close





























一、動機
 
 「神隱少女」甫在日本各大戲院上映,立即刷下前所未有的驚人票房紀錄,令人難以想像的是,一部以奇幻故事為情節的宮崎駿動畫電影,何足以風靡了無數男女老少的日本人,老少咸宜,究竟其魅力何在,這是引起我們欲深入探討的主因。
 
二、前言
 
 我們在現今瞬息萬變,及科技的日新月異下的世界,情緒被散落了太多東西,而本心也在太多的紛紛擾擾與現實的佐料中被層層的包藏,逐漸的隱匿了其原有的光輝。而堅持理想與朝目標邁進,不可否置是神隱少女中,所帶給大家的感動。而那些因追求物慾而失去自己的本質,在本片所述說的在迷失中找回自我的過程,我們也去找尋了解答。
 
三、故事大綱
 
 一名十歲的平凡少女-千尋和其父母,被捲入人類不能踏入的世界,為了拯救忘記自己人類身分而變成動物的父母,千尋原先沉睡的求生力量,終於被喚醒,在錢婆婆的溫泉旅館工作的同時,她也意外的重新發現自己生命的可能性,以及體驗了更深刻的愛與被愛。
  肆● 正文    





























一、「神隱」的涵義
 
 「神隱」是指小孩為山神或天狗帶走,而神秘失蹤。(註一)而千尋是屬於失蹤後平安歸來,仍留有神隱時的記憶(沒有被鬼神消除)的情況。(註二)
 
二、人物臉譜
 
 







































01.荻野千尋
 
 平凡富裕的生活已把她與生俱來的天賦潛能給丟懶了,使她失去了自信和原始生存力量,也失去了自我存在價值,總是毫無生氣。原先帶有一點的冷漠與依賴,在故事的起始有著一雙對世界淡漠的眼睛,和在搬家時悶悶不樂的神情,還有對父母的處處依賴。在闖入神靈聚集的人類禁地後,千尋在這逆境中發揮求生適應力,慢慢的建立起無比的勇氣,甚至變得堅強起來。而千尋在這趟可謂是生命的修練之旅中,她學會如何付出,如何去愛,悟得了在施予時的那種個人存在感。
 
02.白龍(琥珀川)
 
 一個本質善良,溫柔的男孩,「琥珀川」因為人類開發城鎮,把它填平蓋房子,白龍無處可去,在投奔湯婆婆學習魔法的時候,連自己的名字也被湯婆婆收走。因為失去了名字,所以他找不到回去的路,在與千尋互相扶持與幫助的過程中,白龍終於想起自己的名字。
 
03.湯婆婆與錢婆婆
 
 雙胞胎姊妹,卻有截然不同的性格,湯婆婆是迷戀金錢的溫泉經營者,對自己的子女放縱不加管制,是個失格的母親,肆意揮霍,性格宛如小兒缺乏思考理性。而錢婆婆住在簡樸的小屋中,說:「用魔法織東西始終比不上大家用線一針一針織」,(註三)反映出魔法相對於現代的發達科技,縱使便利,卻破壞了我們週遭的環境。姊妹鬩牆不只直接幫助了千尋,也間接幫了湯婆婆的「小少爺」一把。
 
04.無面男
 
 意味深長的一個角色,初登場下半身是半透明化,不能發聲,需借被吞掉的人的聲音,才能與人溝通,卻遭污染,下半身也開始具體化,性格也暴戾了起來,是喪失自我,缺乏自信心的可悲人物。因為內心充斥著寂寞,又無處表達,只好藉由金錢或討好他人,博取別人的喜愛。
 
三、內容主題
 
 















































































01.一直記得你的名字──拋開迷惘、真實的自己
 
 每個人都會迷惘,也難免困惑。「當我們走在真理之路上時,我們必須時時提醒自己,真正重要的東西在心裡,因為我們心中的東西是最珍貴的寶藏。」(註四)一旦記起了原來的名字,就能變得坦然,毫無畏懼。而深愛的人,曾在我們心中有著一定份量的人,也一定能在我們迷失的時候,替我們指出,我們本來的樣子,我們原來的名字。千尋能重新找回了自己的「生命力」,正是因為她了悟了「要讓自己找到本來的自己」。原來的名字象徵原(本)我,而這個世界就是個大舞台,人們各自扮演好自己的角色。若忘了自己的名字,等於忘了所扮演的角色,喪失了真實與自己,無臉男是個好例子,迷失了方向與自我,一直在舞台上徘徊。或一味地受別人影響,附和、挪用他人的觀念,這也是等於放棄了真實自我。因此好好珍惜自己的名字,真實的作自己,就是我們坦然的以自己這個個體存在於世上的最好憑據。
 
02.自主性與主體性的培養
 
 千尋的性格隨著在溫泉旅館工作時的磨練,逐漸趨向更獨立自主的人格,換句說就是在做中學,工作中成長的意思是一樣的,所謂的「自主性」,簡單說來就是「做自己認為正確的事情」、「清楚的說出自己的意見」,(註五)當她面對湯婆婆的威嚇時,能夠無畏的表明自己想要留下來工作的意願;在無臉男的物質和金錢利誘下,還是能夠堅決的說不。更直接了當的說,「自主性」即是「獨立而不受他人的保護及干涉」,在辭典中則被解釋為「自己主宰自己」。自主性多半是使用於以思考和判斷為主。自主性和自立相較之下,帶有更多他律型行動的意味,並且與不合常理的,反社會的自我性也有所區別。(註六)和自主性意思相近的「主體性」,則主要是使用於與行為有關的時候,意指擁有實踐性的個性,內心蘊含自主性的態度或是積極性。就像片中的千尋,當白龍深負重傷,情況危急的那千鈞一髮,她並不是只枯坐在原地傷心悲哀,束手無策的坐以待斃,而是前往去見錢婆婆,明知道危險,但還是勇敢的出發。
 
03.關於貪婪
 
 從千尋父母親的貪吃,千尋解救河神後留下許多的金子,無臉男挑起與運用的也是人類的貪念,只有無所求的時候才不會被控制或是被利用,青蛙為了得到金子,被無臉男吃掉,接著全湯屋的人為了得到金子,不斷的奉出美味的食物來取悅無臉男。反應出在現代的社會中,大部分的人是貪婪、好逸惡勞的。而一切的罪惡之源都始之於貪婪。
 
04.對自然環境的省思
 
 片中提到,日本泡沫經濟之後各地有很多這種荒廢的小鎮。而當工業的重心轉移、甚至跳脫出工業主流後,為了追逐更豐碩的利益,人們遷離家鄉、轉移到更大的城市去,徒留荒蕪的小鎮與陳舊的遺跡被遺置在被人們拋棄的一隅。我們為了更便捷的生活,更是肆意的摧殘我們所處的世界,卻鮮少有人會回頭再去俯視孕育我們的大地,本片藉由河神變成腐爛神的情節,向身為破壞自然界的罪魁禍首的我們,提出嚴厲的抗訴。今日的地球環境正在急遽惡化中,人類所建立起來的文明社會,確實為地球寶貴的自然環境與生物帶來無可彌補的傷害。
 
05.自我評價對一個人的影響
 
 無臉男是最好的例子,對自己評價低,缺乏自信心的人,往往會不擇手段地想要提高他人對自己的評價。而對於自我評價很高的人來說,他人對自己的評價便不是那麼的重要了。無臉男以為只要用利益交換,就可以得到他人的尊敬和重視,但是這招在千尋身上卻完全行不通,他於是深深的被激怒了,在現今的社會當中,也有不少這種人的存在,以為友情和愛情,都是可以交換買賣的,如同「援助交際」、「越南新娘」在我們日常生活當中都是層出不窮的事情。最後真正能夠解救無臉男的人,其實還是他自己,願意留在錢婆婆的身邊工作,是的,必須斬釘截鐵的和墮落的生活斷絕關係,改變自己對自己的看法。相信自己,秉持著自信,而世界才會因而改變。
 
06.從遇合中學習──成長
 
 人與人之間的相遇,常常能夠使人奮發圖強,改頭換面。千尋,正因為誤闖了神明的世界,而和許多非現實世界的人物相遇、相知、相交,在完全被動的窘境裏爆發出生命無可抗拒的生存意願,人類無限的可能性在這裏體現的淋漓盡致。湯婆婆的嬰兒,原本也只是一個驕縱狂妄的小孩,卻因為因緣際會遇見了千尋,才能跟隨著千尋的帶領,看到外面遼闊的天空,而不是一輩子如同溫室花朵般的躲在湯婆婆為他準備的嬰兒房裡。人類往往藉由和彼此的相遇和相處,來磨練與生俱來的素質,並且使自己更上一層樓。人的品行或是道德,也可以說是透過這種遇合所造就出來的,就連希臘的蘇格拉底是西洋的先賢之一,他也是以和人進行問答的方式,讓對方體悟到自己的無知,並從這種的深處悟出靈魂之美究竟為何的智慧。在重重的考驗中,千尋所體認到的,正是為了他人而做一件事。對於生來就只知索取而不知付出為何物的千尋,這次如夢一般的經歷也許會成為最不容易被忘懷的事情也說不一定,至少她已獲得全新的成長。
 
07.被遺忘的記憶
 
 忘記也許亦是人的本相,正如白龍忘記自己的名字、人忘記與大自然是唇齒相依、人忘記求生的本能,「曾經的發生過的事不可能忘記,只是想不起來。」(註七)記憶是有選擇性的東西;我們經歷過的事被埋藏在深邃的記憶窟窿,因為時間歷歲久遠,所以蒙上一層灰塵,被動的待在記憶的僻靜一角裡陳封為往事,它們並不會因為不被找出來而遭到銷毀。而人最珍貴的東西就是自己的過去,因為那形成了自己的人格。
 
08.重新回歸──找回我們的安身之所
 
 千尋說:「你從哪裡來的?你最好回去你的地方。」(註八)無臉男迷失了自我,當她感受到千尋的關懷時,他終於把自己從孤獨中釋放出來,在錢婆婆的小屋找到了自己的安身之所。在千尋坐上公車的旅程中,她已成長了不少,而這趟旅程只是心靈澄淨的一個儀式而已,在那裡是和油屋天南地北的光景。沒有魔法的紙醉金迷,卻有滿溢的樸實人情;在油屋工作需要簽上契約,而在小屋中憑藉的是互助互信基礎上。別讓貪婪操縱我們的心,用愛與關懷面對我們的人生。


  伍● 結論     活在現代的人們,失去了什麼,忘了什麼?繁忙的都市生活導致我們失去了最應該被重視珍惜的一些寶物,許多人都因為追求物慾而失去自己的本質,「神隱少女」是在說一段在迷失中找回自我的過程。我們已經遺忘了太多東西,我們要如何重新拾回那些曾對我們而言曾是珍貴的記憶?我們是不是該重新回歸以孩子那樣純真的眼光再度重新的省視這個世界?

現今社會物欲橫流,失去了昔日承托社會的核心道德價值,犯罪、偷竊、欺詐層出不窮,現今青少年問題也日趨嚴重,最主要的原因是世界已缺乏關懷,而人們也失去了去相信事物的勇氣。歸正反本是我們的要務,重拾健康之種子改善我們這個世界,就先從關懷與付出做起吧。
 

 





, a 10-year-old girl in the midst of a move to the suburbs with her parents, wanders into a mysterious town. It's the "other world" of gods and monsters, ruled over by a witch. There, humans are changed into animals and disappear. Chihiro, who has a listless disposition, must start working at a huge bath house to survive. Can she return to her own world?

This film is an adventure story, although the characters neither swing weapons around, nor use supernatural powers in battle. It is an adventure story, but its theme is not a confrontation between good and evil. It will be a story of a girl who was thrown into a world where both good and evil exist. She gets trained, learns about friendship and devotion, and survives by using her wisdom. She finds her way out, dodges, and comes back to her old daily life for the time being. However, it is not because evil was destroyed -- just as the world does not disappear, (evil does not disappear). It is because she gained the power to live. Today, the world has become ambigous; but even though it is ambiguous, the world is encroaching and trying to consume (everything). It is the main theme of this film to describe such a world clearly in the form of a fantasy.

Being enclosed, protected, and kept away (from dangers), children cannot help but enlarge their fragile egos in their daily lives where they feel their lives as something dim. Chihiro's skinny limbs and sullen face, which indicate she would not be amused so easily, are a symbol of that. Still, when reality becomes clear and she finds herself in a crisis, her adaptability and endurance will well up within her. She would find an existence in which she can bravely decide and act within herself.

Certainly, many people might simply panic and sink down to the ground. But such people would vanish or quickly be eaten in the situation Chihiro faced. Chihiro is a heroine, because of her power not to let herself be eaten up. She is a heroine, (but) not because she is beautiful or because she has a matchless heart. This is the merit of this film, and this is why it is a film for 10 year old girls.

A word has power. In the world into which Chihiro has wandered, to say a word out of one's mouth has a grave importance. At Yuya, which is ruled by Yu-baaba, if Chihiro says one word like "No" or "I wanna go home," the witch would quickly throw Chihiro out. She would have no choice but to keep aimlessly wandering until she vanishes, or is changed into a chicken to keep laying eggs until she is eaten. In turn, if Chihiro says "I will work here," even the witch cannot ignore her. Today, words are considered very lightly, as something like bubbles. It is just a reflection of reality being empty. It is still true that a word has power. It's just that the world is filled with empty and powerless words.

The act of depriving (a person) of one's name is not just changing how one (person) calls the other. It is a way to rule the other (person) completely. Sen becomes horrified when she realizes that she is losing the memory of her name, Chihiro. And every time she visits her parents at the pigsty, she becomes (more) accustomed to her parents as pigs. In the world of Yu-baaba, you should always live in the danger of being eaten up.

In this difficult world, Chihiro becomes lively. The sullen, listless character would have a surprisingly attractive expression in the end of the film. The essence of the world has not changed a bit. This film will persuade one of the fact that a word is one's will, oneself, and one's power.

It is also the reason why we make a fantasy that takes place in Japan. Even though it is a fairytale, I do not want make it a Western one in which we can find many ways out. This film will probably be looked at as one of those run-of-the-mill other-world stories. But I'd like you to consider is as a direct descendant of "Suzume no Oyado (Sparrows' House)" and "Nezumi no Goten (The Palace of Mice)" in the Japanese folktales. Although they did not use such a phrase as "parallel world," our ancestors have blundered at Sparrows' House or enjoyed a party at The Palace of Mice.

The reason why I made the world of Yu-baaba pseudo-Western is because it is a world filled with Japanese traditional designs, as well as to make it ambiguous whether it is a dream or reality. We just don't know how rich and unique our folk world - from stories, folklore, events, designs, gods to magic - is. Certainly, Kachikachi Yama and Momotaro have lost their power of persuasion. But it is poor imagination to put all the traditional things into a snug folk-like world. Children are losing their roots, being surrounded by high technology and cheap industrial goods. We have to tell them how rich a tradition we have.

By combining traditional designs with a modern story, and putting them in as pieces of colorful mosaic, (I think) the world in the film will have a fresh persuasion. At the same time, (we must) recognize again that we are inhabitants of this island country.

