From the very first scene of Nausicaä we can see that we are in a place of magical beauty. The trees, a windmill and the surroundings are coated in what looks like a spider-web or frozen snow; the flakes are falling around a man riding strange creatures, wearing a mask, looking bird-like. The man breaks down the door, the focus is on the skulls of unknown entities; he picks up a doll which disintegrates in his hand. He says: “Another village destroyed”, and the scene is cut to the image of blue, monstrous flying bugs.
The man concludes: “Let’s go, soon, this will also be consumed in the Sea of Decay”. Two minutes of the film have just passed and we already know a lot about the world we are witnessing, yet we wonder. We are sure that this is not the Earth as we know it, yet it similar to it, just distorted to the point of unresembling beauty. We find out that the Sea of Decay is consuming village after village, but we can only guess what it is. This opening of the film is powerful, gives us some information to ponder upon and wonder about and brings us into the world of decay, but also of stunning beauty.
Soon, we are informed in a caption that: “1,000 years after the collapse of industrial civilization, the Sea of Decay, a swamp exuding toxic vapors, covered an earth strewn with rusting ruins, threatening human survival”. One of the images shown, after we are informed that the legendary Hayao Miyazaki wrote the screenplay and directed the film, presents a giant creature painted in flamboyant colors consuming a town. It is painted in the manner of a child, yet it is impressive. The Giant Warriors are shown with great rods in hands, surrrounded by fire, cities are in ruin. Thus, with the first reference to the element of Fire, we learn how the civilization came to an end. Bearing in mind the Japanese experience in WW2, one cannot escape the notion that this is an allusion to nuclear weapons, in a similar way Godzilla is.
We see a girl with angel’s wings, and cold colors dominating the movie are anticipated. The beginning is highly contrasted with the scene in which Nausicaä flies on a glider and the blue of the sky and sea prevails. This is again contrasted in the next image of a skull of a giant, which symbolizes death contrasted to Nausicaä’s serenity. She is the princess of the Valley of the Wind and has a “mysterious power” (in words of Lord Yupa) to calm and influence giant bugs, Ohms, to return to their forest and cease to be aggressive. The following verses from William Blake’s poem To the Muses can be used to describe Nausicaä:
Whether in Heav’n ye wander fair,
Or the green corners of the Earth,
Or the blue regions of the air
Where the melodious winds have birth
She is cheerful, kind and is embracing all the creatures that surround her (a fox-squirell for example); she is respected and adored by her people. In her father’s room there is the armor of a samurai with spears next to it and this reference to tradition cannot be overlooked. The oracle tells of a person “clothed in blue robes descending onto the golden field to join bonds with the great earth.” Now, the element of Earth is introduced and contrasted to the element of Fire. Later in the film, the oracle says that the creatures (Ohms) “reflect the anger of the earth”.
All the four elements that were important for Japanese mythology, Fire, Earth, Water and Air (i.e. wind) are present in the film. Their prominence was introduced to Japan via Buddhism and Indian vastu shastra philosophy. The oracle says that the ocean wind protects the people of the Valley; thus, Wind is represented as an element that enriches and preserves, along with Water. Fire represented the things that destroy, just as it does in the film.
Nausicaä finishes the oracle’s prediction with following words: “and guide the people to the pure land, at last”. “Pure Land Buddhism”, advocated the belief in the transcendent pure land which is impossible to reach in this world, since the world is necessarily corrupt. Thus, the myth is complete, a person will come to unite the bonds of men with the earth, but also bring them to the land of purity; in one word, he or she will end the corruption of men. Considering the ending, Nausicaä is an optimistic film. Although decay and death are prominent, there is a clear possibility of ending the corruption once and for all.
The idyllic setting is abruptly ended with the scene in which a Tolmekian ship comes and crashes into the cliff. The scene is consumed in blackness (the fifth element, the Void seems to make an appearance) and fire in which the Tolmekian ship burns. Nausicaä offers comfort to the dying Tolmekian princess and consoles her by saying that her cargo is in flames. In this scene, fire is a productive, positive element. It destroyed that which destroys. Valley of the Wind is attacked by the Tolmekians and the king is murdered in his bed. Thus, we see the symbolic fall of the Valley personified in the act of physical destruction of the king, the symbol and holder of sovereignty.
The people of the Valley of the Wind enjoyed their tranquility and freedom due to their geographical position and belevolent rule. The Valley can be compared to Venice, serenissima (the most serene). The republic of Venice existed for a millenium, (just like the Valley), mostly due to its favorable geographical position and good fortune (Machiavelli), until Napoleon conquered it. Political philosopher Brian Barry writes that it was not uncommon in the history of humanity for the more advanced civilizations to be conquered by the less civilized warlike nations.
We learn that the Giant Warrior, whose kind once destroyed civilization, is kept by the Tolmekians. They aim to destroy the toxic jungle (i.e. the Sea of Decay) which consumes what’s left of civilization. The Giant Warrior is a weapon of mass destruction, and both Tolmekians and Pejites are aiming to possess it. They are engaged in an open warfare and throughout the film Nausicaä serves as a mediator between the forces, trying to convince them not to use the Giant Warrior. The Tolmekians and Pejites personify realpolitik, pragmatic approach to international relations which equates power with military force and might and gives prime importance to the interest of the state, which is self-preservation in the first place. Both nations believe that getting hold of weapons of mass destruction (i.e. the Giant Warrior) is the only means to achieve security, both against other nations and the threat that the Sea of Decay poses.
Vigorous lines:
Every one of us relies on water from the wells, because mankind has polluted all the lakes and rivers. But do you know why the well water is pure? It’s because the trees of the wasteland purify it! And you plan to burn the trees down? You must not burn down the toxic jungle!
Nausicaä
Nausicaä finds this out when she falls through quicksand into a place where everything is pure and unpolluted. She says: “The trees of the Sea of Decay grew to cleanse a world polluted by humans. They absorb toxins from the earth, generate pure crystals, die and turn to sand”. She realizes that the Sea of Decay is a self-sustained ecosystem which purifies the water humans can use. Since humans polluted all the water, that is their only chance of survival. Ohms protect the trees and are living in unison with nature. An imbalance in the ecosystem, or even worse, its destruction, would destroy both the nature and human civilization. They live in mutual dependence and humans are not aware of it.
When Nausicaä falls through sand, she uncovers the world as it is beneath appearance. Other humans value only what they perceive, without inquiring into the nature of things; they are prone to solutions they envisage only by observing the surface, not the effective truth of things (veritá effetuale della cosa), in Machiavelli’s words. For him, we should not follow our imagination, but act in accordance with the world as it is. For Tolmekians and Pejites, the truth is obvious – there is a threat and it needs to be destroyed. For them “effective truth of the things” is to gain power to prevail and survive. Today, mankind is living in a world in which security threats are manifold, and policy can no longer be thought out in terms of amassment of power (economic or military power), regardless of threats to security which are created through our neglect of the environment.
