Hayao Miyazaki’s Howl’s Moving Castle (2004) is most often cited as being among Studio Ghibli’s most visually stunning and emotionally resonant films. An adaptation of British author Diana Wynne Jones’ novel of the same name, the film takes significant artistic liberties that result in one of Miyazaki’s most enigmatic films.
Unlike the novel, which has a definable villain in the Witch of the Waste, the film blurs the lines of good and evil in a manner that makes it one of the most confusing in Ghibli for many viewers, especially those accustomed to Western storytelling conventions.
The lack of a clear villain: A running theme in Hayao Miyazaki’s films
Unlike its literary counterpart, Hayao Miyazaki‘s adaptation refuses to paint any character as purely good or evil. Whereas in the original novel, the Witch of the Waste serves as the primary antagonist, actively seeking to claim Howl’s heart, in the film she begins as a formidable foe before being deprived of her powers and becomes a frail old woman in Sophie’s care.
This sudden shift in her character arc leaves many viewers wondering if she was ever truly the villain. However, if you look closely then you will notice that at its core, Howl’s Moving Castle actually demonstrates Miyazaki’s distaste for all that black-and-white good versus evil nonsense.
Consider Princess Mononoke or Spirited Away, for example, where the humans and the spirits of nature have understandable motivations or where even antagonists like Yubaba have a softer side. In the same way, by not defining its villain, Howl’s Moving Castle makes the viewer consider its themes at a more mature level rather than taking the obvious hero-and-villain dichotomy at face value.
Miyazaki’s mistake that made Howl’s Moving Castle timeless
A lot of first-time viewers have a hard time figuring out who the real bad guy is in Howl’s Moving Castle. At first, it seems like the Witch of the Waste is the main villain, she curses Sophie and scares Howl. But then, once we get to the king’s castle, the movie quickly flips the script and focuses on Madame Suliman, the royal sorceress, and Howl’s old teacher.
Turns out, she’s the real puppet master behind the war, making magicians turn into these crazy soldiers. Meanwhile, the Witch of the Waste is pretty much neutralized, which leaves everyone a bit confused about this sudden shift in the stakes. This shift is reminiscent of one of the most debated points of the movie.
Westerners, especially if they’re not used to Miyazaki’s style of storytelling, can get thoroughly perplexed by the swift shifts in the plot. Suliman is a tough woman, but she’s not shown to be completely evil. She’s mainly trying to keep things in order, even if it means fueling the war.
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At the end of the film, she’s ready to stop the fighting, which really serves to drive home the fact that there aren’t really any bad people here, just people who are doing the best they can. This very ambiguity is what makes the movie so interesting! Unlike your typical Western movies where everything needs to be neatly wrapped up, Miyazaki’s movies are all about interpretation and they present you with new views each time you watch them.
So, if you find the movie kind of confusing with its unclear explanations, giving it another shot with fresh eyes can really change how you feel about it. Howl’s Moving Castle isn’t gonna spoon-feed you everything, but it totally lets you dig into its themes whenever you’re ready. What some people might think is a mistake in the story is actually one of Miyazaki’s coolest moves, it’s what keeps the film interesting and relatable even after 21 years.
Howl’s Moving Castle is currently available to watch on Netflix.
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