Big Worlds On Small Screens Features Miyazaki — & Rebecca Fisher Discusses “Kiki’s Delivery Service”
~ by Rebecca Fisher
Note to Readers: From now on, Big Worlds On Small Screens will be posting every second Thursday, not Wednesday as has been the case. So the next post will be on Thursday, 19 June.
.
Introduction:
If Kiki’s Delivery Service was a film made by Western studios, I have no doubt that its eponymous character would fight evil, that she would have a love interest, and that it would be framed as a coming-of-age story. And let’s be honest, the main character would probably be a boy.
For a film about a young witch, Kiki’s Delivery Service is like nothing you would expect from such a supernatural premise. In terms of plot, it basically revolves around Kiki using her powers of magic to work as a delivery girl. That’s it.
But to dismiss this premise as dull or pointless is to miss the charm of the film. I’ll admit, when I first sat down to watch it I was rather bewildered by its gentle pace and lack of clear conflict. Most of the tension derives from Kiki trying to find work in a new city rather than any magic-related shenanigans, and most of the tension revolves around the difficulties she experiences in finding her inner sense of self. Needless to say, it’s a very gentle film in terms of its pacing and content.
Premise:
When a witch turns thirteen she has to leave home for a year, going to a new city to train and share her gift with others. Such is the case for Kiki. Leaving her parents and her neighbourhood behind, she flies on her broomstick to a beautiful city by the sea with only her cat Jiji for company.
Kiki tells her mother that today’s the day for her to leave
Finding a home for herself in a bakery owned by the very pregnant Osono and her strong-but-silent husband, Kiki tumbles to the idea of hiring herself out as a delivery girl. It’s a perfect occupation considering her broomstick-flying skills allow her to flit around the city much quicker than most.
Story:
It’s rather difficult to describe the story behind Kiki’s Delivery Service, as it plays out more like an episodic string of vignettes than anything resembling the usual three-act structure of most films. There are no villains to defeat or monsters to overcome, only a slender thread of Kiki trying to gather together her self-confidence as she navigates her new surroundings and reaches a fuller understanding of her place in the world.
Like a lot of precocious children, Kiki gets on just fine with the adults in her life, but immediately grows shy and awkward when it comes to the attentions of the young flying enthusiast Tombo. Later, when dispiritedness threatens to destroy her business when she finds she can no longer fly, it takes an excursion out into the wilderness to re-inspire her.
Kiki enjoys the gift of flying
There are other incidents strewn throughout, like a delivery that goes terribly wrong when Kiki loses the package in question, and the climactic finish, where Tombo’s life is put in danger and only Kiki possesses the ability to save him.
As always, Miyazaki captures the joy and danger of flying when it comes to Kiki’s adventures, especially with his skill at portraying the perspective of a young girl trying to control a broomstick in mid-air. Gusts of winds, flocks of birds, bumpy landings and graceful take-offs – it can be difficult to really capture the rapture and complexities of airborne heights, but Miyazaki makes it look simple, and all the more exhilarating for it.
Characters:
As its main character, Kiki is everything you’d expect from a Hayao Miyazaki heroine: intelligent and polite, good-natured and hard-working. She’s also shyer than most, and what little plot there is revolves around Kiki gaining maturity as she gains a handle on her confidence.
Ursula helps Kiki find her inspiration
Kiki is surrounded by an incredibly vivid supporting cast, particularly its women, from the motherly Osono who gives Kiki a place to stay, to the free-spirited Ursula who helps her rekindle her inspiration. But Phil Hartman (best known as Troy MacClure in The Simpsons) nearly steals the show as Jiji the cat, adlibbing many of his lines and making Kiki’s feline companion a sardonic foil to her wide-eyed innocence.
Even Osono’s largely-silent husband manages to come across as a three-dimensional character with only a few little gestures (such as making a special sign to advertise Kiki’s delivery service).
Conclusion:
Kiki’s Delivery Service is one of Miyazaki’s gentlest films in terms of plot, and perhaps because of this, one of his most popular. It’s surprisingly relaxing to just watch – after a long day I could feel myself unwinding with a film in which the stakes were no more pressing than a girl delivering packages on time and trying to find her inner self.
Kiki finally warms up to Tombo
Next Time: Princess Mononoke
We take a turn for the darker and edgier to check out Princess Mononoke, an epic described as the Star Wars of animated features, which holds a place of importance as the first of Hayao Miyazaki’s films to become a hit outside of Japan. This is the Studio Ghibli film that got the world’s attention, and probably the reason that this column exists. Yup, Princess Mononoke was one of my first tastes of Miyazaki’s artistry.
.
About The Reviewer:
To read Rebecca’s detailed introduction of both herself and the series, as well as preceding reviews, click on: