My Neighbor Totoro (1988) 720p YIFY Movie

My Neighbor Totoro (1988)

Tonari no Totoro is a movie starring Hitoshi Takagi, Noriko Hidaka, and Chika Sakamoto. When two girls move to the country to be near their ailing mother, they have adventures with the wondrous forest spirits who live nearby.

IMDB: 8.25 Likes

  • Genre: Animation | Family
  • Quality: 720p
  • Size: 1.04G
  • Resolution: / fps
  • Language: Japanese  
  • Run Time: 86
  • IMDB Rating: 8.2/10 
  • MPR: Normal
  • Peers/Seeds: 0 / 0

The Synopsis for My Neighbor Totoro (1988) 720p

Two young girls, 10-year-old Satsuki and her 4-year-old sister Mei, move into a house in the country with their father to be closer to their hospitalized mother. Satsuki and Mei discover that the nearby forest is inhabited by magical creatures called Totoros (pronounced toe-toe-ro). They soon befriend these Totoros, and have several magical adventures.

The Director and Players for My Neighbor Totoro (1988) 720p

[Director]Hayao Miyazaki
[Role:]Shigesato Itoi
[Role:]Chika Sakamoto
[Role:]Noriko Hidaka
[Role:]Hitoshi Takagi

The Reviews for My Neighbor Totoro (1988) 720p

Miyazaki's Absolutely Hilarious, Culturally Significant Story of Existence, Location and Expedition, Rather Than Rivalry and Danger.Reviewed byjzappaVote: 8/10

This culturally significant Kodomo anime has become one of the most endeared of all family films without ever having been much popularized or sponsored, which is a testament to its magic. This is one of the tenderly hand-crafted works of Hayao Miyazaki, perhaps the greatest of the Japanese animators, yet his collaborator at the Ghibli Studios, Isao Takahata, who fashioned Grave of the Fireflies, may be his rival. Miyazaki has not until quite lately used computers to animate his films. They are drawn a frame at a time, the time-honored way, with the master himself providing tens of thousands of the frames.

Miyazaki's films are in particular viscerally entrancing, using a watercolor look for the backgrounds and working within the unique anime tradition of characters with big round eyes and mouths that can be as minute as a fleck or as enormous as a cave. They also have an spontaneous authenticity in the way they mind minutiae.

The movie tells the story of two young sisters who share a wonderful bond. As it opens, their father is driving them to their new house, near a boundless forest. Their mother, who is ill, has been moved to a hospital in this community. Now think about that. The film is about two girls, not two boys or a boy and a girl, as all American cartoon films would be. It has a resolute and loving father, in contradiction to the recent Hollywood affinity for selfish or absent fathers. Their mother is sick: Does sickness happen in American family cartoons?

A neighbor boy later tells them their new house is haunted. But not haunted in the American sense, with ghosts or forbidding creations. When the girls let light into the shadow, they get just a peek of little black fuzzy dots scampering to refuge. ''Probably just dust bunnies,'' says their father, but there is an old nanny who has been employed to look after them, and she suggests that they are ''soot sprites,'' which like empty houses, and will pack up and leave when they hear laughter. Perhaps I'm reading too much in, but during this scene, I feel like I caught a brief reference to Ingmar Bergman's Through a Glass Darkly, as one sister stares transfixed at a crack in the wall.

Assent to how the father composedly receives their account of arcane critters. Are sprites and totoros for real? They surely do in the minds of the girls. So do other hilarious beasts, such as the Cat Bus, which bustles through the forest on eight fast paws, its big eyes working as headlights. Instead of letting the children be scared of hauntings and the soundness of their own minds, the elders teach them to like and enjoy it all. They go along with it rather than irrationally making them feel silly.

While it's not necessarily clear whether or not the adults actually consider them, not once does Miyazaki trot out the relic children's literature adage of The Adults Who Think The Child Is A Liar, So Child Is Going To Have To Save The World Without Them. This welcoming approach to accustomed Japanese spirit-creatures imparts a telling distinction between our two cultures. In America, there must always be something to fear, always a scapegoat, always something or someone to antagonize. No matter how equally violent or aggressive the history is of Japan, they do not thrive on fear factors. It is a beacon of great hope and pleasure to me that family films are the rudimentary place where cultural difference is easiest to discern in the movies.

My Neighbor Totoro is made of existence, location and expedition, not on rivalry and danger. This is made crystal in the engrossingly extensive sequences involving totoros, which actually are not Japanese myth, but were indeed created by Miyazaki specifically for this movie. In these sequences, Miyazaki gets no mileage out of any trite ideas about the dark and dreadful forest. It's only nature. Is the film sometimes corny and absurd? Yes, but it knows when to be quiet and real.

