(1979) Directed by Hayao Miyazaki; Written by Hayao Miyazaki
and Haruya Yamazaki; Based on the manga series by Monkey Punch; Based on
characters by Maurice Leblanc; Starring: Yasuo Yamada, Eiko Masuyama, Kiyoshi Kobayashi,
Makio Inoue, Gorô Naya, Sumi Shimamoto and Tarô Ishida; Available on Blu-ray
and DVD
Rating: ****
“The Castle of
Cagliostro was like a clearance sale of all I had done on Lupin and during my Toei days. I don’t
think I added anything new. I can understand why people who had followed my
work were extremely disillusioned. You can’t use a sullied middle-aged guy to
create fresh work that will wow viewers.” – Hayao Miyazaki (excerpt from “Miyazaki
on His Own Works,” Starting Point:
1979-1996)
The Lupin the Third
manga by Monkey Punch (aka: Kazuhiko Katou), about the grandson of elusive
gentleman thief Arsène Lupin (based on the classic Maurice Leblanc character),
has spawned a venerable anime series (there have been six series to date) and a
1974 live action movie (Lupin the 3rd:
Strange Psychokinetic Strategy). After Lupin III’s first animated feature
film outing, Lupin the 3rd:
The Mystery of Mamo (1978) was a big success, a follow-up film, depicting
the further exploits of the perennially elusive thief (Monkey Punch’s version
had more roguish qualities, compared to his more genteel counterpart) was given
the green light. After the previous film’s director, Yasuo Ôtsuka, passed on
the sequel, Hayao Miyazaki (who had worked on the television series with his
longtime collaborator and Studio Ghibli co-founder, Isao Takahata) was hired to
direct and co-write* The Castle of Cagliostro,** his feature film debut. Miyazaki’s
version intentionally chose to appeal to a wider audience that was not
necessarily familiar with Lupin III, featuring less emphasis on his unquenchable
libido, and greater focus on the action sequences and elaborate settings.
** Fun Fact #1: Although Haruya Yamazaki shares co-writing
credit, Miyazaki allegedly dispensed with his ideas for the film.
** Fun Fact #2: According to Reed Nelson’s commentary, the
film was completed in seven months, an astonishing feat, considering the level
of artistry involved.
In the opening, set in the late ‘60s, Lupin III (voiced by Yasuo
Yamada), following in his grandfather’s footsteps, makes a killing at a Monte
Carlo casino. Once again, he’s on the run from the indefatigable Inspector
Zenigata (Gorô Naya), but the ill-gained cash turns out to be the top-quality
product of a counterfeiter. Lupin III and Zenigata trace the fake currency to
the sovereign nation of Cagliostro, and by proxy, its shadowy leader, Count
Cagliostro (Tarô Ishida).* Lupin III finds Cagliostro’s operation an
irresistible target, but in the process finds something he didn’t anticipate – falling
for innocent Lady Clarisse (Sumi Shimamoto). Clarisse is destined to be wed to
the unscrupulous count in order to preserve the purity of the bloodline (It’s best
not dwell on this – suffice it to say they’re distant relatives). With relentless
inspector Zenigata one step behind, he’s forced to make a brief, uneasy
alliance if they wish to defeat the Count.
* Fun Fact #3: Yes, there really was a Count Cagliostro,
Alessandro Cagliostro, an infamous 18th century occultist,
con-artist and counterfeiter. You can learn more about him here.
Compared to his previous cinematic outing, the character of Lupin
III might seem a bit tame, but Miyazaki didn’t eliminate the more unsavory
aspects of the title character or his partners in crime, Fujiko, Jigen and
Goemon. Instead he chose to emphasize other properties, including their
teamwork. The film was criticized by Monkey Punch, who expected a more “mature”
version of Lupin III, feeling the end results didn’t quite reflect his
creation. I opine that the spirit of the characters is still there to see. The
fact that Miyazaki toned down the sex and wanton violence for his story doesn’t
detract from other versions; it only makes Lupin III a more three-dimensional
character. It’s clear Lupin III hasn’t changed his old ways, but has become
more self-aware, with an enhanced sense of honor. What we see is a more thoughtful
version of the character, not exactly mellowed with age, but no longer a slave
to his baser instincts and the rashness of youth. Looking at the character from
a long view, The Castle of Cagliostro
could be viewed as a chapter in Lupin III’s moral development. We know who he
is, as do his cohorts, who treat his intentions toward Clarisse with skepticism.
Based on his past indiscretions, especially regarding his former lover and
sometimes ally Fujiko (Eiko Masuyama), their attitude is probably warranted.
The Castle of
Cagliostro represents an early work from an artist who continued to stretch
boundaries, working within the parameters of established characters. The character
designs owe a debt to Monkey Punch, however, there are many signature touches
that only Miyazaki could bring to the film. The movie features several key dialogue-free
moments, which enable to viewer to catch his or her virtual breath, pause, and
reflect before the next action piece (such as an extended shot of a character
with wind blowing through his hair). Miyazaki referred to these moments as
“ma,” an intentional emptiness (Source: https://www.rogerebert.com/reviews/great-movie-spirited-away-2002).
On paper, it may seem extraneous but it’s all about pacing – a moment of calm
before the storm. There are other Miyazaki moments peppered throughout the film,
including Lupin III hiding in a lion’s head fountain. Through the stone lion’s
mouth, we see his distorted face and squiggly eyes, which would be mirrored
many years later in in Ponyo.
Similarly, we see his love for depictions of flying and machinery. The Count’s gyrocopter
and the castle’s clock tower are not simply props, but integral parts in the
story. His action scenes have a wonderful, kinetic quality. In one spectacular
scene, Lupin III scales the rooftop of Cagliostro’s castle, to infiltrate the inaccessible
(to most sane individuals) tower where Clarisse is being held captive. Miyazaki
and his team of animators masterfully convey the vertiginous heights, creating
a genuinely frightening, exhilarating experience. I could feel my palms
sweating, as Lupin III bounded among the rooftops, and hung precipitously by
his fingertips, narrowly avoiding his doom.
Miyazaki was reportedly dissatisfied with the results, as he
bowed to pressure from the studio, dashing his hopes for an extra month to
finish The Castle of Cagliostro. If
one were to pass judgment on the movie based on Miyazaki’s self-deprecating
quote above, The Castle of Cagliostro
would seem a failure for the filmmaker and the Lupin III franchise. With all due respect to Mr. Miyazaki, his
self-assessment couldn’t be further from the truth. Instead, he set a new high
for feature film animation and a dress rehearsal for his ambitious 1984
follow-up, Nausicaä of the Valley of the
Wind. Working within the confines of the Lupin III universe, he added depth
and likability for the Lupin character, allowing us to see the character in a
new light. For many, including myself, this was an introduction to the world of
Lupin III. Even if The Castle of
Cagliostro wasn’t the final word on the character, it provided a gateway to
his other incarnations, including Leblanc’s source material. Any way you slice
it, it’s a unique chapter for the character, and a damn fine stand-alone film.
