Porco Rosso
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Movie Reviews of Porco Rosso
Movie Review: Hits on all the cylinders for me!
Summary: 5 Stars
As a fan of this film for some years, I read the reviews posted here before obtaining a copy of the Disney release, because I wanted to be prepared for any disappointments if there were really egregious departures from the impressions I've formed of Miyazake's vision for his work.
No worries; after watching the DVD...twice now, with occasional pauses to switch language/subtitle tracks...I don't think there's a thing wrong with Disney's release.
As to the film itself, I love it; as I say above, it's been a favorite of mine for years. This somewhat quirky action/adventure story is a blast for any fan of the genre, but it's the aviation angle that grabs me in this one. Technically, for those who haven't seen it, Hayao Miyazake's affinity for aviation is most evident in this film...as a pilot and long time aviation junkie, it feels near-perfect to me, and explains why it's a personal high scorer on my own top ten list. The pertinent discussion here, though, is Disney's addition of an English language track in this release, so in writing this review I shall focus on my own feelings about it.
Now, I'm certainly no expert in the field of cinematic art, but I've watched a bunch of different versions of this film, from mediocre fan-subs on VHS to more professional DVD editions, so I have got several comparisons in mind to help form my opinion.
To begin with, sure, there are some minor variations from the dialogue I've seen before, but to me there's nothing significant to quibble over. I suppose if I was conversant in idiomatic Japanese I could speak with more authority, but I didn't have any jarring moments while watching the film, with two minor exceptions: Marco's original surname, 'Pabatto,' being substituted with the name 'Rosselini,' in the English dub and the mutation of his friend's name (and one of Gina's husbands) from 'Belneldi' to 'Berlini.' I suspect the latter may have been a bit of misunderstanding in the original Japanese actor Shuichiro Moriyama's pronunciation of the 'Ls' in the name that got carried over to this new release, though the name 'Belneldi' is clearly written on the group photo of Marco and his friends that still hangs in Gina's office.
The change from Marco Pabatto's name is less forgivible; even in this release if the original Japanese audio track (and the French one, too...I think; kinda hard to make out, but it sure isn't 'Rosselini!) is selected you can clearly hear Fio asking about 'Marco Pabatto' in the conversation at the campsite where Porco discloses his supernatural experience during the war, after which he was transformed into a pig.
Still, that's but a ripple on an otherwise serene sea, at least for me. I thought Michael Keaton did a fine job as Porco, from what I've read here I was expecting more of an over-the-top vocalization like he did in 'Beetlejuice.' Nope, nice work.
On the other hand, while Keaton is good, happily the very best Porco voice I've yet heard is right on this DVD, in Jean Reno's interpretation on the French audio track. I read on nausicaa.net that Miyzake-san thought Reno was even better than Moriyama's original Porco, and I concur in spades. I almost wish he'd done the English dub, too; it wouldn't be the first time this Frenchman played an Italian in an English-language movie...remember 'Leon,' aka 'The Professional?' Great actor.
One reviewer here disliked Susan Egan's take on the song 'Le temps des cerises' that Gina sings early in the picture, but I believe full credit should be given to Ms. Egan for making the effort to sing as well as a professional lounge chanteuse in addition to performing her speaking part in the film for consistency's sake. I admit to being terribly biased in this case, as I think Susan Egan has one of the most appealing and sultry speaking voices I've ever heard, but as for myself, I thoroughly enjoyed her rendition of the song, even if it might not have been quite as technically skilled as the original version was.
As for the English speaking Gina being 'curiously distant,' as Mr. Solomon commented in his in-house review, I must respectfully disagree with his asessment. Of course Gina is somewhat distant, she's had three husbands killed already, with her true love and old flame Porco still alive but in constant peril...even she herself comments at one point that she's cried herself out over the years and now only feels numb! Yet, in the film's more emotional moments I found Ms. Egan's Gina just as warm and intimate as Ms. Kato's ever was, sometimes even more so. Okay, it's subjective, and I'm biased. Your mileage may vary!
