If you have recently read the news about a certain streaming platforms acquisition of various Studio Ghibli films, then you should have a lot to get excited about.

The ability to watch such celebrated classics as Princess Mononoke, Howl’s Moving Castle and Spirited Away across many different devices, in a way that makes them easily accessible to everyone, is big news. No matter how experienced they are with the films and Japanese animation in general, many viewers are sure to be settling down in front of the TV for the start of a three month Ghibli marathon come February 1st - but why wait until then?

Hayao Miyazaki, the mastermind behind many of Studio Ghibli’s works, wrote and directed his first feature length film way back in 1979. This film, named The Castle of Cagliostro, was created six years before Studio Ghibli was officially formed - however many of the talented artists and members of the production team would eventually go on to be a part of the studio alongside Miyazaki.

Cagliostro, the second theatrical Lupin III release, was familiar ground for Miyazaki. After having previously worked on the Lupin III TV series (circa 1971 - 1972), he had experience adapting Kazuhiko Katō’s original manga series for television. Alongside Isao Takahata, he helped shape the characters into interpretations of their original selves that fell popular with a wider audience.

A young Miyazaki and Takahata - both would have been in their 20’s when working on Lupin III. — A young Miyazaki and Takahata - both would have been in their 20’s when working on *Lupin III.*

Experienced as he was with Lupin, this was however to be his first feature length film, his first big break - and he smashed it.

Whether this is your first foray into the Lupin franchise, are already familiar but have not gotten around to seeing it, or even if this would be your five hundredth viewing - you should watch The Castle of Cagliostro and this is why.

Cagliostro tells the tale of a more experienced Lupin, as he returns to a kingdom once visited in his youth. Unlike Miyazaki, green but big eyed and eager to impress with his first feature length film as a director, our star thief is nostalgic for the past as he explores the now vacant castle grounds.

As he slowly wanders around the ruins with nothing but the sound of birdsong to accompany him, a sense of comfort sets in. Peaceful establishing shots of the surrounding area help to set the scene, with gorgeous background artwork on display that undoubtedly stands the test of time.

While still filled with action, mild peril and all of the typical humour the series has become so well known for, there is a sense of calm to scenes like this one. This a common theme throughout the film, and it helps to set it apart from other works in the series. It is sort like the movie equivalent of wrapping yourself up in a nice, soft blanket on a cold winters evening and sipping on a cup of piping hot tea.

It is that special something only a Hayao Miyazaki film could achieve.

The transitions in and out of these more tranquil moments are also beautifully done.

Ahead of the famous car chase sequence, well known for its high octane action, stellar animation work and death defying physics, Lupin and his right hand man Jigen are parked up beside a large open field. The pair, brought to a halt by a flat tire, play a game of Janken (Rock, Paper, Scissors) to help decide who does the manual labour and changes the wheel. Lupin wins, obviously, and a reluctant Jigen lumbers out of the vehicle to meet his fate.

As Lupin kicks back atop the tiny Fiat 500 and takes a deep breath, this quiet moment is left behind by the sound of an approaching car engine. Enter Clarisse de Cagliostro, the kingdom’s princess and films lead female role, speeding down the road with a bunch of castle goons on her tail. As the engine noises fade into the distance, Lupin and Jigen both look at each other in amazement. Their eyes widen and smiles form on their faces, as if without saying a word, these two old friends both know exactly what is going to happen next.

The duo immediatly spring into action.

Jigen whacks the replacement wheel quickly onto the car, while Lupin jumps back inside and begins rapidly pulling a series of levers and knobs. This is heavy contrast to the moment of rest a less than sixty seconds ago, with the once at ease characters now moving full pelt. The trunk of the car flings open with a quick, sharp movement, to reveal a tiny yet powerful rear engine sitting inside - and by the skin of his teeth, Jigen is back in the vehicle. Boom, they’re off - flung onto the road immediatly at top speed thanks to the super powered engine, the tiny fiat is skidding and bouncing, desperate to remain on the tarmac. Cue Yuji Ohno’s classic theme tune, a big band jazz number that really starts the car chase off with a bang.

