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Smith, Lindsay (1 April 2011). "War, Wizards, and Words: Transformative Adaptation and Transformed Meanings in Howl's Moving Castle". The Projector Film and Media Journal. 11 (1).
Japan Media Arts Festival Awards" (in Japanese). Japan Media Arts Plaza, Agency for Cultural Affairs. Archived from the original on 4 April 2010 . Retrieved 1 March 2009. Scott, A. O. (10 June 2005b). "A Cursed Teenager Turns 90. Let the Adventures Begin". The New York Times . Retrieved 18 July 2016. In the United Kingdom, the film's Studio Ghibli anniversary release was 2015's eighth best-selling foreign language film on home video, and fifth best-selling Japanese film (below four other Studio Ghibli anime films). [45] It was later 2018's fourth best-selling foreign language film in the UK (below the Japanese films My Neighbor Totoro, Your Name and Blade of the Immortal). [46] Critical response [ edit ]Levi, Antonia (2008). "Howl's Moving Castle". Mechademia. 3: 261–263. doi: 10.1353/mec.0.0059. S2CID 201752967. Scott, A. O. (July 2005a). "Where the Wild Things Are: The Miyazaki Menagerie" (PDF). The Asia-Pacific Journal. 3 (7).
Geoghegan, Kev (5 December 2011). "Howl's Moving Castle adapted for the stage in Southwark". BBC . Retrieved 24 July 2016. Ebert, Roger (9 June 2005). "Howl's Moving Castle Movie Review (2005)". RogerEbert.com . Retrieved 2 June 2013. Kimmich, Matt (2007). "Animating the Fantastic: Hayao Miyazaki's Adaptation of Diana Wynne Jones's Howl's Moving Castle". In Straytner, Leslie; Keller, James R. (eds.). Fantasy Fiction into Film. Jefferson, North Carolina: McFarland & Company. Cavallaro, Dani (2014). The Late Works of Hayao Miyazaki: A Critical Study, 2004-2013. Jefferson, NC: McFarland. ISBN 978-1-4766-1909-5.Statistical Yearbook 2019 (PDF). United Kingdom: British Film Institute (BFI). 2019. pp.103–4 . Retrieved 26 April 2022.
Howl's Moving Castle contains strong anti-war themes, influenced by Miyazaki's distaste for the 2003 Iraq War. [8] When he received an Oscar for Spirited Away, he said that he "had a great deal of rage about [the war]. So [he] felt some hesitation about the award." [1] Miyazaki identifies as a pacifist. [9] On the eve of the Iraq War, Miyazaki decided to make a film that he felt would be poorly received in the United States. Despite the film's success in that country, literary scholar Dani Cavallaro stated that Miyazaki was able to "create a film which ought, in principle, to have caused a certain unease among American audiences." [1] In the movie, Madame Suliman appears to have only sadistic motivations for creating conflict, [1] and despite being omniscient, is unable to recognize the idiocy of the war until the very end of the story. This reflects Miyazaki's desire to show real-world conflicts as also being somewhat arbitrary and fueled by the desires of capricious people. [10] Cavallaro stated that the depiction of the war carried "an unmistakable bitter taste." [1] She also writes that the military presence and warfare was highlighted in the film. [11] Puig, Claudia (9 June 2005). " 'Howl's Moving Castle' enchants". USA Today . Retrieved 2 June 2013. Giardina, Carolyn (17 July 2017). "Gkids, Studio Ghibli Ink Home Entertainment Deal". The Hollywood Reporter . Retrieved 17 July 2017. Miyazaki stated that an attractive aspect of the story of Howl's Moving Castle was the relatively positive light it shed on growing old. [12] When Sophie becomes old as a result of the witch's spell, she also feels more able to speak her mind. According to Miyazaki, old women are only infrequently allowed to dominate the screen as in Howl's Moving Castle, which made it a risky concept. [12] Elizabeth Parsons stated that the film disrupts the stereotype of "aged unattractiveness," when the artificially aged Sophie manages to rescue two attractive men (who come to love her) and to unintentionally end the war in her country. [18] Sophie's actions are those usually associated with grandmothers, such as being kind and nurturing to those around her, and engaging in housework; however, these actions are depicted as being powerful and heroic. [18] Sophie is one of several strong female protagonists in Miyazaki's films. [14] According to Parsons, this gives the film a feminist aspect as well. [18] Additionally, even though Sophie manages to make her presence in the castle legitimate by claiming to be a cleaning lady, the film goes on to show that the housework is equitably distributed, strengthening its feminist aspect. [18]Sophie, a young milliner and eldest of three sisters, encounters a wizard named Howl on her way to visit her sister Lettie. Upon returning home, she meets the Witch of the Waste, who transforms her into a 90-year-old woman. Seeking to break the curse, Sophie leaves home and sets off through the countryside. She meets a living scarecrow, whom she calls "Turnip Head". He leads her to Howl's moving castle where she enters without invitation. She subsequently meets Howl's young apprentice Markl and a fire demon named Calcifer, the source of the castle's magic and movement. Calcifer makes a deal with Sophie, agreeing to break her curse if she breaks his link with Howl. When Howl appears, Sophie announces that she has "hired herself" as a cleaning lady.
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