Regie:
Hayao MiyazakiDrehbuch:
Hayao MiyazakiKamera:
Atsushi OkuiMusik:
Joe HisaishiBesetzung:
Rumi Hiragi, Takashi Naitō, Ryūnosuke Kamiki, Bunta Sugawara, Junko Nakajima, Shigeyuki Totsugi, Takehiko Ono, Yasuko Sawaguchi, Miyu Irino, Shirō Saitō (mehr)Streaming (3)
Inhalte(1)
Die zehn Jahre alte Chihiro ist gar nicht begeistert, mit ihren Eltern von Tokio in einen kleinen Vorort umzuziehen und dabei alle Freunde hinter sich zu lassen. Auf dem Weg zu ihrem neuen Zuhause verirrt sich die Familie und stößt dabei auf einen geheimnisvollen Tunnel. Von Neugierde gepackt, wagen sich die drei durch den dunklen Gang. Sie wissen nicht, dass sich auf der anderen Seite des Tunnels die Zauberwelt Aburaya befindet - eine Welt, die noch nie zuvor ein Mensch gesehen hat. Sie kommen in eine verlassene Stadt und finden ein leeres Restaurant, wo Chihiros Eltern sich gierig auf das Essen stürzen - und in Schweine verwandelt werden.
Chihiro hat schreckliche Angst. Plötzlich erscheint ein geheimnisvoller Junge namens Haku, der ihr erklärt, dass es nur eine Möglichkeit gibt, ihre verzauberten Eltern zu retten. Sie muss in den Dienst der bösen Hexe Yubaba treten, die nicht nur die Zauberwelt von Aburaya beherrscht, sondern auch die Herrin über ein riesiges Badehaus ist, in dem sich erschöpfte Götter und Geister erholen und reinigen. Chihiro stellt sich dieser Herausforderung und macht sich auf eine Reise, auf der sie ungeahnten Mut, eine bisher nicht gekannte Willenskraft und Ausdauer beweisen muss.
(Universum Film)
Kritiken (8)
Hayao Miyazaki is simply an animation genius, in the sense that he can present a great story and excellent animation, and he imbues it all with a huge dose of imagination and heart. Spirited Away was my first encounter with this creator several years ago, and it still remains a beloved film to me. What unfolds before the viewer's eyes and what appears here is simply a celebration of human imagination in the best sense of the word. The Japanese can portray the beauty of nostalgia like few others.
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Eine Fantasie. Ein Märchen. Ein Traum. Ein wunderschöner Film, in dem es nicht um die Geschichte, sondern um die Atmosphäre geht. Es ist ein zweistündiger Geysir einer bewundernswerten Vorstellungskraft, die man genießt… Also falls Sie nicht schlafen wollen. Wenn Sie aber müde sind, kann Sie dieser Film in den Schlaf wiegen.
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Ich habe Chihiros Reise ins Zauberland zum ersten Mal 2008 im zweiten Tschechischen Fernsehen gesehen, und obwohl ich nur einen Teil des Films gesehen habe, war ich so fasziniert, dass ich mir den ganzen Film angesehen habe, und ich war sehr zufrieden. Dieser Film war meine erste große Begegnung mit Miyazaki, der im Laufe der Zeit zu einem meiner Lieblingsregisseure geworden ist. Der Film beeindruckt auf den ersten Blick mit atemberaubenden Animationen, einer starken Geschichte und einer wunderschönen Musik. Dank Miyazakis Vorstellungskraft begibt sich der Zuschauer auf eine unvergessliche Reise in eine Welt der Hexen, Götter, Geister und anderer unterschiedlicher Charaktere, die amüsieren, erschrecken, aber auch erziehen. Für mich persönlich ist dies ein absolutes Highlight im Bereich der Animation, auf das ich immer wieder gerne zurückkomme, denn es ist ein reiches Spektakel, das definitiv beide Daumen hoch verdient hat.
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Meine erste Begegnung mit dem gefeierten Miyazaki und im Grunde genommen ein sehr guter Eindruck. Ich bin mir nicht sicher, ob es eher für Erwachsene oder für alle Altersgruppen gedacht ist. Ich bin gespannt auf weitere, zum Glück hat Netflix einige Werke von Miyazaki zur Verfügung.
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It was Spirited Away that became my first dive into the world of anime and even then I was fascinated by how much Hayao Miyazaki manages to put into a single film. In the introduction, I caught myself multiple times being amazed by what was unfolding in the story, what kind of character, what kind of environment, and I shook my head in disbelief that so many ideas were squeezed into such a small space, while there were still so many in reserve. The characters have a natural depth and classic fairytale themes with good deeds and curses are uniquely presented. And the peaceful and deeply moving message is the icing on the cake.
