How Princess Mononoke highlights the debate between environmental advocates and those protesting it today
One of my favourite Studio Ghibli films is undoubtedly Princess Mononoke. Besides the quality and lushness of its art style that are characteristic of Hayao Miyazaki’s works, it distinguishes itself by how serious and mature it feels in contrast to some of his other films. It does not shy away from showing blood or war in all of its details, and there is no artistic sleight of hand here to make it seem more glorious. Every battle is explicitly animated to showcase the brutality of conflict. This analogy could be extended further towards the overarching theme of many of Miyazaki’s other films which is the humans and the environment and the disagreements that can escalate as a result. This a central theme, or at least centrally portrayed, in so many of his movies that represent his ideals of nature and peace, and his concern over the dangers of human overexploitation. It ties into traditional practices of living in harmony with our surroundings, and in the film it’s personified through the character of the Great Forest Spirit.
This mythical being is the heart and soul of the forest that the inhabitants of the nearby village both respect and fear. In the movie it is thought by some that the head of this spirit will provide everlasting life, although near the end we can see that this also spells death for anyone ele unfortunate enough to be near when it’s head is cut off. This seems amply fitting as it comes at a critical juncture where the audience is torn between the interests of the spirits of the forest (read: the Amazon, the old forests of BC) and that of Irontown, who are trying to protect their economic and social interests by expanding their industry. There is conflict here, sometimes violent, but for a children’s movie studio it is far from clear who the antagonists are.
The first protagonist we meet is Ashitaka, the last young prince of an exiled tribe that must leave because of a curse inflicted on him as he is protecting his village. His quest leads him to Irontown where he meets the Lady Eboshi, the leader of this new village. Initially all signs point to Eboshi as being a big capitalist dictactor, hell-bent on profit and destroying the forest, but the movie is quick to dissuade us of this notion, showing that she employs traditionally marginalised populations such as prostitutes and they are trying to proect their community from neighbours who would love to see them destroyed. It’s a realistic portrayal of multi-faceted characters, and I quite enjoyed seeing what is undoubtedly a strong female lead that isn’t neccesarily a saint either. She is willing to shoot a young girl in cold blood and her “charitable” use of lepers to create guns definitely gives off a Mother Theresa saint-on-the-outside-not-on-the-inside vibe.
There is a duality to both of the leaders of their respective camps. Ashitaka is young and idealistic, but perhaps isn’t as exposed to the harsh reality of these tight-knit communities. Eboshi is a practical leader, on the ground and unafraid to rough it with her troops; she cares deeply about her people, even if we as the audience can see the damage she has wrought to the environment. Can we really say these is malicious intent on any of these sides?
The end of the film shows Eboshi, after having lost an arm after shooting the Forest Spirit, vowing to rebuild “a better Irontown”, we can assume in a more eco-conscious manner. But these debates and competing interests still exist today in real life, and the answers are obviously much more complex. Indigenous communities who are only now winning the right to representation and small towns that historically depended on an industry such as coal and lumber are fighting to be heard in the movement towards a carbon-zero future. They are fighting to retain their identity, their place, and their economic interests that they are only now able to steer, and rightly so.
A final point to be made from the film is in the antagonists we can see (Irontown, Eboshi) and those we don’t. Jigo, the priest tasked with tracking and killing the Forest Spirit is sent by the Emperor, who we can also assume is turning a blind eye to his Shoguns (feodal lords) who are harrassing and attacking Irontown. This is the source of much of the conflict in the film, up to and including the exile of Ashitaka’s tribe a century before. Much like in our own world, it is much simpler to scapegoat visible players that are less able to retreat and defend themselves. Should we protest against coal power and pipelines? I believe so. But this shouldn’t be at the sole expense of those people and communities who cannot afford it.
At the end of the film Ashitaka decides to stay with Irontown to help them rebuild. He was a wandering hero, but he doesn’t remain a presence who lays down the law then disappears. He roots himself down with his new community to try and make a difference as best as he can. The big players like the Emperor and his lords are still a menace, but only through collaboration and common ground can our protagonists try to fight back. The current conflict between environmental advocates and other groups trying to protect their way of life is not always black and white. Princess Mononoke does an excellent job of staying true to its environmental roots while showing the perspective of those caught between.
