Le vent se lève!

This is said to be the Miyazaki-sensei's last movie. Naturally, I was highly anticipating this movie. My friend once wrote in her blog, "jangan berharap sebelum menonton," never expects something before watching [a movie]. But how could I not, after watching movies like Grave of the Fireflies, Princess Mononoke, Spirited Away, Laputa, and don't forget Tonari no Totoro. So yes, I was excited. And unfortunately, I had high expectations.

One of the movie posters from Kaze Tachinu

The story itself revolves around Jiro Horikoshi, an aeronautical engineer during the World War II era. I think in terms of ideas, this closes a full circle of Miyazaki-sensei's career. He started with the horror of WWII and ends with one. It's actually kinda poetic when you think about it. If he focused on the horror of WWII in The Grave of The Fireflies, he focused on a lighter note in Kaze Tachinu. He focused on a  young man's dream.

The movie started with young Jiro dreaming. Which is all cute and warm the first time around. However, as Jiro grew, he started having a lot of these dreams where people are talking to him and telling him to do things. Even when he is awake. For me, these episodes seemed like indication of some sort of psychosis; which, to tell you the truth, was a little disturbing.

Speaking of disturbing, I found several disturbing things in this movie. The second disturbing thing is about the relationship between Jiro and Naoko. Sure, when they were finally properly introduced the relationship was not so strange. It got weird when Jiro said that he has been in love with Naoko since the first time he met her. And by that time, Jiro was a college student, and Naoko is about 12-13 years old. And I'm pretty sure that makes hera minor. Oh well, at least Jiro did not act on his feelings back then. Otherwise that would just be creepy.

Another strange relationship in this movie is the bromance between Jiro and Honjo. I imagine there will soon be fanfics popping out around the internet about these two very capable young Mitsubishi engineers. ;-P

Despite the weirdness of it all,
I always love women in Kimono*

So, back to the relationship between Jiro and (adult) Naoko. One of the things I love about old Japanese movies is how the women's action reflect their high level of pride and self-respect. Unfortunately, I did not see his in the movie. As my friend pointed out, Miyazaki-sensei failed to capture the romance of that era. Although there are some cute (borderline foolish) scenes of Naoko and Jiro when they're up in that resort, Naoko does seemed to be portrayed as a little easy. She easily accepted Jiro's proposal, did not object when Jiro storm inside her room from the garden instead of front door, and ran away from the sanatorium just to be married to Jiro. I'm not a Japanese, but based on all the comics I've read, I've never seen girls in Showa period portrayed like that. Not even in the Memoirs of Geisha.

In conclusion, Miyazaki's work has always been a little quirky, but this one just felt a little bit off. That being said, the visual art in this movie is astonishing. I love how the movie captures the vibrant Japanese life during the WWII era. The colors, the clothes, the buildings, the expressions; visually, I love everything about this movie. Most probably, the visual aspect is the one thing that prevents me from feeling sleepy during the otherwise flat movie. I love the idea how dream can flourish even in darkest times, if only this movie manage to capture Jiro's spirit in pursuing that dream (and focus on that), I think this movie would have been brilliant. Either way, I'm still recommending people to watch this movie. Just, don't get your hopes that high up.

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*Picture of Naoko taken from the movie