When I first watched Princess Mononoke, I was mostly enamored by the tandem between San and Ashitaka, focused on the conflicting personalities working together to save society from its madness. A developing love story was in my main view, while the main message was something I set aside as background noise. That was until I reached the end, and my younger self sat confused with an ending she did not expect. However, she did admire the bold heroine San displayed.
Years after, I re-watched the film and started to appreciate the meaning of humanity and nature within the story. With a more open mindset, Miyazaki’s beloved film provides a profound concept behind the aesthetic image of gods, nature, and war. Princess Mononoke became more than just a fierce girl boss who saves the world from havoc; it was a meaningful message to humanity about our relationship with the natural environment.
There are many aspects that I admire, but here are a few factors that highlight naturalism in Ashitaka’s journey:
Cinematic visuals representing the concept of humanity vs. nature:
Miyazaki’s masterful craft in visual representation and color aesthetics never fails to draw his audience into his world. With the vibrant hue and distinct tones that differentiate each environment, it becomes a fun realm to analyze each shade and contrast attributing to the profound message. For Princess Mononoke, the audience relishes the rich greenery and harsh grey, all-enveloping a colorful palette of symbolic notions.
One example is this contrast between the natural and human world. When Akashita ventured through the forest, he encountered a mystical realm abundant in luscious green, blue, and brown. An earthy tone develops a beautiful canvas of nature, a safe haven in a world slowly diminishing into worldly chaos. Miyazaki adds an ethereal touch with various forms of lighting that emit this glow (eg. The Deer God, the Tree Spirits), along with a mix of darkness for a mysterious aura, creating a transcendental experience to Ashitaka’s adventure.
Meanwhile, the human world shares an opposite perspective. Intense hues of red, black, and grey pose an ominous aura towards the mortal realm, coinciding with the turbulent matters between regions and deities. This dark tone encapsulates a disharmony within humanity and how vices and temptation cause their need for destruction and chaos. Miyazaki shares a critical view of society, where such a need for progress neglects our rooted connection with nature.
However, besides the grim image placed on humanity, an interesting contrast falls within Lady Eboshi’s community. The settler’s clothes in various colors highlight a sense of sincerity within their group. Despite Ashitaka getting caught between Eboshi’s views and the deities, their community still sees him as their companion after saving one of their men from a flood. The sense of closeness and loyalty illuminates within their aura, providing a dynamic twist to their character.
Japanese myths referenced through mystic characters:
The implementation of Japanese myths and beliefs was a lovely addition to Miyazaki’s creativity. The concept of Shintoism radiates throughout the storyline, most especially through the Deer God. Shintoism has this belief that “nature doesn’t exist for humanity to conquer, nature is where we come out of. Nature seen and unseen is the universal sacred ground of existence.” (Dobay, “The Many Layers of Princess Mononoke”).
Nature is sacred, every being and thing in nature is sacred, and so humans must strive to be in harmony with nature.
-Anna Dobay, “The Many Layers of Princess Mononoke”
The Deer God is the perfect epitome of this belief, where his first and last presence demonstrates nature’s omniscient potential over humanity. Its quiet & gentle demeanor radiates an enigmatic stance, unfazed by the chaos one may bring into their realm.
A persona that declares its omnipotence — that nature stands tall above all worldly values. And despite mortal pursuits of overthrowing gods, their superiority prevails.
This idea is evident at the film’s ending, where Lady Eboshi fails to possess the Deer God’s head. Even with the deity gone from earth, its final act healed the environment by renewing the desolate lands and all living things that were previously destroyed by the war.
Lady Eboshi even had a change of heart after her near-death experience:
“Someone bring Ashitaka. I want to thank him. We’ll start over again. We’ll build a good village.”
-Lady Eboshi, Princess Mononoke (1997)
This cultural representation gave a more meaningful intention to the message by attributing elements from Japanese beliefs. In some way, it provides its audience with more exposure to their ancient philosophies and what we can learn from its lessons.
Nature did not proclaim its authority by force; it simply proved its point to humans by giving something they needed the most — life.
“The Deer God can’t die. He is life itself. Life and death are his to give and take. He’s telling us that we should live.”
-Ashitaka, Princess Mononoke (1997)
San’s and Ashitaka’s vital roles:
The protagonists ’ essence exceeds the fact that they are the main characters of the story. San’s background as a human raised by wolves becomes a vital source for both sides. She becomes this bridge, symbolizing the connection between humanity and nature. However, a character flaw occurs within her motives, as she sides herself with nature due to being raised by her wolf parents. Foreign to the ways of the human world, she detests their ambitions for progress due to its irreversible price in destroying the forest. Thus making her the ambassador of the natural world that relays a message of anger and revenge.
But how can that bridge fix things between humans and nature if the representative goes against one side?
That’s where Ashitaka enters as another important role. While San serves as the bridge, I consider Ashitaka the guardian of that connection. His ability to relate with humans and gods makes him the true ace in the story, regulating the balance of powers between both sides. In most of his dialogues, he displays a neutral tone for his beliefs. Although he knows that the forest must be saved, he also empathizes with Lady Eboshi’s community and wishes them safety. The most crucial message in Ashitaka is despite humanity’s greed for power, to wish upon death or revenge on either side is never the answer.
There was never a winner or loser in this situation; the only winning outcome was to establish harmony in both realms.
Therefore, Ashitaka perfectly displays that mediator between humanity and nature. With San being the symbol of coexistence, Ashitaka becomes the peacemaker who ensures both parties never digress from the essence of coexisting. He upholds his role in the ending dialogue between him and San, where he promises to visit her every now and then while she continues to protect the forest.
San: I like you, but I can’t forgive what people have done.
Ashitaka: That’s alright. You’ll live in the forest, I’ll live in the ironworks. Together we’ll live. Yakul and I will visit you.
- Princess Mononoke (1997)
A movie that I thought to be about a wolf princess and his supposed prince transitions to this meaningful lesson about humanity and nature. Miyazaki’s ingenuity in demonstrating a profound concept through his beautiful landscapes and eye-catching designs makes it reasonable why this film stands as one of the most beloved works from Studio Ghibli.
Apart from being a comfort movie that I’ll always rewatch with wonder, Princess Mononoke will become a vital reminder of empathy and humanness. The admirable tandem of San and Ashitaka now becomes a respectable duo that represents Miyazaki’s message of conserving the unconditional bond between all living beings.
That nature and humanity can coexist if they share a trait that makes them one and the same — compassion.
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References:
Miyazaki, Hayao.Princess Mononoke. Studio Ghibli, 1997.
Bastos, Margarida. “How ‘Princess Mononoke’s Exploration of Man vs. Nature Endures the Test of Time.” Collider, 5 June 2022, collider.com/princess-mononokes-explores-man-vs-nature-themes/.
“The Many Layers of Princess Mononoke.” Follow the Moon Rabbit, 1 Sept. 2019, www.followthemoonrabbit.com/princess-mononoke/.
