The design of pirate mother Dola is reminiscent of Yubaba, the Bath house boss from Spirited Away and of Sophie from Howl’s Moving Castle. The film also gives plenty of hints at Studio Ghibli’s own growth too. After filling the first two thirds of the film with an adventurous bombastic score, it’s utterly silent as Sheeta and Pazu explore the deserted island. It’s only after watching them explore for some time that you realise the soundtrack has disappeared almost completely. There are some absolutely amazing choices as the pair arrive on Laputa. It’s slightly disappointing that this subtle work is contradicted by the boneheaded Sky Pirate’s slightly lecherous reactions to her afterwards but thankfully Sheeta has the last laugh on them. Sheeta slips from her billowing childish dress, similar to Kiki’s from Kiki’s Delivery Service, into pirate garb that more clearly defines her maturity.
Pazu seems to grow taller, his legs longer as he starts to own his decisions and actions. The more rounded character designs give way to more adult shapes. The characters grow and change in the subtlest of ways as the story progresses. Re-watching this I enjoyed so many smaller details in the art and story, that play off each other beautifully. Compared to say, the flower scene from Spirited Away, early scenes can seem a little flat. To modern eyes the at first glance Laputa: Castle in the Sky may seem more simplistic than Ghibli’s later works. A remnant of a long gone, technologically advanced civilisation. An heirloom that can lead the way towards the titular Castle in the Sky, passed down for hundreds of years. Numerous forces pursue them both, for the amulet Sheeta wears. Gradually the tale resolves itself to one of a young girl, Sheeta, with a mysterious glowing pendant and a boy, Pazu, looking for adventure, away from his sleepy mining town. You’ve just got to figure it out yourself, just like flying a glider in the third act. Characters, sky pirates, steampunk airships, and shady men in suits and round glasses, all appear on screen with zero explanation. Even when re-watching the film recently.įrom the off, the first “official” Studio Ghibli film – Nausicaä of the Valley of the Wind was produced and released before the studio’s official founding – doesn’t lead it’s audience by the hand. And yet, that feeling of childhood, of childhood’s end, persists. Based upon the various releases dates of the film, the very earliest I could have seen it was as a teenager. I always feel like I watched Laputa: Castle in the Sky as a child, even though that’s impossible.