In an era of no borders, people who do not have a place to stand will be treated unseriously. A place is the past and history. A person with no history, a people who have forgotten their past, will vanish like snow, or be turned into chickens to keep laying eggs until they are eaten.

I would like to make it a film in which 10 year old girls can find their true wishes.

Hayao Miyazaki

 


n the movie, Chihiro Ogino is a little girl who is moving to a new town with her parents, Akio and Yuko. She is clearly unhappy about the move and appears rather petulant. They lose their way and come across a tunnel, which they enter out of curiosity, unaware that it actually provides access into a spirit world—specifically, to a spirit bathhouse, in which spirits of the Shinto religion go to rest and relax.


The family enters what is apparently an abandoned theme park populated exclusively by restaurants, and Chihiro's parents, finding a place to eat, immediately help themselves to a meal. Chihiro is uneasy and hesitates outside, watching her parents eat voraciously. When they offer her some food, she refuses and runs off to explore more of the place by herself. She comes to a grand-looking bathhouse and approaches a bridge leading up to it. Suddenly, a mysterious boy named Haku appears on the bridge and warns Chihiro that she must leave before it gets dark. Just then the sky darkens and the lamps of the bathhouse light up. Haku creates a magical diversion and tells Chihiro to get across the river. Chihiro then runs back to the restaurant where her parents are still eating and discovers to her horror that they have been transformed into large pigs. Terrified, Chihiro screams and runs off in attempt to find the tunnel back to her parents' car. As she runs, ghostly spirits and shadows appear in the previously-deserted theme park and frighten Chihiro even more. However, she is stopped from going back to the tunnel by a ocean, which has replaced the grassy plain she originally crossed with her parents to get to the park.


When Chihiro's distress at losing her parents is compounded by discovering that she's turning transparent, Haku finds her and comforts her, giving her something to eat from the spirit world so that she does not vanish. He somehow knows her name without being told and helps her sneak into the bathhouse, which is managed by Yubaba the witch. He tells her that the only way she can safely remain long enough to rescue her parents is to find work in the spirits' bathhouse.


Chihiro follows Haku's advice, descending to the boiler room where she asks the human-looking, six-armed boilerman, Kamaji, for work. He rebuffs her, until one of the coal-carrying sprites (reminiscent of My Neighbor Totoro's soot sprites) collapses under an extra-heavy lump of coal. Chihiro picks up the coal and feeds the boiler, despite the fact that she can barely carry the fantastically heavy coal. Kamaji warms towards the girl and assists her in getting a job in the bathhouse by enlisting the help of a young woman named Lin (Rin) to take the girl to Yubaba on the top floor so that she can ask the witch for work. Lin helps Chihiro find her way through the labyrinthine palace undetected, diverting a fellow servant while Chihiro squeezes into an elevator behind a grotesque but benign radish spirit (daikon kami).


Upon arriving at Yubaba's penthouse suite, Chihiro discovers her to be a regal but monstrous lady, who dotes on an equally monstrous (and unfeasibly large) baby. Chihiro repeatedly and stubbornly asks for a job, and finally Yubaba consents, on condition that she give up her name. Yubaba expresses regret for having taken an oath to give a job to whoever asked for one. Yubaba literally takes possession of Chihiro's name, grasping the kanji from the contract in her hand and leaving Chihiro only one piece of her original 2-character name on the contract, in isolation pronounced "Sen".[8] Sen is assigned to be Lin's assistant, since she is unwanted in most other areas of the bathhouse.


The next morning, Haku shows Sen where her parents are being kept (along with scores of other pigs). Outside, Haku gives Sen her old clothes and the card from her farewell bouquet of flowers at the beginning of the film. Reading the card, she remembers her name. Haku warns her that Yubaba controls people by stealing their names; once they forget their names, as Haku forgot his, they belong to her.



 

Chihiro and No Face.

