One of the most memorable characters in The 2001 film "Spirited Away" is not a person. It is expressed by Akio Nakamura in the original version and Bob Bergen in English oak, though the character does not speak much; It lasts the most and lurking, going back and forth between nasty and sad. In a film filled with strange creatures with bizarre traits and ambiguous morality, without a person stands above the rest of the memories of most viewers. He is the one that is most important in all trade products and covers the most difficult speculation about his intentions.

At the literal level of plot, the story of "non-person" is clear. He is a lonely spirit that our protagonist Chihiro leaves in the bathroom, not knowing that he should not. No person looks obsessed with Chihiro and turns into a comprehensive monster in his apparent search to get closer to it. However, he has never been shown as a completely villain; Chihiro leaves progress with relative ease, admits that his mind is poisoned by everything that is eaten and accidentally allows him to accompany him on the train to the House of Witch Zeniba. Then, who has no person finds his goal, revealing that he is good at knitting. In the end, Chihiro leaves him behind Zeniba, and has a zero angle or conflict between the two characters.

This resolution of the NO-FACE story can be felt anti-climactic, at least from a more traditional perspective on a Hollywood plot conspiracy. But the way he does not face a person as a threat somehow feels true to life here, or at least exactly the story that "ghosts" wants to say.

In Interview of 2024Miyazaki offered his taking a person. "There are many people like without a person in our midst," he said. "He is the type of person who wants to conclude to others, but there is no sense of himself. They are everywhere."

It is an explanation that fits nicely into the rest of the film. Perhaps no person is locked up on Chihiro so hard because when he first sees her, she is in a similar place like him. Chihiro in that first act of "witty" is someone who has no sense of herself, to the extent that she directly taken her name taken away from her. Chihiro spends his first third in a struggle to find his place in this strange spirit world. She is not trying to actively find her sense of herself, but looking to save her parents, she finds it anyway.

It is easy to paint without a person as it was originally intrigued by Chihiro as a colleague lost soul, just to grow obsessed by seeing Chihiro entering her work in the bathroom. While no person is still alone and externally, Chihiro finds a sense of confidence and community in the bathroom at a surprising speed. Maybe that is why no person starts eating people and taking their personalities; He tries to find a shortcut to what Chihiro has earned, finding friends not through serious hard work, but by copying people's people and throwing money to people. No person in the end finds a similar sense of himself with what Chihiro has found before, but he needs much longer to get there.

It is noticeable that, even after 20 years of no face fan speculation, Miyazaki hesitated to fully offer his image. And, even when he did so, it was a short and indefinite explanation. Miyazaki may think he is not a person as an image of outsiders who lacks a sense of himself, but he seems to want to force that interpretation on viewers.

The beauty of "Direviti away", Similar to the beauty of all Miyazaki moviesis that there is enough room for viewers to strengthen their mind about what they have seen. There are not many lectures on what lessons we need to take away, nor does any of the characters Chihiro meets fits nicely into any kind of hero/villain dichotomy. "Spirited Away" trusts its viewers of all ages to accept their imagination and come to their conclusions, access that many modern American animated films (including Some of the American films at Gibbla Studio) can learn from.

When it comes to what the person does not represent, it really depends on you. He can be a metaphor for addiction, a A metaphor for capitalism is wild wilda Metaphor for incisionsAnd so on. Miyazaki has its interpretation, but do not let it prevent you from getting out with your own.