"To be honest: My Neighbor Totoro is my favorite movie. I'm not going to modify, add, or delete a single frame. It's almost perfect, a shining moment in a great director's career, everything is at its peak. Hayao Miyazaki Skilled in every aspect of animation production is true to its name, and there is nothing like this movie to showcase those skills. It's so beautiful that every frame could hang on a gallery wall. (Many do this more than once.) Gibb Force Studios produced the film alongside Grave of the Fireflies (1988), both masterpieces about exploring the director's childhood innocence and memories of the past.
Miyazaki has made some fine films since My Neighbor Totoro, but none captures the brilliance, the unreachable, the heartbreaking fragility of the children's world so truthfully and accurately. "My Neighbor Totoro" is one of the simplest movies, and one of the very few that dares to tell a child's story from a child's perspective and at a child's pace. Time plays an important role, but it is not fixed; it is measured by adult things, such as watches or bus schedules, or by the movement of light in the afternoons of childhood. The young sister duo and their father moved to a nearby hospital in the countryside, while their mother was being treated for an unnamed disease that never completely disappeared. The hospital is named after the hospital where Miyazaki's mother was treated for spinal tuberculosis as a child.
There are no villains in the film, just the skirmishes that all kids go through. Girls discover the magic of nature and the unobtrusive goodness of rural communities. My sister learns that death is not a man in a black hat, an enemy to confront, but a life-altering fact, but its beauty remains forever.
In this movie, all the important things happen, and nothing big happens. Every frame is full of life - carefully observed, meticulously presented, and filled with passionate love. The reason why "My Neighbor Totoro" can last forever is that the focus and passion it puts into each picture is higher than that of some special companies in an expensive multi-party cooperation project. The film started out poorly at the box office and went on to become Ghibli's biggest revenue generator, thanks in large part to its commitment to, and commitment to, the good stuff into a series of delightful offerings. The woods, valleys and small farms Miyazaki has recorded with deep tenderness are now overwhelmed by Tokyo's expansion. Yet the chinchilla lives on, a dream of flying across the blue skies of the countryside in memory, never fading or fading. If Miyazaki never made a movie again, he would still be the greatest of all directors. "
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