Hey all! Long time listener, first time voter/poster, and I wanted to chime in on this one because it's a movie that I really connect to as an artist. There’s a strong resonance for me, as well as some interesting context for the film that I’d like to share.
To start off, I'm an animator. As a Canadian, I grew up on a steady stream of Western/French media and only saw my first Miyazaki film about 3-4 years ago. I dip into Japanese animation from time to time but I’ve always felt I was missing some key to appreciate it. But damn, do I understand how hard it is to make these films.
Quick fact: did you know that Kiki's Delivery Service was Ghibli's first major domestic box office success? Castle in the Sky, and the Grave of the Fireflies/My Neighbor Totoro double-bill are talked about now, but at the time they ended up making enough money to cover their budget and a little more to carry through to the next film*. Kiki’s was the first one to really draw in more significant numbers.
*Note - Closest hard numbers I could find was 3.7m budget for Grave/Totoro with 6.3m domestic gross compared to Kiki's 18.5m, (source) but I found out about it first in Jonathan Clement’s Anime: A History (P187), which is well-researched and really informative! This info isn't easy to find.
Imagine coming off from something as deeply personal as Grave/Totoro only for it to make a modest splash in ticket sales. How does anyone continue to work in that environment? What kind of film do you choose to make next? Well, if you’re Hayao Miyazaki, then it’s Kiki’s Delivery Service (a project in development for a while, but he turned in his first draft 3 months after Totoro hit theaters!)
Before we continue on that thought, let me stress my angle on this film: Flying is an art. It’s no coincidence that Ursula, the artist, plays such an important role in this movie: She's the one who helps Kiki reconsider why she flies and to gain the courage to give it one more go. The movie, she almost feels like a witch, herself. Funny enough, as a reflection of Kiki, she’s the only other character that seems to converse with animals (Jiji and the crows, though we're not privy to any responses (not that we need one)). For Miyazaki, flying and drawing/animating/any form of art is one and the same. Ursula is Kiki and Kiki is Ursula.
Now, remember when Kiki's sitting by the beach with Tombo and the car full of kids show up? I read it as less to do with Kiki being embarrassed about her dress than it has to do with her feelings towards the girl from the party (who even mentions the fact to the other children in the same scene). It's the thought that so much work went into crafting and delivering the herring and pumpkin pot pie, something sweet and hearty, that goes completely unappreciated that, I feel, hurts her. Kiki and the older woman worked together, facing challenges (okay, fine, a faulty oven and some rain), to deliver their parcel... only to get a dismissive shrug from someone who doesn't even know how good they have it.
Sound familiar?
Kiki is a messenger. Her broom is her tool, much like Ursula wields her paintbrush to convey meaning or ideas through her paintings. Like Film Crit Hulk argues, it's a film about what it means to continue to act warmly in a world that may not be kind back. A world that may not always reward you for your efforts. I feel that in this movie, Miyazaki is asking himself what it means to continue to be an animator in an environment that may not appreciate what he's doing.
Thankfully, people do recognize these efforts: in moments of charged revelation, but also in many quiet, personal moments. And we continue to do this thing, this art, because no matter the hardships, our reward will always return a thousand-fold in such a myriad of unpredictable and wonderful ways.
Yes, Kiki's works at a slower pace than usual, I agree. It's gentle. But on the second viewing I found its manner quietly confident, with the story unfolding in a lovely and organic way. The world and the characters feel real, a testament to Miyazaki’s and Ghibli’s abilities. And it's also an incredible kid’s movie (which, by the way, is still important to have in any canon! It’s also fascinating, from this forum and other sources, how this appeals to kids of both genders). How many films aimed at children have the main antagonistic force be a part of the main character? That’s amazing!
Also, isn't it beautiful that Kiki is trying her hardest to make a career out of flying when she's not even that good to begin with? That it's what comes naturally to her, but not so easily? Look at the way she constantly wavers and bumps into things or the way she contrasts with the other witch at the beginning. What about the way that Tombo, who is absolutely thrilled by the idea of flight, wishes that he could be a natural like Kiki? Even if Kiki isn't that great to begin with? But it still inspires Tombo to go out there and build flying machines?! And try to soar?
Sure, we may not feel the stakes as much during the climactic dirigible rescue, but that wasn’t the point (although I’m sure any 6 year old would be completely rapt). The thing that I remember the most, the moment that sticks, is when she gets back on the broom. For me, and I believe Miyazaki as well, the thrill never comes from Kiki saving Tombo. It's always about Kiki learning to fly again.
