This film is the directorial debut of Goro Miyazaki, son of the famed Hayao Miyazaki of Studio Ghibli. Often children of a gifted parent mentored from an early age can develop their own immense talent. That doesn't always happen and here's a classic case of it not: Goro Miyazaki wasn't interested in following in his father's footsteps. He was first a construction worker and later curator for his father's museum. He only stepped into the directorial shoes at the urging of Ghibli Producer Suzuki who claims he sensed Goro's genius and thrust him into the role of director. Sadly, Suzuki got it very wrong.
Supposedly Hayao Miyazaki had nothing to do with the making of this movie, protesting to Suzuki that that his son wasn't ready and boycotting the project. This is contradicted by Ursula Le Guin who wrote the books on which this movie is loosely (very loosely) based. She said she met with Hayao Miyazaki who told her he was retiring and so his son would direct it albeit under his supervision. Le Guin said she is disappointed that Miyazaki Sr. broke his word, and that her novels suffered at the hands of a clearly inexperienced director.
"Tales of Earthsea" is OK; it's watchable, but not great. The pace is a bit slow and plodding for children. It lacks humor. For adults, the characterizations weak and plot thin.
Goro Miyazaki imitates his father's style, and indeed this whole movie feels like a remake of "Princess Mononoke". Some of the characters and situations are ripped right out of his father's movies, but this imitation is superficial at best.
For example, a common meme in Ghibli movies is an unarmed plucky hero standing up to a band of thugs. Goro uses that in this movie, but overlooks something his father knew: The hero must be backed in a corner or at least familiar enough to know the thugs won't kill him. Here, when unarmed Tenar stands up to armed horsemen she's never met before, it looks plain stupid. Then amazingly, the horsemen turn around and ride off, having only trampled a few seedings. Instead of grabbing her belongings and running for the hills or at least looking for a weapon or help, she merely replants the seedlings and then it's back to normal. Don't waste time worrying about these characters, because clearly nothing will happen to them.
The characterizations are lacking. Wizard Sparrowhawk is supposed to be good and wise, but flawless characters are boring and for someone supposedly wise he has exceptionally poor judgment. He takes Arren to a strange city filled by charlatans and slave traders. After naive Arren nearly falls victim to a drug pusher, Sparrowhawk declares "Well see you back at the hotel" and leaves him. Arren then takes a nap in a public place, only to be captured by slave traders. Didn't see that coming? When Sparrowhawk finds Arren, he leaves the other slaves behind. Later he tells Arren "I magically unbound their shackles (though you didn't see it and no one moved or said anything) so up to them now." Hardly the stuff of legend. I would have preferred a thundering "Tonight you are Free Men!"
We're supposed to be rooting for the young prince Arren, but we're never given a coherent explanation as to why he murders his father at the start of the film. In fact we're not given any explanation until halfway through. Root for the father killer? No, Thanks. There is more to the girl Theru thankfully, although she turns into a dragon and back at the end of the film without any explanation. The villain Cob is a one-dimensional cardboard cutout. We're also introduced to other characters like the Wizard Root who exist for a scene and are never seen again.
The movie is supposed to be about an unknown pestilence spreading across the land. We know this because Sparrowhawk tells us; Goro too often falls back on telling us in dialog instead of showing us on the screen. Here he contradicts what he tells us anyway: We're told magic doesn't work, but Sparrowhawk has no problems using it. We only see one farm in ruins, but Fenna's farm is lush and productive and people everywhere are well fed and healthy.
The plot is poorly strung together. Stumbling on Arren for the first time without so much as a question Sparrowhawk suggests "If you've got nothing else to do you might as well come with me" A lame pitch, but Arren goes with him anyway. The plot ambles along in this manner as if the actions of the characters don't matter. When Theru is supposedly tied to a farm fencepost with a message for Sparrowhawk, she finally frees herself and runs to meet him just as he arrives at the farm gate.
Despite its faults this movie did nevertheless do very well in Japan where Miyazaki Sr. is deservedly considered a living national treasure. But before Producer Suzuki gets carried away by his newfound success, he should consider that often when the public see a lackluster movie they remember it and stay away from the next one.
I can't blame Suzuki or Goro for trying, but their experiment is a failure. It's a fair bet there are more talented individuals under the Studio Ghibli roof who could have better directed this movie. By a combination of ill-conceived nepotism and attempt to cash in on the Miyazaki name, Suzuki may have set the rot that will eventually bring down Studio Ghibli. While Goro may, if given enough chances, eventually come to terms with the art of film making, equally he may not. Hardly good for the morale of his more gifted coworkers.