Cary Elwes was a hoot as Donald Curtis, with his mildly goofy Texas accent, and Kimberly Williams gave a great performance as Fio, sounding just as cute and spunky as did the original Japanese actress, Akemi Okamura. No disappointments there.
Top marks for David Ogden Stiers' take on Grandpa Piccolo in this release. He gets better every time with these projects; his inflection, tone, and nuance of voice are terrific, and his old codger's cackle is perfection itself. As impressed as I was with his characterization of Kamaji in 'Spirited Away,' he blew me away with his wonderfully hilarious voice acting here!
To sum up, for me Disney has taken one of my favorite films of all time and made it even more enjoyable with their version. I've recommended this film for years to friends and family, but had few takers as many of them didn't have the patience to pay the closer attention than normal required when viewing a subtitled movie. Now this has been remedied and the only thing seriously lacking in my Miyazaki collection is their English dub of Tonari no Totoro...c'mon, Disney, you can do it!
Movie Review: Miazaki's best - and hardest to appreciate
Summary: 5 Stars
This is one of the best animated films of all time.
Wait, wait - not so fast. That's a loaded statement, and we have to justify it, don't we? So let's go ahead and do just that.
This is Miyazaki's most polished, flawless work. You could say that this is an artifact of the fact that it takes less chances than his other full-length films, that it is more restrained and less complex, but that simply wouldn't be true. Porco is as complex a character as Miyakazi has ever made, and far less typical than most characters he creates. Let's face it, the man has certain archetypes he likes, and he sticks to them like glue: your outwardly brave yet inwardly vulnerable female lead (i.e. Fio, Sophie (wait for Howl's Moving Castle), Chihiro, Mononoke, Sheeta, or just about any other Miyazaki female lead), the standard enigmatic noble leading man (Pazu, Haku), the kindly weird old guy, the irate old witch that is morally redeemed throughout the story, and many others besides.
Porco is none of these. He's completely unique, and watching him interact with everyone around him is truly remarkable. He's the most well-rounded and fleshed-out character that Miyazaki has ever produced. The supporting cast is firmly archetypical, but we can forgive him for that.
The story is simple, but flawless. It isn't overly convoluted as it is in Mononoke, nor is it as arbitrarily and unsatisfyingly resolved as it is in Spirited Away. The tension arc throught the film is wonderfully well thought out. It starts on a high note, slightly silly, then settles into a stylish, melancholy and surreal vibe that lasts for a good half of the film. In the end, action picks up and some of the silliness comes back, but after having sat though the wonderfully surreal middle segment, you're more pre-disposed to watch it at face value, and it's inherent silliness is less irksome. The ending itself is wonderfully melancholy, resolving (some of) the plot yet leaving the tension hanging in the air. The only other Miyazaki feature that has this flawless a story-line is Castle in the Sky, but it cannot touch the nuance and emotional complexity of this film. The historical setting provides a necessary realistic contrast to the deeply romaticised characters and events in the movie, and adds a degree of unsettling tension to the atmosphere.
The visuals are gorgeous. Rumour has it that three times as much money was spent on this as was on Castle in the Sky, it's direct predecessor - and it shows. The detail in every frame is stunning, and the emotion and nuance in character expression is second to none. The movie was technically far ahead of it's time, and still looks fresh today, despite competition from CGI. Disney may have it's terapixel rendering pipelines and billions of polygons, but they have not come even close to capturing the freshness and liveliness that Miyazaki infuses his characters with, nor do they have anywhere near his visual imagination. The soundtrack by Joe Hisaishi is wonderful as always, and Gina's beautiful ballad is a melodic centerpiece of the film.
This is a film that is deeply humanistic yet never overly sappy and emotional. It is dynamic and engaging while being wonderfully subtle and nuanced. It is simple, yet never simplified. It offers social commentary, yet doesn't preach. It is moralistic, yet not moralizing. And it's charming as all hell. Many, many scenes will remain in your memory forever. Porco's story (you'll have to see the film to know what I'm talking about) is a stunning, surreal, typical Miyazaki moment, and is one of the most powerful scenes in all of cinema (I'm not kidding).
