Miyazaki had vastly altered Lupin’s characterization when he came onto the show, moving the character away from the James Bond-esque apathetic cool badass and imbuing him with a subtle depth, depicting him almost as a thief folk hero (an entire book could probably be written about how Miyazaki altered the character and franchise, but that extends too far outside the realm of Miyazaki for right now). I can only promise to discuss what I have seen (which is most of his post-70s work), so to anyone who wants to see Sherlock Hound talked about at length, I’m sorry.Ĭagliostro is easy to see as Miyazaki’s strange, initial foray into a foreign franchise before flying off to do bigger and better things, but he had worked on the first Lupin III show (it had been his television directorial debut) and was well into his career when he directed his first film which happened to star the roguish descendant of Arsène Lupin (a now obscure yet influential serialized French thief character). Miyazaki’s oeuvre is vast, so it can be easy to overlook a lot of his work.

His work and what it means to not only his audience, but himself is a fun topic to discuss and think about, so I’ll be discussing different connections between his films that I have thought about. In those two movies are a multitude of stories and ideas and most people who have watched these films have experienced them in a specific and powerful way. Part of this is because he is capable of telling a wide variety of stories: one of his films is about the disgraced prince of a forgotten people traveling to distant lands to view the world with “eyes unclouded,” another is about two girls who meet a forest spirit after moving to the countryside because of their mother’s illness. Miyazaki’s work appeals to such a wide range of people for such diverse reasons, and it means something different to all of them.

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