Film: The Little Norse Prince
Release date: 17th October 2005
Certificate: U
Running time: 82 mins
Director: Isao Takahata
Starring: Yukari Asai, Mikijiro Hira, Etsuko Ichihara, Masao Mishima, Hisako Ohkata
Genre: Anime
Studio: Optimum
Format: DVD
Country: Japan
One of the great advantages to the success of Studio Ghibli films such as Spirited Away and Howl’s Moving Castle is that it has ignited Western interest in many of Hayao Miyazaki’s earlier films and that of his colleague, Isao Takahata (Grave Of The Fireflies). The Little Norse Prince (or Hols: Prince Of The Sun) was Takahata’s directorial debut in 1968 and follows the folk tale style of its later ancestors.
The Little Norse Prince is set in Iron Age Scandinavia and follows the quests of Horus (or Hols in alternative translations). The story begins as Horus (Hisako Ohkata) fights off a pack of silver wolves with a small hatchet. During this battle, he accidentally wakes a stone giant named Mogue who is bothered by a ‘thorn’ in his shoulder. Upon offering to extract the ‘thorn’, Horus discovers that it is in fact the ancient ‘Sword of the Sun’. The giant tells Horus that should he re-forge the battered blade he will forever be known as the ‘Prince of the Sun’.
Horus is soon summoned by his friend, Coro (Yukari Asai), a small talking bear, who tells him that his father is on his death bed. Upon returning to his father, Horus is told of how they used to live in a sea-side village which was attacked by a wicked sorcerer known as Grunwald and that the fisherman and his son were the only survivors. Before his death, Horus’ father urges him to return to the village and avenge its devastation.
On his journey to find civilisation, Horus encounters Grunwald (Mikijiro Hira) who urges him to serve him as his ‘younger brother’. On refusing, Horus is pushed from a cliff, but survives and is rescued by the villagers of a local fishing community.
Horus soon becomes renowned among the villagers when he destroys a large pike that had been afflicting the local fishing supply. It turns out that the pike was a ploy of Grunwald’s to starve the village and, in his rage at the pike’s death, he sends a pack of silver wolves to attack the village. Whilst chasing the wolves, Horus comes across a mysterious girl named Hilda (Etsuko Ichihara) who lives in a deserted village and sings haunting songs whilst playing her harp. Horus returns to the fishing village with Hilda and she is welcomed. However, the chieftain of the village, urged on by his deputy Drago, grows jealous of Horus’ popularity. Drago conspires with Hilda, who is actually Grunwald’s sister, to destroy Horus’ reputation and together they frame him for the attempted murder of the chief.
After his consequent banishment from the village, Horus and Hilda confront one another and Horus is plunged into an enchanted forest from which there is apparently no escape. Meanwhile Grunwald attacks the village with the spectral silver wolves and a giant icy mammoth, which brings frost and snow to the land. During this time, Horus receives visions of his father and the villagers and soon realises the only way that he can escape the wood is if he re-forges his sword and becomes the ‘Prince of the Sun’…
Despite its age, The Little Norse Prince still holds much of the charm and beauty of modern Japanese animation. The background detailing and painterly landscapes are forerunners of the Oscar nominated films we see from Studio Ghibli today. Miyazaki, who worked on this film as an animator, was obviously inspired by the mixtures of the classic realism of natural scapes and the stylized cartoon of the manga human figure.
The Scandinavian influence is well portrayed, from the language of the names, e.g. ‘Grunwald’ (from the German for ‘green forest’); to the artwork of Mogue, who resembles a Scandinavian troll or Earth Spirit with his large nose, obscured eyes and mound of foliage for hair. The colours are fresh blues and greens, depicting the cold environment of its setting, often acting as juxtaposition to the reds and blacks of the evil sorcerer’s spells and manifestations. The juxtaposition between the ‘Prince of the Sun’ hero and the sorcerer of ice and snow likens it to a traditional folktale of summer versus winter with ancient elements such as the warrior; feats of bravery; the bardic element of Hilda and legendary weaponry.
Even with its simple plot of a young hero versus an evil sorcerer, the film is rich with character. This is most notable in Hilda, who struggles with her desire to live forever through the evil power of her brother or to live a mortal, human existence. During a scene where the women of the village are preparing for a wedding, Hilda is affected by the importance they lay upon one day, having no concept of love or living for every moment. Due to her immortality, she cannot see the importance that humans place on the little things in life, such as children playing, making a beautiful piece of craft or celebrating a wedding, as she does not need to live every day as if it is her last. This is beautifully highlighted when the village is attacked by rats and the injured bride requests that her husband take her to their marital home so that she can at least see her final moments as a wife.
Despite its fast paced and dynamic opening scene, many of the action sequences in this film are muted by the fact that they are portrayed through montage. The rats attacking the village, as well as other battle scenes, are shown through a series of stills which jars the flow of the film and disconnects the audience from the action. Although the stills themselves are beautifully drawn, it can seem a shock to a first time watcher when the beautiful flow of the film is interrupted in such a way. The final action sequence, however, is breathtaking. The animation of Grunwald’s ice mammoth, as well as the addition of Mogue to the battle, adds an epic scale to the final scene.
Many of Takahata’s later full-length animations, such as Grave Of The Fireflies, Pom Poko and My Neighbours The Yamadas, deal very much with Japanese life, tradition and folktales. The Little Norse Prince, however, seems to compare more to Miyazaki’s forays into cinema, which take elements from other country’s lore and history to create a world that is essentially his own.
Despite the fact that the animation may seem old fashioned to some, this is a beautifully crafted film with a surprising amount of depth and character. Though it may be perceived as a children’s story, the action and themes are universal and thoroughly entertaining with a mature edge that makes it enjoyable for adults whilst not patronizing children. ANC
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