Taiyô no ôji: Horusu no daibôken

I can only imagine how hard it was to do an animation such as this in 1968. At the time Disney was doing Mickey Mouse animation (the squeaky voice ones) and Yellow Submarine was released.

However, as in most Isao Takahata animes the focus is not on the animation, but on the script. People battle against the forces of evil using their most powerful weapon: will power. Evil comes in the form of bad luck, misfortune, direct attacks and sneaky social manipulation. Good's champion is a boy that has come to fulfill his dying father's last wish. You can find love, betrayal, anger, violence, marital ceremonies, friendship, all the hallmarks of good Japanese anime.

OK, the animation is not great. There are whole scenes of static images that are filmed , for example. Also, there is a plague that Disney is just now getting rid of, the plague of group songs in the middle of the film. But there are a lot of good things that overcome by far the bad parts. It's like a battle of good versus evil in its own :)

Doesn't hurt to mention Hayao Miyazaki, which is humbly placed somewhere in the middle of the crew list, as an animator and scene designer. As far as I know this is his first work, but you already find a lot of elements that will appear in all his work from then on.

Any anime fanatic must watch this. Children or very young people might get slightly bored.

With so much anime coming to the States in DVD, I don't know why this great film (possibly my first animated foreign film) hasn't recieved greater acclaim.

I love the music to this film, I love the storyline, and the multi-faceted characters. I wish some studio would get on the ball, and get this a bit more attention.

It's a great film. And a great intro to anime before there was "anime."

Sincerely,

JThree

carolyn@dia.net

It's impressive what this guys managed to create 1968. Only Disney movies have been on a similar level back then. The drawings have been beautiful, it was full of amazing action, great characters (especially Hilda impressed me) and a captivating story. Also worth mentioning is the music. The music was totally unusual and impressive.

Sadly the story doesn't make fully sense. Some characters aren't designed as well as they could have been. Especially the evil demon didn't look impressive at all - not even slightly scary. Also the drawings lacked detail all together. But that is all understandable, since "Anime" has been in it's children's shoes.

I don't know why, but Isao Takahata movies are the emotionally most touching movies for me. Hotaru no haka (Grave of the Fireflies) has been the most extreme cinematic experience for me. I am almost crying remembering this movie. And it's almost 10 years ago since I watched it the last time. Horus is different. It's not a sad movie, like Grave of the Fireflies is. I'ts quite cheerful and optimistic. It's one of the movies that is so warmhearted, that it makes you feel like a child again.

excerpt, more at my location - Developed and created in 1968, Isao Takahata's first feature-length outing fuses Japanese and Norse philosophies and mythologies into the charmingly grown-up children's tale that is The Little Norse Prince.

While the impact of The Little Norse Prince resonates even in today's modern anime, as an individual film, it is a triumphant hallmark of sublime animation and an adult story with genuine heart, warmth, danger and menace that the talking squirrels of Disney's preceding '60s sword film (The Sword In The Stone) could only dream of achieving.

The originality that The Little Norse Prince exudes is nothing short of impressive, as his anti-aging formula transports us back in time to makes us feel young and vulnerable. While it may not be the greatest anime of all time, it is nothing short of being the most important.

Although it was made in 1968, this fascinating animated film feels more like it came out a few years before Nausicaa in the early 1980s; fans of Studio Ghibli will recognize all of its distinctive calling cards. One of these calling cards is the feeling of being totally immersed in an alternate world, which, in this case, is achieved through cultural ambiguity. The odd title, Horus: Prince of the Sun, suggests a pseudo-Egyptian setting, but that couldn't be further from the truth: it is instead vaguely Scandinavian, with its focus on northern villages, but drawing on the culture and mythology of the Ainu, the indigenous people of Hokkaido, Japan's northern island. There are relatively few people, and they are barely surviving given the harsh environment and the evil demon Grunwald, who wants to eliminate humanity; in fact, the isolated village recalls in many ways the post-apocalyptic world of Nausicaa.

While this movie is usually heralded as an auspicious beginning for Japanese anime and Studio Ghibli, I noticed the strong influence of one of its forebears: Lev Atamanov's Snow Queen. In particular, the dark and cold Grunwald is very much like a male version of the Snow Queen, including his appearance. Horus and Hilda recall Kay and Gerda, except that here it is Hilda who is under the spell of the Snow (King). Hilda, like Gerda, is guided by a bird, this time an evil owl. I could go on, but the influence is real, and significant, as acknowledged by Miyazaki. The major difference is that, unlike the later Ghibli films (and Atamanov's Snow Queen, for example), it is the male rather than the female who is the lead.