While at work, Sen has a difficult time adjusting to the work regime but wins respect by dealing with a difficult customer, a slimy "stink spirit" whom she discovers is actually a heavily polluted yet powerful river god. The river god rewards her with an herbal cake ball, or medicine ball, which acts as an emetic. Sen succeeds only with the help of a somewhat monstrous spirit called No Face, who is attracted to her because she was kind to him, unwittingly allowing him to enter the bathhouse against policy. The bathhouse seems to bring out the worst in No Face. Able to produce gold out of thin air, he feeds off of the greed of the bathhouse's employees. Eventually he goes out of control and begins eating everything in sight, including three staff members. While No Face is keeping everyone busy, Haku returns to the bathhouse in the form of a dragon, but he is in trouble as he is being pursued and attacked by a large flock of enchanted kirigami birds. Badly injured, he makes his way to Yubaba's quarters. Recognizing him despite his dragon form, Sen goes to find him but is secretly followed by one of the paper birds.


While looking for Haku, Sen encounters Yubaba's giant baby boy, Boh, who wants to play with her. She manages to get away from him to see one of Yubaba's servants, three disembodied heads called Kashira, trying to push the dying Haku down a shaft. The paper object that followed Sen transforms into a mirage of Zeniba, Yubaba's twin sister, who was chasing Haku because he had stolen her gold seal. The seal has a spell on it so that whoever steals it will die. Zeniba transforms the baby into a little mouse-like creature because he makes too much noise, and Yubaba's hawk-like lieutenant into a tiny bird-creature. She then transforms Kashira into a clone of Boh to fool Yubaba. Haku cuts Zeniba's paper puppet in two with his tail, causing her image to split and disappear. He then tumbles down the shaft, taking Sen with him, but they land safely in Kamaji's boiler room.


Sen manages to feed Haku a piece of the River God's herbal cake, causing him to spit out the stolen seal. The seal has a black slug on it which Sen squashes with her foot. Resolving to help the unconscious Haku by returning Zeniba's seal and apologizing on his behalf, Sen first returns to the bathhouse to deal with the out-of-control No Face. She feeds him the remaining herbal cake, causing him to regurgitate the food and three bathhouse workers he has eaten. His pathological gluttony is cured once he follows her outside. Using a train ticket from Kamaji, Sen takes a train to where Zeniba lives, accompanied by No Face and Boh (who shares a mutually helpful relationship with the tiny bird creature).


Haku later recovers from his wounds. When Yubaba finds out that her baby is missing she is furious. Haku manages to make a deal: he will get the baby back and, in return, Yubaba must set free Sen and her parents. (The plots of the Japanese- and English-language versions differ slightly here: in the original, Yubaba and Haku talk about what's necessary to break the spell on her parents.) At Zeniba's simple cottage, it is revealed that the black slug Sen squished was put in Haku by Yubaba. The slug was how Yubaba controlled Haku. Zeniba states that the only way the spell on her seal can be broken is by love (Haku's illness in the boiler room was the spell of the seal, and Chihiro's love actually breaks the spell).


Haku, again a dragon, finds Sen at Zeniba's cottage. Zeniba forgives him for stealing her seal and takes No Face in as a helper before seeing Chihiro off. The two of them fly back to the bathhouse. While riding on Haku's back, Chihiro remembers that she and Haku met before: when she was young, she fell into a river and somehow got carried to shallow water. She was actually saved by Haku, who was the river spirit of the Kohaku River, near which Chihiro used to live but which has since been drained to make room for construction. Upon remembering this, Chihiro tells him that his name is 'Kohaku River'; as a result, Haku is free from the control of Yubaba. At the bathhouse, Chihiro has to perform one last task to free her parents: she has to pick them out from a group of pigs. Emboldened with her newfound courage, Chihiro firmly accepts the challenge and correctly answers that none of the pigs are her parents. As a result, she and her parents are set free and return to the human world, after Haku promises her that they will meet again one day. Chihiro is considerably more grown up from her experiences.


