On 'This is FM Music City, Sung Si-kyung.,' in the Saturday segment, Kim Hye-ri's film talk, while talking about Studio Ghibli, she told a story like this.
She said that the 'girls' who appear in the films made by 'Studio Ghibli' have a spirit, courage, passion, purity, and sexuality that belong only to girls. And that no grown woman appears, and a 'wise old woman' always shows up. And that what 'Studio Ghibli's' works are showing is that not simply 'femininity' but 'girlhood' is the power that can save the world.
Chihiro's first trait of girlhood was 'fearfulness.' At the entrance of the strange-looking building, Chihiro feels afraid. The wind being sucked in, the building crying - these too were objects of fear for Chihiro.
The second is recklessness. When she somehow asks Yubaba to give her work, when she said she would go to Zeniba, Sen was a girl with her own boldness, recklessness, spirit, and passion. And when such a Sen fed Haku the dumpling, when she told the monster to eat this first, she was certainly a decisive and bold girl.
But because even a girl has 'maternal instinct,' she embraces that monster well and goes together to Zeniba. In a way, the monster may have been more pure. From the moment 'Sen' kept him out of the rain, he tried various ways to grant what she wanted. Whether giving her a new medicine token or making gold, in any case that monster too didn't dislike 'Sen.'
When Spirited Away had just been released, I watched this film without fail, and at the time the word 'good luck' from Kamaji (Grandpa Kama) left a strong impression on me. And hearing those words again today too, through the film, what I remember is still the same. Grandpa Kama is truly a curious person. Someone, how should I say it, full of human warmth. Of course, at first he gets angry that she helped move the soot sprites' coal, but in a way that may have been a 'warning' about this world that even Grandpa couldn't help.
Knowing one's own name. Knowing how precious that name is - this I could fully feel through the film. A 'name' isn't there for nothing. Because the only thing by which someone can be called is precisely a 'name,' because when a young child loses their mother, knowing the name is the only way to find her, because when a lover calls their beloved they call them by name too, a name is precious. After nearly forgetting the name Chihiro, and after once again engraving the preciousness of the name 'Chihiro' from Haku, Sen always carries the name 'Chihiro' in her heart. And to the person she holds dear, she says her real name is 'Chihiro.' That's how Sen remembers 'Kohaku,' part of 'Haku's' original name, and because of that, Haku comes to know who he was.
When I call Yun-a, how many times do I call Yun-a's name....I suppose about three times....You know how in Younha's song 'Password 486' there's the lyric 'Say love four times a day, laugh eight times, give six kisses' - well, I want to call the name of the person I love dozens of times a day. Because that's really one of the few ways I can express my heart from a great distance. I can't put a 'strengthening spell' on bread and give it like Haku, nor can I turn into a dragon and fly to high places. All I can do is what's possible as just an ordinary human.
Studio Ghibli's works, even though they're 'Japanese films,' don't feel Japanese. Looking at the clothing, it's not Japan but seems just like 'European' medieval style, and the cities too are always wonderful cities from around the world, remodeled and transplanted into the films. But in a way, that may be the charm of this studio's works. Moreover, even within this 'incongruity,' this studio insists on their own color. Insisting on 2D in an age when 3D comes out, always using things that humans discard and consider useless to create works, telling people that even when thinking about a single animation motion, to make it while thinking about why that motion comes about - their philosophy gives me various points to ponder.
One regrettable thing is that this work isn't for stage performance.ㅜㅜ
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