These days there are more powerful stories and better animation to be found on Japanese TV. If you want to watch this movie and really enjoy it, see "Princess Mononoke" instead.
Supposedly Hayao Miyazaki had nothing to do with the making of this movie, protesting to Suzuki that that his son wasn't ready and boycotting the project. This is contradicted by Ursula Le Guin who wrote the books on which this movie is loosely (very loosely) based. She said she met with Hayao Miyazaki who told her he was retiring and so his son would direct it albeit under his supervision. Le Guin said she is disappointed that Miyazaki Sr. broke his word, and that her novels suffered at the hands of a clearly inexperienced director.
"Tales of Earthsea" is OK; it's watchable, but not great. The pace is a bit slow and plodding for children. It lacks humor. For adults, the characterizations weak and plot thin.
Goro Miyazaki imitates his father's style, and indeed this whole movie feels like a remake of "Princess Mononoke". Some of the characters and situations are ripped right out of his father's movies, but this imitation is superficial at best.
For example, a common meme in Ghibli movies is an unarmed plucky hero standing up to a band of thugs. Goro uses that in this movie, but overlooks something his father knew: The hero must be backed in a corner or at least familiar enough to know the thugs won't kill him. Here, when unarmed Tenar stands up to armed horsemen she's never met before, it looks plain stupid. Then amazingly, the horsemen turn around and ride off, having only trampled a few seedings. Instead of grabbing her belongings and running for the hills or at least looking for a weapon or help, she merely replants the seedlings and then it's back to normal. Don't waste time worrying about these characters, because clearly nothing will happen to them.
The characterizations are lacking. Wizard Sparrowhawk is supposed to be good and wise, but flawless characters are boring and for someone supposedly wise he has exceptionally poor judgment. He takes Arren to a strange city filled by charlatans and slave traders. After naive Arren nearly falls victim to a drug pusher, Sparrowhawk declares "Well see you back at the hotel" and leaves him. Arren then takes a nap in a public place, only to be captured by slave traders. Didn't see that coming? When Sparrowhawk finds Arren, he leaves the other slaves behind. Later he tells Arren "I magically unbound their shackles (though you didn't see it and no one moved or said anything) so up to them now." Hardly the stuff of legend. I would have preferred a thundering "Tonight you are Free Men!"
We're supposed to be rooting for the young prince Arren, but we're never given a coherent explanation as to why he murders his father at the start of the film. In fact we're not given any explanation until halfway through. Root for the father killer? No, Thanks. There is more to the girl Theru thankfully, although she turns into a dragon and back at the end of the film without any explanation. The villain Cob is a one-dimensional cardboard cutout. We're also introduced to other characters like the Wizard Root who exist for a scene and are never seen again.
The movie is supposed to be about an unknown pestilence spreading across the land. We know this because Sparrowhawk tells us; Goro too often falls back on telling us in dialog instead of showing us on the screen. Here he contradicts what he tells us anyway: We're told magic doesn't work, but Sparrowhawk has no problems using it. We only see one farm in ruins, but Fenna's farm is lush and productive and people everywhere are well fed and healthy.
The plot is poorly strung together. Stumbling on Arren for the first time without so much as a question Sparrowhawk suggests "If you've got nothing else to do you might as well come with me" A lame pitch, but Arren goes with him anyway. The plot ambles along in this manner as if the actions of the characters don't matter. When Theru is supposedly tied to a farm fencepost with a message for Sparrowhawk, she finally frees herself and runs to meet him just as he arrives at the farm gate.
Despite its faults this movie did nevertheless do very well in Japan where Miyazaki Sr. is deservedly considered a living national treasure. But before Producer Suzuki gets carried away by his newfound success, he should consider that often when the public see a lackluster movie they remember it and stay away from the next one.
I can't blame Suzuki or Goro for trying, but their experiment is a failure. It's a fair bet there are more talented individuals under the Studio Ghibli roof who could have better directed this movie. By a combination of ill-conceived nepotism and attempt to cash in on the Miyazaki name, Suzuki may have set the rot that will eventually bring down Studio Ghibli. While Goro may, if given enough chances, eventually come to terms with the art of film making, equally he may not. Hardly good for the morale of his more gifted coworkers.
These days there are more powerful stories and better animation to be found on Japanese TV. If you want to watch this movie and really enjoy it, see "Princess Mononoke" instead.