SLIFF 2014 Review – THE KINGDOM OF DREAMS AND MADNESS

THE KINGDOM OF DREAMS AND MADNESS screens on Tuesday, November 18 at 7:30 PM at Webster University’s Winifred Moore Auditorium as part of the 23rd Annual Whitaker St. Louis International Film Festival. Get ticket information here

Director Mami Sanuda’s new documentary may have begun as an overview pf Japan’s leading animation company, Studio Ghibli, but it quickly evolves into a fascinating, intimate portrait of legendary director/storyteller Hayao Miyasaki. We first meet him on a typical work day, briskly walking the area adjacent to all the much-younger working artists. No private, plush office for him, though his simple desk and chair are next to a window. Quite a nice view, but the studio structure itself is quite pleasant with bright white walls, massive windows that let the sunlight stream in, and opulent landscaping (even a rooftop garden). But Miyasaki doesn’t spend much time up there. Wearing a bright white butcher’s apron he more likely resembles a cafeteria supervisor (later we get to see a cosplayer in the exact garb at a fan festival!). But with his silver hair and beard surrounding black eyebrows and dark horn-rimed glasses, he could be an ancient shaman or wizard. In fact he is the master sorcerer of cell-vinyl paint. He joins all his workers for the 2 PM excercise lead by an unseen instructor over the studio audio system. Then it’s back to the storyboard for his latest feature, each square of art another brick in a magnificent castle. Said structure is last year’s epic THE WIND RISES. Much time is also spent finding just the right actor to voice that film’s lead, Jiro. Also getting much of the film’s focus is the determined producer Toshio Suzuki as he oversees merchandising (just as in the US, much of the funding comes from toys and clothing) and marketing (posters and trailers) for upcoming releases. We hear much about another Ghibli founder, director Isao Takahata (he was Miyasaki’s mentor) whose next film THE TALE OF PRINCESS KAGUYA may be his screen swan song. But as the work progresses (inspiring some political controversy  in the local press over WIND’s subject matter), it becomes clear that indeed this new film will be Miyasaki’s goodbye.

Sanada’s film is a compelling study of a complicated artistic genius. The cameras follow him from the studio to his modest home (often walking, but sometimes taking public transportation, almost like sharing a subway seat with Walt Disney!) where Miyasaki offers heartfelt observations about his life and work (he really believes many of his films will have no legacy). Happily ,we get to see him invigorated and surprised by the results of his hard labor (at the studio everyday but Sunday, including holidays!). Intercut are many clips of glorious sequences from previous films and archival photos and sketches from decades past. The ending may seem a touch sentimental, but it never veers into the maudlin. As long as his health endures, it’s certainly possible that the master will slip on that apron, grab a pencil, and unleash the magic once more.