One of the funniest scenes I think I've ever seen on film occurs when the girls go to meet their father's bus. But the hour grows late and the woods grow dark. Without a sound, matter-of-factly, the giant totoro joins them at the bus stop, standing to one side as if it's been there the whole time. It starts to rain. The girls have umbrellas, and give one to the totoro, who is fascinated by the raindrops on the umbrella, and jumps up and down to render free a downrush of drops from the trees. Watch how coolly and constructively the scene has been handled, with the night, the forest, the lateness of the father seen as a circumstance, not an omen. The movie needs no villains. I remember that Winnie the Pooh also had no evil characters at first, but that in its new American version evil weasels have been interposed into his benevolent setting.

But it would never have won its worldwide audience simply owing to its fuzzy heart. It is also full of mortal humor in the manner in which it perceives the two exceptionally authentic, realistic little girls, and I refer to their characterizations, not their physicality. It is side- splitting in the scenes involving the totoro, and in the scenes with the ridiculous Cat Bus. It is a little tearful, a little hair-raising, a little out of the blue and a little enlightening, just like life itself. The film expresses a refreshing ideology with Miyazaki later deepens and defines in his more recent films. Look at the minimal amount of external things in these girls' lives, or their father's, or the nanny's. Their story exists as a situation rather than a plot, and suggests that the uncertainty of life and the makeshifts of invention afford all the enterprising escapades one needs.

Totoro is a WinnerReviewed byww_sketcherVote: 9/10

Miyazaki's My Neighbor Totoro is a film that should be able to put a smile on any viewers face, and without a doubt, it'll take you on one of the most whimsical and fantastic journey's ever.

My Neighbor Totoro is a story that definitely something children can relate with, as i watched this with someone, they immediately paused the film and asked if this reminded me of being 4 years old again. This film really connects with people. But it's far from a quality nostalgia piece, it's well animated, beautiful, avoids cliché stereotypes (from both typical of the Anime genre and Children's Fantasy films), and is beautifully filmed (see scenes such as the girls waiting for the bus with Totoro and the scene where the magic nuts and seeds grow with the help of Totoro).

Even the English dub done by Fox isn't as bad everyone states. I've seen the Japanese version, and i'd have to say it's a mixed-bag between having Mei's voice sounds a bit too bratty for the English version, or having the Father's voice sound a bit awkward and perhaps not as caring in the Japanese version. Disney is said to be releasing a re-dub in mid-to-late 2005, so perhaps that will even out the controversy.

This film may not reach the heights of other Anime classics (mainly it's double bill with Grave of the Fireflies, or Miyazaki's other masterpieces Princess Mononoke and Spirited Away), however this will definitely be high on any film lovers list, and is definitely a high water mark of it's genre.

A solid 9/10, This film is next to impossible to watch without it pushing a smile out of your face.

Rare ClassicReviewed byLaserBearsVote: 10/10

I watched this movie when I was a kid, and while it never caught my attention as I do other commercial movies, I think it had a quiet and subtle effect on me over the years. Sometimes I think about that film, but I never knew why. So, after watching it again as an adult I realized why this movie stay within me: Totoro is a rare film that manages to capture the essence of a child's emotions and vision without being filtered through the adult's tendency to editorialize it, to insert a moral judgment, or to sugar coat it. Mei's behavior is naked, showing raw happiness as well as anger. Her movements are strong and her voice fierce, she thinks she lives in a world without limitations and not binded by adult's notion of etiquette. Satsuki is at a crossroads between adulthood and what remains of her innocence, we see her anxieties and we identify the world of the movie through her eyes. Totoro's physical characteristic is actually menacing and otherworldly, and our first impression of him (through the girls' eyes) is a natural mix of fear and amazement... the same reaction any human would have when confronting something foreign. But then something magical happens: Totoro moves and behaves just like Mei. We identify with this raw, pure energy of joy and imagination. That Studio Ghibli managed to express this idea visually, through character design, storytelling, and animation, is a rare and special accomplishment. This effect cannot be described during a script meeting with a committee of marketing execs.

A typical American studio would be worried about presenting its main character as frightening, would redesign Totoro as a "cuter" character as a safe strategy, and would certainly make the father more of a one-dimensional, stereotypical "adult" character for dramatic purposes.

But in this movie, we see the background story of the characters by deceptively simple closeup shot of the pebbles in the stream, or the details of the bathtub.

But the most telling moment of the movie is actually early on: when the girls tried to push down the rotting wooden support of the house. At first only playing around, they then gave a serious effort to try to bring it down. But it doesn't fall. Seeing that the support stays, they simply move on. That establishes the tone and the world they inhabit: Life is unpredictable. Adults must learn to expect the worst to happen in order to deal daily with the real world. But the child has not yet fully learned this skill, so through their eyes, we see what we were, and what was important to us, long buried but not forgotten.

Kids should see this movie as an alternative to the shallow mainstream entertainment. Whether they like it or not is irrelevant; its lasting impact is worth more that the toy of the month. Adults should see this movie to re-look at themselves and what they were, who they are now, and what they want to become. It doesn't preach anything, it's a simple story that you will enjoy when you can stop and have time for yourself and for the people you care about.

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