What unfolds can only be described as one of the greatest car chase sequences in cinema history. Hairs begin to stand up on the back of your neck as the two quickly enter hot pursuit.

“Who are we chasing?”, a curious Jigen asks. “The girl, of course!” Lupin replies. “Oh, that figures…”, his partner replies in a gruff tone. Lupin is leaning so far forards he is practically sitting on top of the dashboard as they rocket away to the aid of the princess - he is desperate to meet and impress his damsel in distress.

The story behind the usage of the two main vehicles used in this chase is an interesting one, as under Miyazaki’s direction, animators were asked to feature their own cars in the film. This request was made to help allow them to add a unique attention to detail; if animators drew the car they were to drive to and from work in every day, they would have well observed the ins and outs of the vehicle. This theory, put into practice alongside referring to the cars user manuals for additional reference, made it possible to draw high quality versions of the Fiat 500 and Citroen 2CV (the car driven by Hayao Miyazaki himself at the time), by hand.

It is a sight to behold. The cars bounce around on the road, with Lupin and Jigen at one point scaling up a vertical roadside bank to take a quick shortcut (a snippet often parodied by other Japanese animations thereafter). The Lupin series had been well known for including exciting car chases in the past, but this was a big moment and set a standard going forwards for the next forty years.

It is clear, then, that Miyazaki was at the absolute top of his game from the get-go with Cagliostro.

Despite building up off of an existing franchise, the film contains a standalone story that can be enjoyed by newcomers and series veterans alike. The narrative feels tight, with a satisfying opening and ending that does well to lead into the rest of the series. Lupin is charismatic, funny, but also at times rather melancholic and serious. Miyazaki’s take on him is a balanced version of an already well established character - one that he himself helped form during his work on the original TV series.

In comparison to the 1978 Lupin film that came before it, The Mystery of Mamo, this is a far more refined and well rounded version of the character. Ironically, this is often quoted by some fans as being the films downfall, as the Lupin series is rather well known for taking risks. This is a franchise not scared of going to places that could be considered a bit “out there” - however in Cagliostro’s case, Miyazaki played things safe.

This does, however, help make Cagliostro a good jumping in point if you are new to the series. It is not only a good Lupin story, but it is also a great standalone film.

Clarisse de Cagliostro, the films lead female, does fall into some typical damsel in distress tropes. However, despite literally being locked away in a tower by an evil Count in an attempt to force her into marriage, she does still hold her own and on two occasions in the film - after being inspired by her thief - attempts to sacrifice herself to save others.

While her ultimate desire is for Lupin to steal her away from house arrest and the clutches of the despicable Count, it feels as if over the course of the film she finds herself and by the end of it all, wishes to permanently join Lupin and his band of thieves. Her stubbornness and strong desire to escape her captor (to some success, hence the car chase near the beginning of the film), is endearing - and had Lupin and the gang accepted her into the fold during the closing parts of the film, she no doubt would have become a valuable member of the gang.

Cagliostro is filled with good humor, mostly in thanks to the fantastic usage of Kazuhiko Kato’s original characters. Inspector Zenigata, in particular, has several moments of hilarity. The competent cop is always bested by Lupin and his gang - but in this tale, he helps expose a huge criminal operation with the aid of Fujiko Mine.

As the Inspector dashes around the castle, live on television with Fujiko in control of the camera, he makes a point of over-acting as he uncovers a counterfeit cash production line that he was previously made aware of for the “first time”. This hammy acting and the late Goro Naya’s stellar vocal performance make this scene one of the funniest and memorable in the entire film. The police chief, who is watching the events unfold live on television back in Japan, stares in disbelief at not only the shocking events of what is being uncovered, but also at Zenigata’s terrible acting.

“What is he doing?!”, the chief groans. “Who would have thought all of this counterfeit money is here, and how surprising it is!” Zenigata says unconvincingly, as he stares directly into the camera.

