Product Details

• Amazon Sales Rank: #11404 in DVD
• Released on: 2006-03-13
• Rating: Universal, suitable for all
• Aspect ratio: 1.78:1
• Formats: Anamorphic, Animated, Box set, Dubbed, PAL
• Original language: English
• Subtitled in: English
• Dubbed in: English
• Number of discs: 2
• Running time: 120 minutes

Amazon.co.uk Review
Like a dream, Howl's Moving Castle carries audiences to vistas beyond their imaginations where they experience excitement, adventure, terror, humor, and romance. With domestic box office receipts of over $210 million, Howl passed Miyazaki's Princess Mononoke to become the #3 film in Japanese history, behind his Spirited Away and James Cameron's Titanic.

Based on a juvenile novel by Diana Wynne Jones, Howl's Moving Castle marks the first time Miyazaki has adapted another writer's work since Kiki's Delivery Service (1989). Sophie, a 19-year-old girl who believes she is plain, has resigned herself to a drab life in her family's hat shop--until the Witch of the Waste transforms her into a 90-year-old woman. In her aged guise, Sophie searches for a way to break the Witch's spell and finds unexpected adventures. Like Chihiro, the heroine of Spirited Away, Sophie discovers her hidden potential in a magical environment--the castle of the title.

Using CG, Miyazaki creates a ramshackle structure that looks like it might disintegrate at any moment. Sophie's honesty and determination win her some valuable new friends: Markl, Howl's young apprentice; a jaunty scarecrow; Calcifer, a temperamental fire demon; and Heen, a hilarious, wheezing dog. She wins the heart of the dashing, irresponsible wizard Howl, and brings an end an unnecessary and destructive war. The film overflows with eclipsing visuals that range from frightening aerial battles to serene landscapes, and few recent features--animated or live action--offer as much magic as Howl's Moving Castle.--Charles Solomon

Synopsis
Acclaimed Japanese director Hayao Miyazaki adapts British writer Diana Wynne Jones's popular fantasy tale for this animated feature, adding his own unique and celebrated dreamlike spin. The dreaded Witch of the Waste turns Sophie, a young hat-maker, into an old woman when she attracts the notice of Howl, a young wizard whom the witch desires for herself. As the old woman, Sophie finds refuge as a cleaning lady in Howl's magical castle, an impressively realised mishmash of anthropomorphic shafts and gears, where she meets, among other wonders, a cantankerous fire demon named Calcifer. Howl's courage inspires her to seek a cure for her curse, and vice versa, and the two work together to prevent a major war as the castle roams the countryside on its mechanical legs. There's lots of magic afoot as well, including travel through barriers of space and time, and shape-shifting, requiring full viewer attention to keep track of who, where, and when, but this how dreams really are and the film engages on that same subconscious level. As with Miyazaki's previous work ('Spirited Away', 'Kiki's Delivery Service'), the emphasis here is on creating a beautiful alternate reality, where anything can happen and every frame is a breathtaking work of art.

DAILY TELEGRAPH
"The most enchanting film of the year"

Customer Reviews

What a "Howl"
Not a lot of directors would be brave enough to take on a love story between a girl-turned-old-lady and a wizard missing a vital organ.

But Oscar-winning director/writer Hayao Miyazaki tackles a new fantasy realm in in "Howl's Moving Castle." In this case, it's the world of fantasy dowager Diana Wynne Jones, and he wraps the storyline in humor, romance and genuine flair. No, it's not faithful. But it is fantastic.

Sophie (Emily Mortimer) is a plain, unhappy young woman working in a milliner's shop. But then the evil Witch of the Waste (Lauren Bacall) comes into the shop, and turns her into a hobbled old lady (Jean Simmons). Sophie ends up wandering into the Moving Castle, a chicken-legged chaos machine, and encountering the sexy, immature wizard Howl (Christian Bale), smart-aleck fire demon Calcifur (Billy Crystal), and preteen apprentice Markl (Josh Hutcherson).

Sophie appoints herself the cleaning lady and starts whipping the castle into shape, trying to deal with Howl's temper tantrums and the rapidly deepening war. And, of course, trying to de-curse herself. But when she runs an errand that Howl is too scared to deal with, she finds that her new boss has some sinister problems of his own -- including a missing heart.

Don't expect much fidelity to the humorous fantasy novel. Miyazaki takes plenty of liberties with the story, leaving out characters and adjusting others. As a result, it feels more like his story than Jones', with the earmarks of his style -- blobby monsters, colorful rural settings, intense anti-war messages, strange machines, and a Jules-Verne atmosphere of Victorian technology. But "Howl's Moving Castle" is very different from the others Miyazaki has done, since he kept the British flavour of the original book.

Moreover, it's a love story. Miyazaki has vaguely touched on romance in prior movies, but here it's full-blown, and surprisingly un-cheesy. In less skilled hands, having Howl say "I finally found something worth protecting. It's you" would seem inane. In Miyazaki's hands, it's not. And even though Sophie looks elderly through most of the movie, Miyazaki never falls into trite observations about inner beauty. He just lets the story show it.

Not that it's all lovey-doviness -- Sophie's housecleaning and Calcifur ("Sophie, help! I'm going out!") provide plenty of amusement. And the animation is as close to flawless as you can get, from the chaotic absurdity Castle to the breathtaking aerial battles that Howl swoops in on. Tiny details are everywhere, from painted ceiling beams to elaborate doorknobs. Calcifur is the one sore point -- he's not done badly, but he looks vaguely artificial.

There are a few flaws in that the story could have used a bit more fleshing out -- at times the relationships between the characters are sketchy. Not much detail, for example, is given about sorceress Suliman (Blythe Danner) and her relationship to Howl, why she's so peeved at him. And it's a bit hard to comprehend why Howl's condition would turn him into a monster bird.

