Nausica%c3%a4 Of The Valley Of The Wind Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

One thousand years have passed since the Seven Days of Fire, an apocalyptic war that destroyed civilization and created the vast Toxic Jungle, a poisonous forest swarming with giant mutant insects. In the kingdom of the Valley of the Wind, a prophecy predicts a saviour "clothed in blue robes, descending onto a golden field". Nausicaä, the princess of the Valley of the Wind, explores the jungle and communicates with its creatures, including the gigantic, trilobite-like armored Ohm. She hopes to understand the jungle and find a way for it and humans to co-exist.

Late in the night, a massive cargo aircraft from the kingdom of Tolmekia crashes in the Valley despite Nausicaä's attempt to save it. Its sole survivor, Princess Lastelle of Pejite, pleads with Nausicaä to destroy the cargo and dies. The cargo is an embryo of a Giant Warrior, one of the lethal, gargantuan humanoid bioweapons that caused the Seven Days of Fire. Tolmekia, a military state, seized the embryo and Lastelle from Pejite, but their plane was attacked by insects and crashed. One of the insects emerges wounded from the wreckage and poises to attack, but Nausicaä uses a bullroarer to calm it and guides it away from the village.

Soon after, Tolmekian troops, led by Princess Kushana, invade the Valley, execute Nausicaä's father and capture the embryo. Enraged, Nausicaä kills several Tolmekian soldiers and is about to be overwhelmed when the Valley's swordsmaster, Lord Yupa, soothes the belligerents. Kushana plans to mature the Giant Warrior and use it to burn the Toxic Jungle. Yupa discovers a secret garden of jungle plants reared by Nausicaä; according to her findings, plants that grow in clean soil and water are not toxic, but the jungle's soil has been tainted by pollution.

Kushana leaves for the Tolmekian capital with Nausicaä and five hostages from the Valley, but a Pejite interceptor shoots down the Tolmekian airships carrying them. Nausicaä, Kushana and the hostages crash-land in the jungle, disturbing several Ohms, which Nausicaä soothes. She leaves to rescue the Pejite pilot Asbel, brother of Princess Lastelle, but both crash through a stratum of quicksand into a non-toxic area below the Toxic Jungle. Nausicaä realizes that the jungle plants purify the polluted topsoil, producing clean water and soil underground.

Nausicaä and Asbel return to Pejite but find it ravaged by insects. A band of survivors explains that they lured the insects to eradicate the Tolmekians, and are doing the same to the Valley. They capture Nausicaä to prevent her from warning the Valley, but with the help of Asbel, his mother, and a number of sympathizers, Nausicaä escapes on her glider. Flying home, she finds two Pejite soldiers baiting thousands of Ohms into the Valley using a wounded baby Ohm. The people of the Valley take shelter while the Tolmekians deploy tanks and the Giant Warrior, but tank-fire does not deter the Ohms, and the Giant Warrior, hatched prematurely, disintegrates.

Nausicaä liberates the baby Ohm and gains its trust. She and the Ohm stand before the herd but are run over. The Ohms calm down and use their golden tentacles to resuscitate her. Nausicaä, her dress drenched blue with Ohm blood, walks atop golden Ohm tentacles as through golden fields, fulfilling the savior prophecy. The Ohms and Tolmekians leave the Valley, and the Pejites remain with the Valley people, helping them rebuild. Deep underneath the Toxic Jungle, a non-toxic tree sprouts.

Hayao Miyazaki made his credited directorial debut in 1979 with The Castle of Cagliostro, a film which was a distinct departure from the antics of the Lupin III franchise, but still went on to receive the Ofuji Noburo Award at the 1979 Mainichi Film Concours. Although Cagliostro was not a box office success, Toshio Suzuki, editor of the magazine Animage, was impressed by the film and encouraged Miyazaki to produce works for Animage's publisher, Tokuma Shoten. Miyazaki's film ideas were rejected, and Tokuma asked him to do a manga: this led to the creation of Nausicaä of the Valley of the Wind. Miyazaki began writing and drawing the manga in 1981, and it quickly became Animage's most popular feature. Hideo Ogata and Yasuyoshi Tokuma, the founders of Animage and Tokuma Shoten respectively, encouraged Miyazaki to work on a film adaptation. Miyazaki initially refused, but agreed on the condition that he could direct.

In the early stages, Isao Takahata, credited as executive producer, reluctantly joined the project even before the animation studio was chosen. An outside studio to produce the film was needed because Tokuma Shoten did not own an animation studio: Miyazaki and Takahata chose the minor studio Topcraft. The production studio's work was known to both Miyazaki and Takahata and was chosen because its artistic talent could transpose the sophisticated atmosphere of the manga to the film. On 31 May 1983, work began on the pre-production of the film. Miyazaki encountered difficulties in creating the screenplay, with only sixteen chapters of the manga to work with. Miyazaki would take elements of the story and refocus the narrative and characters to the Tolmekian invasion of Nausicaä's homeland. Takahata would enlist the experimental and minimalist composer Joe Hisaishi to do the score for the film.

In August, the animation work began on the film and was produced by animators hired for the one film and paid per frame. One notable animator was Hideaki Anno, a founding member of Gainax who among later works wrote and directed Neon Genesis Evangelion. Anno was assigned to draw the challenging God Warrior's attack sequence, which according to Toshio Suzuki is a "high point in the film". The film was released in March 1984, with a production schedule of only nine months and with a budget equivalent to $1 million.

Miyazaki's work on Nausicaä of the Valley of the Wind was inspired by a range of works including Ursula K. Le Guin's Earthsea, Brian Aldiss's Hothouse, Isaac Asimov's Nightfall, and J.R.R Tolkien's Lord of the Rings. Dani Cavallaro also suggests inspiration from The Princess Who Loved Insects folktale, and the works of William Golding. Nausicaä, the character, was inspired in name and personality, by Homer's Phaeacian princess in the Odyssey. While a connection to Frank Herbert's Dune is often made there is no confirmation apart from the name "Ohmu" being a syllabic rendition of the English "worm". Miyazaki's imagination was sparked by the mercury poisoning of Minamata Bay and how nature responded and thrived in a poisoned environment, using it to create the polluted world of Nausicaä of the Valley of the Wind. Ian DeWeese-Boyd agrees, "Her commitment to love and understanding—even to the point of death—transforms the very nature of the conflict around her and begins to dispel the distorting visions that have brought it about."

The most prominent themes are the anti-war and environmental focus of the film. Nausicaä, the heroine, believes in the value of life regardless of its form and through her actions stops a war. Loy and Goodhew state there is no evil portrayed in the film, but the Buddhist roots of evil: greed, ill will and delusion. Fear is what drives the conflicts, the fear of the poisoned forest results in the greed and resentment. Nausicaä, in addition to being a transformative force, leads people to understand and respect nature which is portrayed as welcoming, spiritual, and restorative for those who enter it peacefully.

The film was released, in 1984, with a recommendation from the World Wide Fund for Nature (WWF). On 30 July 1995, a subtitled version of the film was screened at the Institute of Contemporary Arts, in London, as part of the "Building Bridges" film festival, marking the fiftieth anniversary of the Atomic bombings of Hiroshima and Nagasaki. In her 25 March 2013 presentation at Colorado College, on "Tapestries of Apocalypse: From Angers to 'Nausicaa' and Beyond", Dr. Susan J. Napier places the film and in particular the tapestry, depicted underneath the opening credits, within the tradition of artistic representation of apocalypses and apocalyptic visions. She explores the role such expressions play in under