In addition to all of this, there are also a large amount of now iconic set pieces peppered throughout the films two hour runtime. To name a few; Lupin and Jigen sneaking into the castle via the kingdom’s underground waterway system, the duo’s friendly feud over spaghetti in a local café, the battle inside the clock tower, the ceremony in the church - which goes up in fireworks (quite literally). The list is endless, and many of these memorable scenes would go on to influence Japanese cinema for years to come.

Perhaps one of the most memorable of these scenes involves Lupin actioning a daring rescue mission, taking place thousands of feet above ground, along the castle rooftops.

Shrouded in the black of night, our thief aims to meet with the captured princess. As Lupin sits atop one of the towers, he pulls out a tiny orange rocket and attempts to attach a wire to the base. This is another one of Lupin’s gadgets - small in size but big in its potential. His plan is to fire this little rocket over to the tower where Clarisse de Cagliostro is locked away - then use the wire to traverse over the large gap between him and her window.

His hand slips, and the rocket slides down the tower. After a failed attempt to recover it, he loses his balance and before he can think about it, gravity comes into effect. Lupin is running down the slope and along the roof of the tower at full pelt. His speed continues to build, faster and faster. His animated running cycle here is something worth studying - it is impressive on a technical level and never gets old to look at. The music speeds up more and more, until suddenly - he leaps. Boing - a fantastic use of audio compliments the impossible leaps Lupin is making from peak to peak. Barely, he makes it over the gap and lands face first into the side of tower. Doink - audio once again highlights the moment, to comedic effect.

Entertaining scenes such as this one not only provide good moments of action, but also help Miyazaki’s Lupin feel even more endearing. This interpretation of the character is impossibly smart, but also at times, a lovable goof. He achieves his goal not only with a large amount of luck, but also sheer determination and confidence. It is impossible to hold back a smile, not only at scenes such as this one, but also at Lupin’s personality and “against all odds” commitment throughout.

Another highlight of the film worth mentioning is the accompanying soundtrack. Japanese jazz composer and pianist Yuji Ohno has been involved in the production of the series since the start of Part II (circa 1977). With Cagliostro, he pulled out all of the stops and created many original pieces of music that would be updated and featured in the show for years to come.

In particular is the films feature track, Fire Treasure. The piece is now considered a classic and plays on various occasions throughout the film. Perhaps the most memorable occurrence is during the opening titles. As Lupin and Jigen travel in their little yellow Fiat toward the kingdom of Cagliostro, the song plays. It helps bring a relaxed feeling to the beautiful visuals on show as an experienced duo of thieves, tired from their adventures, drive along the waters edge.

Another highlight from the soundtrack is Samba Temperado, a stunning piece that highlights a climactic action sequence. This track has featured in many other Lupin films and TV series, most recently in the 3DCG animated feature Lupin III: The First. It became one of the staple tracks for the bigger budget action scenes or car chases, and with an air of playfulness about it, highlights Miyazaki’s Lupin perfectly.

Cagliostro was certainly the first stepping stone for Miyazaki as he paved his way to greatness, and one that will surely never go forgotten.

Regardless of whether or not you have seen anything from Hayao Miyazaki, Studio Ghibli or the Lupin III franchise, there is much to love about Cagliostro. It serves as a great start to any Studio Ghibli marathon, a decent jumping in point for the Lupin franchise and also works as an excellent, standalone film. It is impossible not to recommend checking out Miyazaki’s first feature - especially as it has stood the test of time and is still so celebrated forty years later.

If you are interested in checking out the film, a subtitled version is available via Netflix in a wide variety of countries. If unfortunately, the streaming version is not available in your country of residence - there are various different releases of the film both on DVD and Blu-ray. We would recommend the Discotek Media release of the film, which includes all English dubs and plenty of special features.

If you would like to read more about Hayao Miyazaki’s involvement with Lupin III, you can check out a quick “making of” the first TV series along with some episode recommendations by clicking here.

Two of the images used in this article are cleaned up versions of promotional art by Brady Hartel. Brady is working alongside Discotek Media to release Cagliostro in 4K UHD later this year for audiences in the U.S. Click here for a short trailer and stay tuned for more details on the release.