So, are you going to enjoy this movie? Well, that depends. If you like everything distilled into clear, concise explanations, with no moral trickery on the part of the author, then this probably won't be your cup of tea. If "what happens" is your measure of a film's, or a story's worth, then this will probably fall short. If you can't appreciate subtle humour, then this may seem boring. If, however, you want charm, wit, grace, and refinement bundled together with dynamic action and a healthy dose of surrealism, then meet your new Holy Grail. And if you think that animation is still chiefly family entertainment, then grow a few brain cells. Animation allows us to express what conventional live-action cinema cannot (though with the advent of CGI, this may not be true for much longer).
This is one of the best animated films of all time.
P.S. Howl's Moving Castle is worth the wait. It's excellent. If you like the more surreal direction in which Miyazaki was going in Spirited Away, well, he goes further in that direction. Much, much further... but that's for another review!
P.P.S. My review applies to the subtitled version. I hate english dubs, and you should too. The emotion and vocal delivery of the original Japanese soundtrack is a vital element in watching any Japanese animated film. In general, it's a good idea to watch any foreign movie in it's original language.
I hope I've been helpful. If I seem overly exuberant and full of superlatives, that it because this is a film that's worth being superlative about. Treasure it.
Movie Review: Brilliant Animated Noir For Everyone by Hayao Miyazaki...
Summary: 5 Stars
The opening scene of Porco Rosso shows that the year is 1929, a decade after the First World War. This is depicted on the cover of the magazine Cinema, which rests over Porco Rosso's piggish face. It was a time of high tension throughout Europe and the Mediterranean Sea where the story takes place. In Germany the Nazi's were gaining strength while planning their conquest of Germany and later Europe with the possibility of the world. Italians were under Il Duce's iron rule, as he commanded the Fascist party, the only party allowed. Nineteen twenty-nine was just years before Francisco Franco's control in Spain with a Fascist ideology.
What is most alarming is that 1929 was only one decade away from the Second World War, which was slowly brewing throughout Europe. In essence, Hayao Miyazaki literally depicts the year that was in-between the two World Wars, but his film also turns into a political allegory for the that time. This allegory is depicted through a flying pig that defies political undercurrents by collecting bounties on outlaws and trying to stay outside the boundaries of society.
Porco Rosso, once a man, now a pig due to a curse, flies for himself only, as he collects bounties and makes life sour for air pirates that terrorize the Mediterranean Sea. Porco lives a lonely life in a hide-away somewhere in Mediterranean Sea where he bathes in the sun when he is not hunting flying pirates. Isolation seems to be Porco's way of dealing with his appearance and the only excursion from his personal island is done with help of darkness. At night shadows help veil his pig face, as he visits his favorite hangout, Hotel Adriano.
Miyazaki does a marvelous job in his creation of the character Porco who portrays dispositions such as selfishness, cynicism, and gloom through a pig without hope of being something better. The idea of using a pig is also remarkably brilliant, as the pig is often used as a symbol for greed and sloth. Porco's laziness is depicted through his sunbathing and his inactive participation in politics and society, as the world around him is once again about to crumble.
The persona and attire of Porco brings a mood that is experienced through many film noirs where cynical characters meet in sleazy and ominous atmospheres. This is evident when Porco visits Hotel Adriano for the first time when all his enemies are present. The film noir that Porco Rosso offers also augments the cinematic value of the story, as it authentically depicts the time period. The cynicism is further enhanced if the audience reflects on the political atmosphere of the 1930s in Europe where politics divided families and neighbors turned each other in due to different beliefs.