When they return to the human world, the viewer can see that some time has passed, as Chihiro's parents' car has many fallen leaves covering it. Her parents have no recollection whatsoever of the incident. There is proof that the "spiriting away" really did happen though, because of the leaves, and a glittering hair tie on Chihiro's head, which was given to her by Zeniba.



[edit] Characters



Chihiro Ogino/Sen (荻野 千尋 Ogino Chihiro?) 
Chihiro is the 10-year old protagonist of the movie. Chihiro is in the process of moving to a new town when her family stumbles upon the entrance to the bathhouse. During her adventure she matures from a whiny, self-centered, and pessimistic child to a hard-working, helpful, optimistic young girl. She is re-named "Sen" ( sen?, lit. "a thousand") by the proprietor of the bathhouse, Yubaba. Note that in Japanese orthography, the character for "Sen" is one of the kanji of her true name, "Chihiro".
Voiced by: Rumi Hiiragi (Japanese), Daveigh Chase (English)

Akio Ogino (荻野 明夫 Ogino Akio?) 
Chihiro's father. Akio's impulsive behaviour catalyzes the unfolding of events in the beginning of the movie.
Voiced by: Takashi Naito (Japanese), Michael Chiklis (English)

Yuuko Ogino (荻野 悠子 Ogino Yūko?) 
Chihiro's mother who is turned into a pig, at the start of the movie.
Voiced by: Yasuko Sawaguchi (Japanese), Lauren Holly (English)

 

Haku creating a distraction to protect Chihiro.


Haku (Spirited Away) (Haku/Nigihayami Kohakunushi ハク?, Haku, lit. "white") 
A young boy who helps Chihiro after her parents have transformed into pigs. He helps prevent her from becoming a spirit and gives her advice on getting work at the bathhouse in order to survive to see her parents again. Haku works as Yubaba's direct subordinate, often running errands and performing missions for her. He has the ability to fly and become a dragon. Toward the end of the story Chihiro recalls falling into the Kohaku (コハク?) river, of which Haku is the spirit, and she thus frees him from Yubaba's service by helping him remember his real name. While he seems often cold, and is not terribly popular with the bathhouse staff, Haku is unfailingly kind to Chihiro, perhaps because of his experience with her in the past. (He remembers her name, though not his own.) Haku is probably only cold to Chihiro at certain times because he knew Yubaba was watching him and that they both could be punished if she knew that he helped Chihiro get into the bathhouse, or even that Chihiro might remember Haku (as he recognized her from the start) and remind him of his real name. Yubaba seems to care about Haku only as a magical errand boy: when he is dying in her quarters because of the seal she ordered him to steal, she is mostly concerned about getting rid of the body before he bleeds on more of the carpet.
Voiced by: Miyu Irino (Japanese), Jason Marsden (English)

Yubaba (湯婆婆 Yubaaba?, lit. "bath crone") 
An old sorceress with an unnaturally large head and nose who runs the bathhouse. She also appears to be extremely intuitive. She reluctantly signs Chihiro into a contract, taking her name and re-naming her "Sen" in order to hold power over her for the duration of the contract. Yubaba has an over-bearing and authoritarian personality, but she does show a soft side through her love for her giant baby, Boh. In contrast to her simple and hospitable sister, Yubaba lives in opulent quarters and is only interested in taking care of guests for money. Though she is very intuitive (she senses the approach of No Face and realizes that the River God is not a stink spirit as he appears), she doesn't notice that her own baby is gone. When Haku prompts her by telling her that something she values is missing, her first reaction is to scrutinize the gold.Her name is similar to that of another legendary witch, Baba Yaga.
Voiced by: Mari Natsuki (Japanese), Suzanne Pleshette (English), Nina Hagen (German)

Kashira (カシラ?) 
A trio of heads living in Yubaba's office that move around by bouncing. They do not speak except in small grunts when they bounce about. They are later changed into an illusion of Boh by Zeniba in order to trick Yubaba.

