You can thank the seventies of the last century for the GHibli studio style

Studio Ghibli is one of the most popular animated studios in all times, and is an institution in the high popularity of anime in Japan and internationally. Hayo Miazaki and Isao Takahata were responsible for each other The best anime movies everRegardless of the scale you use to judge this.

But although their famous and popular work with their work with Ghibli, the work of Takahata and Miyazaki before ghibli is of the same importance. The duo (but especially Takahata) had already established itself as myths in itself, with films and TV programs that stabbed what was believed at that time. They were inspired not only by Walt Disney’s work, but also from French animation and emerging Soviet landscapes. They have invented something unique to inspire animation (and living movie makers) everywhere. I have already written about some of The workBut there is one specific offer – above all – Miazaki and Takahata put on the way to creating the patterns of each of them inside GIBLI.

This show is “Heidi, the Alpine Mountain Girl.”

“Heidi, the Alpine Girl” depends on Zuyo Eizo (now known as Nippon Animation), “Heidi, Girl of the Alps” on “Heidi’s Heidi years of wandering and learning” from 1880. The creator Yoshyuki Tomino (who worked on texts and stories narrators). The show followed the daily life of Hedy, and an orphan is sent to live in the Alps with her grandfather.

The series was recently the focus of an article Obsessive animationWho indicates the uniqueness of the anime and the importance of Takaha and Miazaki professions. Indeed, from the beginning, it was clear that this would be a series of unparalleled animation. Unlike the previous Takahata and MIYAZAKI works, there will be no imagination or even more stories than “Heidi”. This was a presentation aimed at brutally uncomfortable. Instead of the flashing lights and a lot of noise that was common in television animation at that time (and still in many countries), Heidi, the Alps girl “restored the drama, tells worldly stories with a focus on tangible realism.

As Miazaki said in an interview published on the Blu-ray a group of “Heidi, Girl of the Alps, the goal was to create something” depicted precisely the foundations of daily life. “This, at that time, was near those who did not hear about it. The adaptation was more structured on live work.

The result was a tremendous success. Heidi, the Alpine Girl, was not a great success in Japan, but also internationally in countries like Spain (which had her own comic book in the series) and the Middle East. The anime of Japanese tourism in the Swiss mountains of the Swiss Alps (when I visited the house that inspired the original book by Johanna Spiri near Zurich, was full of anime employee). In the documentary GHIBLI, “The Kingdom of Dreams and Madness”, Miazaki described this “Takahata Masterpiece”.

Despite its success and good manufacture, Heidi, the Alpine Girl, also brought unbearable working conditions to her employees. According to the MIYAZAKI 300 drawing a weekly layout, drawing characters, structures, backgrounds, and even camera trends for the footage. Miazaki once described the work as an emergency as a natural condition. She was granted, this was not uncommon at that time, but this means that both Miazaki and Takahata were disappointed with what would make these circumstances deserve it.

With the success of “Heidi”, the studio began to adapt more and more literary works through the “World MasterPiece” series – in the end business conditioning like “Les Misérables” and “Little Women”. But this success, and the pressure by repeating it through other modifications (such as “3000 championships in search of the mother”) made Miazaki realize that he was eager into fictional worlds, while Takahata bowed towards more realism, and I felt that Heidi had deviated from that initial plan. The two men, for years, began the two -year -old, with the development of their tastes and personal patterns over time.

This led to the escape of Miazaki from realism by directing “Future Boy Conan”, an anime that includes characters who felt the characteristic and realism, but within a fictional world. However, Takahata was employed to adapt “Anof Green Gabies”, which has turned into his less ideal project so far, a work that has gone for full objectivity in realism.

This means, we see the way in which the two men worked inside Gibli while it happened immediately after “Heidi”. Takahata’s love can be seen for realism and objectivity, as well as Miazaki’s love for magic realism, clearly in The strange dual feature of the “Al -Wara’a tomb” and “Jari Totoro”. This will become a signature style, as Takahata seeks to stories of foundations (even if he directs the film about the raccoon dogs that use their testicles as umbrellas) while MIYAZAKI went to more imagination.