitaka leaves his village to search for a treatment to remedy his affliction, I no longer cared that this was an animated feature; I was on the edge of my seat, wondering what would happen next. I no longer disliked that every character had abnormally large eyes (though not over-sized to the point of utter absurdity) or that the English overdubbing was a little choppy. In fact, I even began to enjoy the accomplished yet subtle computer generated effects interspersed throughout. By the last half hour I was hooked to the screen, eagerly awaiting the conclusion I wanted so badly to end the bitter conflict of the plot. By the end, I realized that this movie carried a powerful moral with it: man's continuous tampering with nature brings about as much savagery as it does progress, as much suffering as it does good, and that a sound compromise must be struck between nature and civilization. I do not harbor any negative feelings towards those who rated this movie poorly, as I used to be one of those people. All I have to say to them is this: look at a both the visual and symbolic attributes of a movie before rating it harshly. If, after observing all these features and idiosyncrasies, you still wholeheartedly hate the film, then by all means give it a one. After all, what would the world be like if we were all did not criticize or question our surroundings?

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