History TearJerker / PrincessMononoke

* Moro's relatiobship with San. She loves her "ugly, beautiful" daughter so much that she [[spoiler:gives up her best chance at killing Eboshi to save her from Okkoto's demonic influence.]]

* Any time that "Adagio of Life and Death" plays. It's such a heartbreakingly beautiful track, that contains both sadness ''and'' hope - the scene where Moro and Okkoto die due to the Forest Spirit and Ashitaka races to save San is particularly poignant.

* What about when [[spoiler: Okkoto, limping away from the catastrophic loss against the Irontowners and Jigo's men, confuses the skin-wearing people for his warriors and tries to lead them back into combat? Only to be poisoned by them and become a senseless monster?]] His blind hope and desperation is terribly sad. What makes it worse is to see this once proud, albeit stubborn god to insane.

* The fate of some of the Irontown people. When [[spoiler:the black ooze of the forest spirit washes over the town, they flee to the river. Some of them go the wrong way.]] You can briefly hear a woman scream "No, not that way!" just before [[spoiler:she and the others are instantly killed.]]

* What about when [[spoiler: Okkoto, limping away from the catastrophic loss against the Irontowners and Jigo's men, confuses the skin-wearing people for his warriors and tries to lead them back into combat? Only to be poisoned by them and become a senseless monster?]] His blind hope and desperation is terribly sad.

* Also, the film can be viewed as a Creation Myth for ''Industrialisation'': It's the moment where humanity, not understanding the damage it's caused, started taking more than nature had to give. Until then the forest had been able to hold its own but it had been weakening the whole time. And the natural world no longer has its gods to protect it. As San says, ''"The forest god is dead"'', and it won't be the same anymore. The death of the forest god can be said to be the beginning of our climb into the present day world, and it's come at a terrible cost.

* This troper always feels close to tears during the scene where Ashitaka is too weak to eat himself, so San chews the food up first and then [[IntimateHealing give it to him]]. Ashitaka is tearing up during that scene himself, it may be a factor...

* This troper always feels close to tears during the scene where Ashitaka is too weak to eat himself, so San chews the food up first and then [[Intimate Healing give it to him]]. Ashitaka is tearing up during that scene himself, it may be a factor...

* How about just 10 minutes into the movie, when Ashitaka is banished from his village ... and Kaya comes out against the rules to give him her crystal dagger so he won't forget her?

* What makes the film so profound is that hatred and love is found on either side. Even the forest creatures have (somewhat understable) but irrational hatred for the humans. Examples of hatred: the wolves initially want to kill the human protagonist, the lead boar is demonized out of his desire to battle instead of focusing on living, the villagers have hostility toward the animals, the humans go to war. Examples of kindness: the Forest spirits guide the humans to safety, the protagonist has a loyal non-human friend, etc.. And the protagonist manage to achieve a peace between all cultures and lives.

* The ending; between Joe Hisaishi's sublime score of [[http://www.youtube.com/watch?v=yQVMMkyKhwM "Ashitaka and San"]], the message that [[spoiler: despite the fact that humans can be bastards and have serious flaws, there is always hope for them, and the last shot of a Kodama appearing in the ruined, yet rejuvenating forest,]] one line of dialogue is all it takes to kick it off:

* Any time that [[http://www.youtube.com/watch?v=5aetkkWDEiE&feature=related "Adagio of Life and Death"]] plays. It's such a heartbreakingly beautiful track, that contains both sadness ''and'' hope - the scene where Moro and Okkoto die due to the Forest Spirit and Ashitaka races to save San is particularly poignant.

* The ending of the movie always makes this troper start to cry uncontrollably; between Joe Hisaishi's sublime score of [[http://www.youtube.com/watch?v=yQVMMkyKhwM "Ashitaka and San"]], the message that [[spoiler: despite the fact that humans can be bastards and have serious flaws, there is always hope for them, and the last shot of a Kodama appearing in the ruined, yet rejuvenating forest,]] one line of dialogue is all it takes to kick it off:

* An even bigger TearJerker is that the film can be viewed as a Creation Myth for ''Industrialisation'': It's the moment where humanity, not understanding the damage it's caused, started taking more than nature had to give. Until then the forest had been able to hold its own but it had been weakening the whole time. And the natural world no longer has its gods to protect it. As San says, ''"The forest god is dead"'', and it won't be the same anymore. The death of the forest god can be said to be the beginning of our climb into the present day world, and it's come at a terrible cost.

* What about when [[spoiler: Okkoto, limping away from the catastrophic loss against the Irontowners and Jigo's men, confuses the skin-wearing people for his warriors and tries to lead them back into combat? Only to be poisoned by them and become a senseless monster?]] His blind hope and desperation struck this troper as terribly sad.

---> [[spoiler: "''...I never knew the Forest God made the flowers grow.''"]]

** What got me was the person right behind him. She was covered in bandages, and looks shocked at being all better. That person was one of the lepers that Lady Iboshi took care of. Leprosy was a death sentence back then, and that person was pretty much brought back from the dead.

* For me, the biggest TearJerker comes at just 10 minutes into the movie, when Ashitaka is banished from his village ... and Kaya comes out against the rules to give him her crystal dagger.

* The scene where the Kodama are all falling from the trees, fading out as they go. Peaceful creatures, having nothing to do with the wars around them, dropping like flies.

* An even bigger TearJerker is that the film can be viewed as a Creation Myth for ''Industrialisation'': It's the moment where humanity, not udnerstanding the damage it's caused, started taking more than nature had to give. Until then the forest had been able to hold it's own but it had been weakening the whole time. And the natural world no longer has it's gods to protect it. As San says, ''"The forest god is dead"'', and it won't be the same anymore. The death of the forest god can be said to be the beginning of our climb into the present day world, and it's come at a terrible cost.

* ''PrincessMononoke''. The ending of the movie always makes this troper start to cry uncontrollably; between Joe Hisaishi's sublime score of [[http://www.youtube.com/watch?v=yQVMMkyKhwM Ashitaka and San]], the message that [[spoiler: despite the fact that humans can be bastards and have serious flaws, there is always hope for them, and the last shot of a Kodama appearing in the ruined, yet rejuvenating forest,]] one line of dialogue is all it takes to kick it off:
-> [[spoiler: "''...I never knew the Forest God made the flowers grow.''"]]

* For me, the biggest TearJerker comes at just 10 minutes into the movie, when Ashitaka is banished from his village ... and his little sister comes out to give him her crystal dagger.

*** An even bigger TearJerker is that the film can be viewed as a Creation Myth for ''Industrialisation'': It's the moment where humanity, not udnerstanding the damage it's caused, started taking more than nature had to give. Until then the forest had been able to hold it's own but it had been weakening the whole time. And the natural world no longer has it's gods to protect it. As San says, ''"The forest god is dead"'', and it won't be the same anymore. The death of the forest god can be said to be the beginning of our climb into the present day world, and it's come at a terrible cost.
** For me, the biggest TearJerker comes at just 10 minutes into the movie, when Ashitaka is banished from his village ... and his little sister comes out to give him her crystal dagger.