The Wind Rises Reviews
Slow and meandering, this film's central conflict is more technical than human, more a matter of engineering, an aspect into which the audience has no reference, than universal. While there are some sections in which we get fine interpersonal conflicts, the majority of the film involves Jiro conversing with his dream characters, and there's little to stand in the way of the love plot, thus little source for conflict.
Many critics have written about the film's beauty, and I can't see what they're referring to. Many times I thought that the film didn't take advantage of all the creative liberties that animation could allow.
Overall, when characters' central conflicts relate to their jobs, the audience must be able to participate in the suspense, and that's not the case with The Wind Rises.
"Hikoki-Gumo", the song that plays over the end credits, couldn't be any more perfect, sealing the melancholy of the prior 20 minutes right in.
Minor pacing issues keep it from being flawless.
In my book I have no problem giving this a perfect rating as a visual piece of art representing it subject in great metaphorical detail, but if I were to do so would be at the cost of hiding it weakness of any worthwhile characterization. It's to care for the passion Jiro has for his crafts to create planes regardless the world general views towards him. However, Jiro himself is not an engaging character getting a facet of a man. Never feeling what Jiro feels when he falls in love, heartbroken by a failed test flight, and enthusiasm when viewing the possibilities to improve his plane designs. His romance transition from friends to lover is abrupt when brought into the picture. The film intention is to explore a man's life who is defined by his for his crafts, even if it means undermining the bigger picture of the world he was involved in.
The art style mixes traditional hand drawn animation with impressionist-style backdrops that are gorgeously jaw-dropping. Many shots could be paused, framed, and hung up in an art museum, but the subtle animation only adds to their allure. Miyazaki has never cared much for "realistic" animation of human figures; they are abstracted into giant-eyed doll faces and stiff legs, as if trudging on stilts. The director expresses his true artistry in his landscapes: rural vistas rendered in the most delicate pastels, like the watercolors Naoko paints as Jiro courts her. In a hard land heading to war, Miyazaki makes sure the views are ravishing. The visual style sets a pleasant and whimsical tone that creates the impression that the film is a representation of the fantasy within the head of a dreamer.
The English dub voice acting is pleasant and natural, with Joseph Gordon-Leavitt as a hushed, contemplative lead who we see squirming in his tight spot and Emily Blunt doing admirably as love interest Naoko. Supporting cast includes John Krasinski pleasantly snarky designer Kiro Honjo, Martin Short is fantastic as Jiro's tough-but-fair supervisor Kurokawa, and Stanley Tucci is excellent as Caproni. The most interesting stunt casting job in the English dub is famous German director Werner Herzog as dissident German engineer Castorp; given the themes of Herzog's own films (uniquely talented people seeking impossible dreams) this feels brilliantly salient. In the original Japanese audio, the standout here is the very surprising male lead - Jiro is played by none other than director Hideaki Anno. Yes, the Hideaki Anno creator of "Neon Genesis Evangelion". Talk about perfect casting when it comes to misunderstood artistic expressions. Anno's nuanced, understated performance really works well for the role. Casting is otherwise, uniformly excellent; the only remotely questionable casting choice here would be the still-serviceable Stephen Alpert as Castorp, with a noticeable American rather than German accent.
The Wind Rises doesn't give much attention the background events rather is exclusively focus on a man's passion for his crafts and how the usage of art reflect different views. Gone is Miyazaki child like wonder replaced by a harsh reality no matter how appreciative or hated a piece of art is will never be able to see it in the same way as it creator. Many of Miyazaki fans will question why he would end a career filled with rich fantasy world end with a final most resembling reality, but in doing so would distract from how Miyazaki represented himself through The Wind Rises.
Historical Accuracy: Reality vs. Artistic Expression
It wasn't easy nor necessary, but hey historical research is fun for me (sometimes). Much of the film material is derived from the autobiography "The Story of the Zero Fighter" which is 80% plane design ideas, measurements and stories surrounding Jiro's career. There's so much focus on the construction of the planes there's a measly 20% left for autobiographical material. This is an obvious indicator of his unrivaled passion for the flying machines, something which is brought to the screen perfectly. The majority of the information about the challenges Jiro met while designing his planes; the adventures he pursued as part of his work (traveling the world, mentoring students) and the thrill of watching test flights seem like they're taken straight from the book. Viewers may have only witnessed his travels to Germany, but he also visited England, France and America in the first five years of his career at Mitsubishi.
One crucial element Miyazaki left out when translating these ideas to film was the self-doubt Jiro experienced while he integrated himself into the company. Horikoshi distinctly recalls wondering why his employers would want an inexperienced guy in charge of creating their planes. The first ten minutes are fairly accurate to Jiro life, but rather unlikely he would stand up to a bully and get into a fist fight. Another early departure in accuracy is the 1923 Japanese Earthquake which Jiro never experience or even mentioned in his memoir. Instead of being inspired by Caproni the real life Jiro decided to pursue planes in University after talking to a friend of his brother, whom was a professor at the newly created Department of Aeronautics in Tokyo. Like most teens he had no idea what he wanted to do, and that was the tipping point. Sadly, there is no mention of Jiro's brother besides this.
To sum it up, Hayao Miyazaki took liberty to heart when it came to telling Jiro Horikoshi life story. Unless you do your research (or read his autobiography) you won't really learn much about the actual Jiro Horikoshi from this film, but you get an accurate portrayal of this man undying passions for his crafts. So did this affect my rating of the film? You're joking right? If the worst thing I could say about a film is that it fabricate a piece of reality than what's the point of me experiencing the medium if it's integral to it creations.
That said, this is one of the rare movies that stirs the audience into reflection. And for that, Hayao shows that he still excels at what he does best: creating a sense of wonderment, no matter what the situation around is. Two of his works that I remember most fondly, Future Boy Conan & Arietty the Borrower, reflect this, as does this movie, with a title lifted from a french poem but intentionally bereft of its ending cadence (yet it is spattered often enough throughout the film): "Il faut tenter de vivre!" and so we must.