Allegory in LAPUTA (Bryan Wilkinson, January 20, 1994)


WRITTEN AND POSTED TO "NAUSICAA@BROWNVM" BY: Bryan Wilkinson, Jan. 20, 1994
EDITED AND RE-FORMATTED BY: Steven Feldman, October 30, 1994

     Laputa was Steven's favorite, I believe, so it was a big topic a
while back--in fact, I posted the same interpretation of Sheeta's loss of
her "childish" tails at the end--there are other indications, too.  The
film is, directly, about children vs. adults, automatically suggesting
childhood meeting adulthood.  Secondly, the age of the two (Pazu and
Sheeta) protagonists (14, according to sources).  Thirdly, the mythic
quest for the lost utopia of Laputa.

     Laputa itself seems all innocence until Mooska arrives, and we see,
as it is corrupted, the darker side of Laputa unveiled.  Later, Laputa
will shed this corrupted part and ascend out of reach.  Sheeta's
monologue delivered to Mooska is not something one would expect from the
girl-child introduced at the film's beginning, nor Pazu's sacrificing of
the dream he carries on from his father.  Note that these correspond to
the moment she loses her braids.  The Sheeta and Pazu that fly off in the
glider at the film's end are undeniably no longer children.  One article
I read likened Laputa to Peter Pan in some of these allegorical respects,
and noted on the side that the flight scenes in Pan were of some
inspiration to Miyazaki. . . . I don't think either sounds unreasonable.

     What then, of the relationship that matures between Pazu and Sheeta?
Their bond, akin to the one between Conan and Lanna in Mirai Shonen
Conan, is one that puts them beyond the grasp of the world's colder
aspects, one that is more kindred than affection.  This might also be
regarded as a possible manifestation of anima/animus duality--the
chracter(s)'s "other side" manifested in carnate form.

     One other point is the clothing worn by Sheeta.  In the film's first
part, she wears a loose dress, followed by boy's clothing to directly
diguise her gender, and a loose gown while captive.  When they are taken
on by the Dola clan, Dola Mama gives her some of her old clothes (in the
background we see a painting of a young, Nausicaa-like Dola wearing
similar clothes and the tails, elaborating on the pirates' comments on
her resemblance--is Dola representing a surrogate maternal figure of
sorts?  I think so . . .), which she wears tightly with the aid of a
belt.  Here, for the first time, Sheeta's figure is revealed, and it
isn't the one of a child, but rather of an adolescent.  I seriously doubt
this fact was hidden before then by chance.

     This point is driven home by the air pirates taking a  definitely
sexual notice of Sheeta--I dare anyone to argue with that!  :)

     (Interestingly, Kiki, who is 13, is given a childlike figure, which
seems relevant to her film being one that deals with the BEGINNING of
coming-of-age, in contrast to the direct confrontation with adulthood
represented in Laputa.)

     Are the pirates, then, representing a surrogate family for Sheeta
and Pazu?  This, too, seems a likely posssibility.

     These are some of my thoughts on the allegorical aspects of Laputa.

 --Bryan