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Pazu’s father managed to photograph Laputa years before, and Pazu’s building his own plane in the hope that he’ll be able to find the island for himself. Sheeta meets Pazu, a boy who lives on the outskirts of a mining town and hopes to find a flying island called Laputa. A young girl named Sheeta possesses an amulet which, for reasons that only later become clear, is sought by a group of sky pirates and a scary government agent named Muska.
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LAPUTA:CASTLE IN THE SKY SERIAL
Like a combination of Jules Verne and Edgar Rice Burroughs’ writing, Castle In The Sky’s broad characters and lost kingdoms could almost have emerged from an old 30s drama serial there are even parts of Castle In The Sky that George Lucas might have liked to borrow for an Indiana Jones adventure. In terms of pacing and design, I’d argue that Castle In The Sky ranks among the very best of Miyazaki’s films. Also called Laputa: Castle In The Sky, it has much in common with Miyazaki’s previous movie, Nausicaa– they both combine science fiction, fantasy, ecological themes and a pulpy sense of adventure. Miyazaki’s love of both nature and technology are equally served in the first film to appear under the Studio Ghibli banner after its founding in 1985: the sublime Castle In The Sky. Maybe this is why his films are so tangibly in touch with the colour and rhythm of the Japanese countryside and its folklore, as expressed in such films as My Neighbor Totoro and Ponyo, while at the same time imparting a sense that something as hard-edged and functional as a fighter plane can possess its own personality and inner life. The son of an aeronautical engineer, Miyazaki grew up as Japan rebuilt itself in the middle of the 20th century he was born into a generation with a keen understanding of his country’s past and present. In Miyazaki’s work, there’s a constant tension at play between nature and machines, between the tranquility of rural Japan and the industrial revolution of its post war era. How does humanity square its thirst for progress while at the same time protecting the environment? Can technology and nature exist side by side, or will our destructive tendencies always get in the way? Those are questions that underscore many of Hayao Miyazaki’s films, from the lighter-than-air eco fable Nausicaa Of The Valley Of The Wind to his final animated feature, The Wind Rises.