In the year 1960 in a European city that is not named in an alternate world where WWI and WWII never happened, a 13 year old witch named Kiki (voiced by Minami Takayama in the Japanese version and Kirsten Dunst in the US dub) has left her home to train for her special skills as it's a tradition that every witch who is 13 years old must go out on their own for special training even in magic skills. Kiki with her faithful talking pet cat Jiji (voiced by Rei Sakuma in the Japanese version and Phil Hartman in the US dub) take shelter in a bakery/house owned by a married couple who owns the bakery named Osono (voiced by Keido Toda in the Japanese version and Tress Macneille in the US dub) and Fuoko (voiced by Koichi Yamadera in the Japanese version and Brad Garret in the US dub) in the attic of their house. She decides to set up a high-flying delivery service in delivering stuff to people. She must do everything into become a full fledged witch and earn responsibility even gaining friendship to find her place in the world.A very entertaining, well written and dazzling 1989 animated fantasy-drama from famous Japanese animation filmmaker Hayao Miyazaki whom is one of the most gifted filmmakers/storytellers in animation, graphic novel and motion picture history. Based on a novel by Eiko Kandano, Miyazaki adapts the story for the big screen and was a box-office hit in it's native country in 1989 and earning critical acclaim. It came to the US in 1998 by Buena Vista Home Entertainment with the voices of Kirstein Dunst, Phil Hartman, Debbie Reynolds, Kath Soucie, Matthew Lawrence and Janeane Garofalo and was a success on the home video market in the US and one of the movies that made anime mainstream just like Akira, Ghost in the Shell, Ninja Scroll and more and was the third time a Miyazaki movie came to the US. First it was Nausicaa in a butchered cut called Warriors of the Wind in 1985 then Castle of Cogliostro by Streamline in 1991 then My Neighbor Totoro in 1993 by Troma/Fox.I first saw this in 98 when i was a teen and been one of my fave anime movies since and it's a delightful, funny, sweet and charming motion picture that appeals to both genders and all ages. I like how there's no villain or bad guy for this one which is quite refreshing for a Ghibli film with Totoro, it's a story about gaining independence and learning that friendship can be a nice thing. The animation is purely stunning in it's 2D glory and voice acting is very nice in the Japanese version, the dub is decent yet Matthew Lawrence as Tombo the boy who falls for Kiki sounds kind of older. Yet the dub is one of Phil Hartman's last roles before his untimely death, RIP poor Hartman but he did a nice voice performance as Jiji in the US version.Joe Hisahi's score is totally magnificent and has a charm to it even the feel of the movie is one of those feel good movies that makes you warm inside at the end and the characters are likable especially Tombo to Kiki.

Tradition is that a witch leaves home at thirteen for a year. Kiki is eager to leave with her talking black cat Jiji. She wants to see the ocean and arrives at a large seaside town. Tombo is a boy infatuated with Kiki and flying machines. Kiki is befriended by Osono who gives Kiki a job in her bakery and a place to stay. Kiki uses her only skill flying to create Kiki's Delivery Service.Kiki is exceedingly cute. The problem is that there is no continuous drama. Her journey is a series of meandering friendships. There is no villain and no quest or purpose. It's sorta like a single gal sitcom in the city. It has a puppy love element but it's a thin thread to hang a romance. There isn't any tension until she loses her flying ability. A coming of age movie would be better served with something more dramatic. This has a similar theme to Spirited Away but it doesn't have that exuberance or danger. It floats in the air like a feather but its drive is little more than blowing in the wind.

If there ever was a missed opportunity in Miyazaki's oeuvre, it was having Kiki settle down above a bakery and have almost zero depiction of the arts of creating bread. Miyazaki has always been known for his attention to detail, and this is most notable on an empty stomach. From the viscosity of the egg whites and yolk in Howl's Moving Castle, to the great towering feasts in Spirited Away, he makes food memorable. It is not just a source of sustenance, but a hearty and delicious experience in itself. Where were the scenes of Kiki, sleeves rolled up and determined expression, kneading and working the dough as if her life depended on it (her accommodation does)? Where is the shot of the glowing coals in the oven turning rows of bread golden? Granted, we do see a herring pie being lovingly crafted. The end result of this dish, however, is the abrupt realisation of the brattiness of some girls her age - it's an important moment of growth for Kiki, who has been struggling to make ends meet and on the verge of feeling sorry for herself.So, while the civilised society of the larger city may marvel and gasp at her flight, there is a secondary layer to examine here; the surprise that a thirteen year old is already out surviving on her own. Kiki's entire existence contradicts what the people of Koriko believe, that children her age should still be building toys to play with and having parties and gifts showered upon them. Miyazaki has embedded this theme of early blossoming and coming-of-age well, so that it becomes universal rather than just an examination of a witch's unique journey. Kiki's challenges don't manifest in mastering magic spells or concocting problems, but rather those that most people will need to face sooner rather than later; making her own living, managing her finances and meals, taking responsibility for her own mistakes. In the beginning Kiki favours the smaller, fashionable broom over her mother's, which is larger and bulkier, although safer. We see that even within the witch community we have divas - a brief appearance from a snide, prettied up witch whose skill has already been realised. This is revealed to be fortune telling, specifically in the domain of love and romance. I love this little detail because Miyazaki doesn't ever feel the need to explain the legitimacy of her talent. It's left up in the air, for Kiki and the audience to judge for themselves; is being told where your love life's future lies all that valuable? This question prompts the start of Kiki's self- evaluation. And later, we have something that momentarily shakes her; is delivery a more valuable and enriching talent, if it is to snobby brats that deride gifts from their loving grandmother? Kiki's Delivery Service is as technically proficient as any Miyazaki and Ghibli feature, who have continually raised the bar for animation for years and years. The idyllic coastal town is made beautiful with stunning overhead shots from Kiki's perspective, swooping in and out of the clouds and alongside migrating birds. Miyazaki has never shied away from exaggerated facial animations, from as early as Castle in the Sky; wide open grins, great belly laughs, the way character's eyes shimmer and widen in surprise and indignation. Wonderful stuff. And the English voice dub, overseen by Miyazaki himself, is as always top quality for a Ghibli feature. A young Kirsten Dunst brings such a nuanced vulnerability to a mere child forced to fend for herself. I'd even say it surpasses the original Japanese; there is moment after she finally delivers the herring pie in the rain, only to have its recipient not even be grateful, and realises that her wet clothes and lateness has made her miss the party. Osono tries to persuade her and lift her spirits, but she replies "It doesn't matter anyway. I can't go in these wet clothes." and there is just the slightest hit of a sob that Dunst holds in at the end of the sentence, but it is enough to tell us that she is close to breaking down. Another great little feature of the dub is the way that Tombo's (Matthew Lawrence) voice is chopped up by the rotating rotor as he tries to takeoff in the wind. What great care and attention to detail. My favourite moment is dear old Bertha in the hallway, who is making vroom vroom noises and pretending that she is young again and flying high amongst the skies. Even in the most unlikely of moments Miyazaki can find our inherent childhood.

Pretty ideal for children by the simplicity of its plot. Miyazaki style recognized from the beginning, with scenes reminiscent of the adventures of Sherlock Holmes, mixing objects and different times, with landscapes and peoples of Central Europe so fond, and beginning to introduce a bit of magic and fantasy prelude to Howl's Moving Castle. The Studio Ghibli films always have background, simple as it seems the argument. In this case, a great history of overcoming, sometimes upstream. Good film with a good OST, and amazing animation, and also good plot. The best, the background and what fun it is short and makes you end up with a very good feeling. Highly recommended.