Later, once Miyazaki had become more acclaimed, “My Neightor Totoro” went from being regarded as a cult item to the children’s classic it is today — a movie of discovery and wonder for young minds, which challenges the notion that cartoons rely on conflict and instead encourages quiet observation of everyday details, finding magic in the mundane.
Hayao Miyazaki’s masterpiece isn’t just the best feature that Studio Ghibli has made; I reckon it’s the best animated film of all time, introducing a character as beloved to Japanese audiences as Mickey Mouse is to Americans. The movie’s genius owes to its simplicity and the intuitive way Miyazaki manages to suggest that we humans share the world with benevolent spirits, who watch out for us in times of need — an idea adapted from Japanese culture into cuddly anthropomorphic form. Sisters Satsuki and Mei move to the countryside to be nearer to their invalid mother, who is recuperating in hospital, and while exploring the house and its woodland surroundings, they discover a trio of “Totoro,” or forest spirits, who come in three sizes: small (white), medium (blue) and extra-large (the ginormous gray beast with a big smile and boomerang-shaped chest markings). American audiences weren’t quite ready for Miyazaki’s vision when the mesmerizing film was first released, and surprisingly enough, it was “The Toxic Avenger” studio Troma that introduced the movie Stateside, buying rights to the English-dubbed airline version back in 1993. Later, once Miyazaki had become more acclaimed, “My Neightor Totoro” went from being regarded as a cult item to the children’s classic it is today — a movie of discovery and wonder for young minds, which challenges the notion that cartoons rely on conflict and instead encourages quiet observation of everyday details, finding magic in the mundane.