Yeah I mean it definitely has shades of Alice in Wonderland, Wizard of Oz, Pan's Labyrinth, and Miyazaki's own Spirited Away. They're all kind of their own subgenre I think. But I agree, I definitely did think of Pan's Labyrinth a lot specifically. Ultimately I think the characters and the themes Del Toro and Miyazaki are exploring are completely different, but there are definitely a lot of parallels in the world and narrative.
demision said: interesting. there is also WW2 going on in both stories, with the father figure being employed and has a career to do with benefiting from the war.
It was the Spanish civil war in Pan's Labyrinth but yeah
@somecoal Pan's Labyrinth is one of my favorites, so I'm glad to see it mentioned. That movie is always in the back of my mind whenever I watch "weird" fantasy. Thanks for actually writing out and sharing a detailed comparison.
I would like to add that the most interesting thing about putting these two side-by-side is what (I think) they're saying about the fantasy world.
(Pan's Labyrinth spoilers below:)
Mahito and Ofelia both have no love for the real world that brought them suffering, and are tempted by someone to stay in the fantasy world. Even so, Mahito is trying to go back to the real world, and in the end he chooses to do so, while Ofelia is trying to stay in the fantasy world, and in the end she ends up succeeding.
Ofelia embraces her "true" identity and her quest, and the movie follows her journey to "return" to the fantasy world. Although she rejects the fantasy world in her final trial for the sake of her family, this was in fact the correct choice for her to enter the fantasy world, resulting in (from her perspective) a happy ending.
Del Toro seems to always have an affection for the fantastical, often more than he does for the real world. Even in his other movies, like Shape of Water, Pinocchio, and even Hellboy, the fantasy world is just as valid and "real" as the real world, which is often even more monstrous and incomprehensible. By extension, he seems to be saying that there is no shame in enjoying and dwelling on fantasy, and in fact should be encouraged.
Mahito enters the fantasy world for the sake of his family, but he never really believes this world is as meaningful and important as the real world. The fantasy world is revealed to be an artificial one and a failure, and he even states that he's not "worthy" enough to shape and rule over it.
To me, it felt like Miyazaki was stressing the importance of tackling the real world head-on, instead of escaping into one's fantasy or imagination, no matter how alluring. I found it interesting that he would say that, since a huge draw to his movies is the fantastical settings and stories. Could he possibly have felt the need to "correct" how people view his movies? Is this feeling related to his "anime was a mistake" quote, where he felt that the industry that he helped grow was not engaging with the "real world"?
Even though both filmmakers tell fantastical stories that are still deeply human, it looks like they have very different feelings about what they've been doing until now, or at least what people think they've been doing.
I wonder if age plays a role in this, so that Del Toro will come to feel differently in the future? Or maybe he is aware but just hasn't made a movie in that tone? Or maybe he already has?
If Miyazaki makes another movie after this, what would he say about this particular issue (if he has it on his mind at all)?
@somecoal Pan's Labyrinth is one of my favorites, so I'm glad to see it mentioned. That movie is always in the back of my mind whenever I watch "weird" fantasy. Thanks for actually writing out and sharing a detailed comparison.
I would like to add that the most interesting thing about putting these two side-by-side is what (I think) they're saying about the fantasy world.
(Pan's Labyrinth spoilers below:)
Mahito and Ofelia both have no love for the real world that brought them suffering, and are tempted by someone to stay in the fantasy world. Even so, Mahito is trying to go back to the real world, and in the end he chooses to do so, while Ofelia is trying to stay in the fantasy world, and in the end she ends up succeeding.
Ofelia embraces her "true" identity and her quest, and the movie follows her journey to "return" to the fantasy world. Although she rejects the fantasy world in her final trial for the sake of her family, this was in fact the correct choice for her to enter the fantasy world, resulting in (from her perspective) a happy ending.
Del Toro seems to always have an affection for the fantastical, often more than he does for the real world. Even in his other movies, like Shape of Water, Pinocchio, and even Hellboy, the fantasy world is just as valid and "real" as the real world, which is often even more monstrous and incomprehensible. By extension, he seems to be saying that there is no shame in enjoying and dwelling on fantasy, and in fact should be encouraged.
Mahito enters the fantasy world for the sake of his family, but he never really believes this world is as meaningful and important as the real world. The fantasy world is revealed to be an artificial one and a failure, and he even states that he's not "worthy" enough to shape and rule over it.
To me, it felt like Miyazaki was stressing the importance of tackling the real world head-on, instead of escaping into one's fantasy or imagination, no matter how alluring. I found it interesting that he would say that, since a huge draw to his movies is the fantastical settings and stories. Could he possibly have felt the need to "correct" how people view his movies? Is this feeling related to his "anime was a mistake" quote, where he felt that the industry that he helped grow was not engaging with the "real world"?
Even though both filmmakers tell fantastical stories that are still deeply human, it looks like they have very different feelings about what they've been doing until now, or at least what people think they've been doing.
I wonder if age plays a role in this, so that Del Toro will come to feel differently in the future? Or maybe he is aware but just hasn't made a movie in that tone? Or maybe he already has?
If Miyazaki makes another movie after this, what would he say about this particular issue (if he has it on his mind at all)?
@perseii Cant provide the source so I cant claim its 100% accurate but im sure I read somewhere that miyazaki said this isnt his last movie. IGN wrote an article about it here, but at the same time you have to take some of the stuff for granted since brainstorming ideas doesnt instantly guarantee he'll make another movie