Written by Madison Challis ; Edited by Morgan Forbes
Princess Mononoke is a 1997 Japanese animated film directed by renowned
filmmaker Hayao Miyazaki. The film tells the story of Ashitaka, a young warrior (the last Emishi prince) from a remote Emishi village, who becomes embroiled in a conflict between humans and nature. Set in a fantastical version of medieval Japan, Princess Mononoke presents a complex portrayal of the relationship between humans and nature, and the conflicts
that arise when they collide. Much like I pointed to in my WALL-E article, unfortunately Princess Mononoke is still relevant today 26 years after its release: ultimately, humans have not learnt any lessons when it comes to the destruction of the world around us.
A fable about the consequences of destroying nature and the human race’s inability to live in harmony, Princess Monoke follows Prince Ashitaka as he meets opposing characters such as San (Princess Mononoke), a human raised by a wolf goddess fighting to protect the forest spirit; and Lady Eboshi, leader of Irontown, a working fortress producing and selling iron.
At the heart of Princess Mononoke is the concept of ‘Shishigami’ – a mythical deer god who symbolises the power and mystery of nature. The Shishigami is revered by the forest spirits, who seek to protect the forest from the destructive forces of humanity. The humans in the film are depicted as ruthless industrialists, driven by greed and a desire for power. Led by Lady Okkoto, a boar god, the forest spirits launch a counter-attack against the humans, sparking a violent conflict that threatens to destroy both sides.
Throughout the film, Miyazaki presents a nuanced view of the relationship between humans and nature. He acknowledges the destructive impact that humans can have on the environment. The film depicts a world in which humans have cut down vast swathes of forest, polluted rivers and poisoned the earth with toxic waste. Lady Eboshi deforested her surroundings to produce more iron, putting Irontown at odds with Lady Okkoto and the rest of the natural gods. In this sense, Princess Mononoke can be seen as a powerful critique of the way that humans have exploited the natural world and society for their own ends.
Miyazaki also presents his characters as complex and nuanced. Eboshi may run a town that is ultimately destroying the environment, seemingly hating San and the forest spirits, yet she keeps a garden in her town. Her care for the garden implies that her intention is not to destroy nature, but rather to help her own people. She hires social outcasts: disabled men (lepers) and women rescued from brothels, so on the one hand, despite the negative environmental effects of her actions, Eboshi seems not an evil person, and has created a somewhat safe-haven. On the other hand, Eboshi's disregard of ancient laws and curses towards sex workers and lepers could be enlightenment reasoning for her exploitation of marginalised groups.
Miyazaki also acknowledges the ways in which humans are part of nature. Despite their destructive tendencies, the humans in the film are shown to have a deep connection to the land and the creatures that inhabit it. Ashitaka, the film’s protagonist, is a skilled hunter who lives off the land and respects the creatures that he kills. Lady Okkoto is initially portrayed as a fierce opponent of the humans, but she eventually comes to see the value of coexisting with them. In this sense, Princess Mononoke is a celebration of the interdependent relationship between humans and nature.
Throughout the film, Miyazaki employs creative visuals that emphasise the
interconnectedness of all living things. The forest spirits, for example, are depicted
as ghostly creatures that can transform into trees, rocks, and animals. The
Shishigami is shown to be a force of nature that can both give and take life. The film’s
stunning animation and evocative score help to create a vivid and immersive world in
which humans and nature are inextricably linked.
With all the heavy topics, you might be surprised that Princess Mononoke is categorised as a children’s movie. Miyazaki himself felt the content of the film might be hard for children to understand: at a Toronto film festival in 1999, he stated, ‘What did [the children] see, and what did they encounter in this film? I think you’ll have to wait for about 10 years for them to be able to grow up sufficiently to be able to articulate their emotions about it.’
Princess Mononoke is a powerful and thought-provoking film that explores the complex relationship between humans and nature. By presenting a nuanced portrayal of the conflicts that can arise when these two forces collide, Miyazaki encourages viewers to reflect on their own relationship with the natural world. Through its stunning visuals, immersive score, and compelling characters, Princess Mononoke reminds us of the importance of respecting and cherishing the natural world that surrounds us.
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