Kamaji (釜爺? lit. "boiler old man") 
An old man with six arms who runs the boiler room of the bathhouse. A number of Susuwatari (ススワタリ?) (Soot balls) work for him, by carrying coal into his furnace. Also, he has a large cabinet where he keeps all the herbs that are used in the baths. After some persuasion, he allows Chihiro to work at the bathhouse and even pretends to be her grandfather to protect her. He also takes an injured Haku into his boiler room and cares for him, while Chihiro, given train tickets by Kamaji, journeys to Zeniba's cottage.
Voiced by: Bunta Sugawara (Japanese), David Ogden Stiers (English)

Lin (リン Rin?) 
A worker at the bathhouse who becomes Chihiro's caretaker. Although cold at first, she warms up to Chihiro and grows a strong bond with her. She warns No Face, who had previously gone on a rampage, not to harm Chihiro or there would be trouble. At the end, she is very happy for Chihiro when she finally manages to find her way home.
Voiced by: Yumi Tamai (Japanese), Susan Egan (English)

No Face (カオナシ Kaonashi?) 
No Face is an odd spirit that takes an interest in Chihiro. Chihiro lets No Face into the bathhouse through a side door. At first he is a strange cloaked and masked shadowy thing that merely breathes and smiles.
No Face is a lonely being who seems to feed on the emotions of those he encounters. He is helpful to Chihiro since she helped him. After observing the bathhouse staff's reaction to gold and attempting to win them over with more gold, he reacts to their greed by becoming a grotesque monster and eating lots of food and some of the staff. He calms down and reverts back to normal after he leaves the bathhouse's influence, and at the end he stays with Zeniba as a helper. No Face's mask, movement and name share many similarities with the Japanese Noh theater. He also assumes the voice(s) and personality of those he "eats".
Voiced by: Tatsuya Gashuin (Japanese), Bob Bergen (English)

River God (川の神 kawa no kami?) 
A customer of the bathhouse originally thought to be a "stink spirit" who is assigned to Chihiro and Lin. Yubaba suspects that he may be something more than a stink spirit, and when Chihiro helps him by pulling trash that had been dumped into his river out of his side, her suspicions are proven correct. He is in fact a famous and wealthy river god. As a reward, he gives Chihiro a ball of plant material which we are told by Kamaji, in the English-subtitled version, is a "healing cake." In the English dubbed version he just states that it is medicine from the river god. The "healing cake" is later used to heal an injured Haku through ingestion and to cause No Face to vomit the people and vast amounts of food he ate during his rampage.

Boh ( ?) 
Boh is Yubaba's son. Although he has the appearance of a young baby, he is twice Yubaba's size. Yubaba spoils him and goes out of her way to give him whatever he wants. He believes that going outside will make him ill; Sen tells him staying in his room all that time will make him sick. Later, Zeniba turns him into a mouse. Though the spell wears off, Boh stays as a mouse simply because he doesn't want to change back. He becomes good friends with Chihiro while in his mouse form and eventually stands up to Yubaba to protect Chihiro. Boh tells Yubaba he had a good time when he was with Chihiro. His little adventure may be seen as an analogy to Chihiro's adventures and growing up. This idea suggests that Boh is so overgrown because he has never really matured under Yubaba's doting care.
Voiced by: Ryunosuke Kamiki (Japanese), Tara Strong (English)
Note: Elements of Ryunosuke Kamiki's voice can be heard in the English language version (i.e.: when Boh cries during the scene where Chihiro/Sen gets her contract.).

Zeniba (銭婆 Zeniba?, zeni can refer to both money and public baths, making her name a play on Yubaba's) 
Zeniba is Yubaba's twin sister and rival. Although identical in appearance, their
arrow
arrow
    全站熱搜
    創作者介紹
    創作者 yogano1168 的頭像
    yogano1168

    真善美

    yogano1168 發表在 痞客邦 留言(0) 人氣()