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Spirited Away is not only an astonishingly enchanting spectacle, but it is also one of the most meaningful illustrations of why Hayao Miyazaki should not be referred to as the “Japanese Disney”. Even though this appellation is used in a commendable effort to introduce this exceptional artist to potential viewers who have never heard of him (and such viewers still exist), it also cruelly robs the films of Miyazaki and Studio Ghibli of their distinctiveness. What the works of this completely solitary director have in common with the films turned out by the Disney factory is, at most, the superficial fact that they are commercially successful and animated. And such is the case with the frequent description of Spirited Away as the “Japanese/anime Alice in Wonderland”. After all, it suffices to compare Miyazaki’s film with the Disney adaptation of Alice from 1951, which is a typical product of precision studio production – an optimised product that is not the work of a single creator, but of a team, where the position of director was occupied by several animators specialising in different aspects of animation, while the same approach is applied to the script, which passed through the hands of thirteen different specialised screenwriters, who modified the source work into an attractive form. This model is identical for all classic animated films from the Disney studio; even in the era of the studio’s renaissance, direction was (with rare exceptions) divided among at least two animators. Conversely, Studio Ghibli essentially focuses on works by individual filmmakers, with Miyazaki and Takahata each involved separately in their respective films as directors and screenwriters. Miyazaki has lent his creative auspices to the projects of other, younger directors as the author of their screenplays. Whereas in the absolute majority of cases the Disney studio adapted books or based its films on classic myths and legends, Miyazaki’s pictures mostly come from the master’s own imagination. Even in the exceptional case where the story is based on a particular work (Kiki’s Delivery Service, Howl’s Moving Castle), the resulting film goes its own way and is rather only inspired by the source work. Miyazaki has never concealed his inspirations and his work is fascinating in how, among other things, he is able to combine elements from Japanese and European literature, culture and history into unique visions that gain the weight of universality through the similarities of their motifs with classic works. In the case of Spirited Away and Carroll's Alice in Wonderland, both works are about a girl who enters a fantasy world and looks for a way out, but in all other respects they are fundamentally different, to the point of being contradictory. Alice offers intensified sensations that serve to attract children’s attention, while the story is conceived as wordplay based on nonsense and absurd logic. In the book, Carroll reflected on and ridiculed a number of systems, norms and rituals of the upper crust and (apparently) based individual characters on actual archetypes. In line with that, the narrative itself establishes the heroine’s adventure as a dream in which things that are known to her from the real world take on a fantastic form. During her stay in the dream world, she does not undergo a more fundamental change or development and adulthood remains only a promise; on the contrary, her emerging personality and growing self-confidence are celebrated. Though Miyazaki lays out a fascinating world before the viewers’ eyes, he focuses solely on the female protagonist Chihiro, for whom that world becomes a catalyst of sorrow from the parallel real world and, primarily, her initiation into adolescence. Adulthood is not conceived here as a set of social norms or self-confidence in behaviour, but rather as the state of being free of stubbornness and self-centeredness and thus gaining empathy and an awareness of one’s own identity and roots. The individual supporting characters represent various forms of these qualities and go through the same developmental arc together with Chichiro (No-Face and Yubaba's child). Specific plot motifs (taking on names such as enchantment, memories) thematicise identity and the building blocks thereof. Chihiro thus grows out of being an obstinate and internally confused girl who finds it difficult to cope with moving to a new home when, thanks to her experience in the spirit world, she turns her fear and helplessness into enchantment and empathetic interest, while also recognising the value of her name and the weight of her own past and memories. In terms of style, Spirited Away is Miyazaki’s longest and least genre-specific film. The film’s conflicts and twists do not take the form of adventurous clashes as in Nausicaä, Laputa or Mononoke. Instead, they take place against the background of the heroine’s story, as she increasingly gains composure and calm – therefore, an unforgettable highlight of the film is the captivating slow train ride through a landscape transformed into an ocean.
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Yay! It's got so much charm you can hardly believe it. One of the few films that really deserves its title! The beautiful animation, enchanting music, and he ease with which the fantasy is transmitted to the viewer is unreal!
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Beauty! An amazingly captivating, imaginative and rich in thought spectacle that only one person can produce. Hayao Miyazaki is a genius and he managed to create a film with such an incredibly magical and compelling atmosphere and at the same time such an original and funny story that I was really soft while watching it. I was blown away by everything: the opening reveal of the mysterious world, the bathhouse for the gods, and the tremendous variety of the creatures, the settings, and Miyazaki's narrative itself, which is far more spectacular than all of Emmerich's sci-fi blockbusters put together. If you have any prejudice against Japanese cinema, you are making a big mistake. 100%
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