And while there are the usual "howls" that the English dubbing is inferior to the original Japanese vocal work, the American voice actors did exceptional work. Christian Bale and Billy Crystal are the major standouts -- Crystal is funny and dry as usual, while Bale is sultry, sexy, soft-spoken and deep. Except, of course, when Howl runs around the house wailing that his hair is ruined.

"Howl's Moving Castle" moves on a little too fast in places, but it's still a breathtaking, romantic, colorful ride. A wonderful story, told by one of the few filmmakers who could do it justice.

'Beautiful' almost seems too simple a word
What an amazing film! I'm trying to find adjectives that are not going to make me sound gushy--so I won't even try, because I'll lose that game. It is probable that this piece of anime is going to change my whole way of looking at the genre and a lot of other things as well. And, for the Jack Vance aficionados reading this, if I had to make a movie about one of Jack's more colorful books--though it would be more 'adult' than HMC--like The Houses of Iszm, or something from The Dying Earth like the T'sain/T'sais stories, or even Chateau d'If--I now realize that this medium is potentially much more appropriate than something involving human actors. I advise Vanceacs to spend some time with HMC, because it's...just so...

Just about every scene and element in HMC is...well, 'beautiful'. In just about every other hand that could become overwhelming, but a lot of the beauty is subtle enough, so it doesn't hit you in the face or tire you out. HMC has benefited from a unique mix of European and Japanese, in all aspects, ranging from the story to the visuals. Dianna Wynne-Jones's original novel has been modified--as it had to be--and added-to with story elements close to the Japanese soul, like militarism and the dissonances between nature and civilized man; thus creating something that should ring familiar with audiences from both worlds. It could just have been a somewhat dissonant mix of these disparate cultural elements; but in this instance even the dissonances only serve to enhance the dreamy fairy-tale mood pervading the film.

The visuals are unusual for an anime flick and add to the 'European' flavor. The world depicted is an odd melange between motifs familiar from early 20th century Europe--think some halcyon romantic vision of Germany or Austria--with trains blowing billowing plumes of smoke and steam-technology driven conveyances in the city; and impossible aerial vessels, both tiny and huge, hovering above. A colorful idyll of everyday life--something that could have been taken from an Austrian operetta--is contrasted with the fiery destructions wrought by indiscriminately waged war that spares no one. No dead bodies are shown, but they can easily be imagined underneath the rubble.

The visuals also deviate from the usual common in the world of anime, in that the images are in constant motion. Nothing like the stereoptypical, low-cost, technique that mixes static elements, such as characters, their faces frozen in the rictus of a single expression or two, set against a moving background that's basically a short repeating sequence of frames--or vice versa, of course. Faces move as wholes, not just in parts--as, of course, does the Castle itself: possibly the most amazing, dementedly organic, technological structure I've ever seen.

I love Japanese animation, but it has some stylistic quirks that grate on me occasionally. HMC avoided most of those and replaced them with something much more poetic. Add to that the voices of Christian Bale (Howl) and Billy Crystal (Calcifer, the Fire Demon), JeanSimmons and Emily Mortimer (Sophie, old and young) and Lauren Bacall (Witch of the Waste) and it even worked in dubbed translation--though the Japanese original with subtext sometime differs considerably from the dubs; which had to be fitted to make mouth movements and words match up as much as possible: a feat accomplished with amazing skill.

The story of HMC, even with the added dimension and complications of Miyazaki's screenplay/adaptation, is still very simple and to the point. It's all about love and redemption and becoming a full human being and finding purpose. Miyazaki added a note about the tragedy befalling those forced to get involved directly in the details of battle, and the impact this has on their spirits--surely a very pertinent topic at any time, and maybe even more so now.

What was maybe the most amazing thing was a total lack of cynicism about the main character's motives and aspirations. Even the Witch of the Waste--love the play on words here!--turns out just a sad disappointed creature, for whom things have just gone awry. The only real eviloder in the piece is the King, an air-headed war-monger without the slightest trace of conscience or sense of perspective, who deals with war and killing like it was a video game. But he appears for less than a minute, as if to emphasize his ultimate insignificance for history and everything. Can there be any more implied contempt than by this limitation of 'screen time' as it were?

The whole thing is held together by the whimsical and occasionally erratic and hard-to-fathom vision and mental processes of Hayao Miyazaki; and it may be this whimsy and the connections he made in his head between this and that and the other--and which somehow made it onto the screen, occasionally explicit, but often hidden in tiny details of story and/or visual design--that make HMC into the extraordinary work of art and beauty it is, and which takes it from 'great' to 'masterpiece', a term I use very seldom. There is stuff in here we'll probably never understand; and I quite like that. Only the simple-minded or the dull need everything spelled out and things neatly arranged in sensical patterns. Life isn't 'sensical'; we would just like to pretend it is.

Rent it. Buy it. Just don't miss out on it.

Till Noever, owlglass com

One of Miyazaki's finest!
If you dont know who Hayao Miyazaki is, you're in with a treat with this movie though you need to go get some of his other work 'My neighbour Totoro' and 'Spirited Away' (won an oscar) at the very least as soon as possible! These are Japanese animated movies and as such are a little more sophisticated than the typical US fare which is aimed at young children. The animation and art in this movie really is spectacular, sharp with vibrant colours. The background music is quite pleasing to and the drama of how its been storyboarded, well you just have to see it. I'd recommend you watch the subtitled version as the Japanese voice actors in my humble opinion do a better job than their american counterparts - having said that the US team did a good job with such luminaries as Billy Crystal playing the fire demon Calcifer (see now if they made it in the states what would the fundamentalists say about a cute demon as a hero?) This really is a must get and even ranked among Miyazaki's other films, it stands out as one of the masterpieces. Enjoy.