In the middle of this an American pilot, Donald Curtis, arrives to claim fame and secure a spot in Hollywood, and maybe later the Presidency. When Curtis for the first time hears Madame Gina sing at the restaurant at Hotel Adriana he falls in love. However, he does not know that her love belongs to another, even though this other does not know. Curtis' reason to come to Europe was to have a dogfight with the infamous Porco Rosso and he finds his opportunity when Porco is on his way to get his plane fixed. This is the way he wants to claim his fame by shooting down Porco, which he successfully does as Porco's plane has a motor problem.
Somehow Porco succeeds in getting his plane through Italy and to Milan where Paolo Piccolo a skilled airplane mechanic that he trusts lives. When Porco arrives he discovers that the Paolo's 17-year old American granddaughter is more or less running the show. Initially, Porco is suspicious and wants to go to another mechanic, but is convinced to stay. Fortunately Porco's suspicions are groundless, as his suspicions seem to be more sexist than based on facts. When the plane is fixed Porco can return to his life, as a bounty hunter, but the political climate has changed and it seems to have put Porco in a spot where he is forced to take a side.
Hayao Miyazaki's Porco Rosso is a fantastic animated journey that also makes a strong political statement. The film entertains young and old, but also leaves a lot for the audience to ponder while the magnificent animation transcends into the mind through vibrant colors and detailed lines. Cleverly, Miyazaki communicates his story through an obvious storyline that is visually explicit, but also hidden in visual codes and symbols. This means that the film is multifaceted with several ideas that can have an audience member scratching their head for a long time. The story also keeps the viewers on the edge of their seat, as nail-biting suspense leaves the audience guessing what will happen next. Ultimately, this cinematic masterpiece leaves the audience with a fulfilling experience that offers something for everyone.
Movie Review: Yet another marvelous Miyazaki creation
Summary: 5 Stars
Even in his lesser efforts, Miyazaki's film surpass just about everything else that is taking place in feature length animation. Although I have managed to see most of his films over the years, PORCO RUSSO (Red Pig) is one that I have just seen for the first time, thanks to the series of high quality rereleases that Disney is undertaking. Apart from the long autoplay Disney commercial that intrudes upon the viewer when you first put the disc in, I must admit that Disney continues to do an excellent job in these releases, providing both the original Japanese version as well as consistently excellent English dubbings. By any standard, Miyazaki has established his reputation as the premiere feature length animator in film PORCO RUSSO is not a masterpiece along the lines of SPIRITED AWAY or NAUSICAA OF THE VALLEY OF THE WIND, but it supplies further proof of Miyazaki's versatility and breadth. The setting is untypical, focusing on air pirates in the Adriatic, with excursions into Italy, though the focus on airplanes is profoundly typical of his work. Porco Russo is a highly accomplished bounty hunter, famous for his red airplane and for having mysteriously been transformed into a pig. His aeronautic preeminence, however, has been challenged by the sudden appearance of a cocky American flier, who has been hired to protect the air pirates and who seemingly disposes of Porco Russo when he shoots down his plane when the engine is stalled.
To be honest, the plot is adequate, but the real joy of the film lies in watching the interaction of the characters onscreen, and at marveling at the superb animation. All the details are simply perfect, from the studied stylishness of Porco Russo's outfits, which seem to have been copied directly from the pages of J. Peterman catalogs, to the specifics of the airplane design. There is also the elegance in the way Miyazaki's characters move and the way he frames each scene using the rhythm and pacing one associates with live action films rather than animation. Whereas the typical Disney film for decades contained all the action in the foreground, Miyazaki frequently allows the foreground to dominate the screen visually, while the action takes place in the deep background.
I suppose very few will experience this as their first venture into the magic that I Miyazaki. If so, as wonderful as this film is, the best is yet to come. Based merely on films such as NAUSICAA OF THE VALLEY OF THE WIND, MY NEIGHBOR TOTORO, SPIRITED AWAY, and THE PRINCESS MONONOKE Miyazaki would have to go down as the finest animator of all time, since while others employ entire teams to produce the film, Miyazaki writes, directs, and serves as primary animator. But when one adds in such films as PORCO RUSSO, which would represent the highpoint in the career of most other animators, his brilliance is made even more obvious.
Movie Review: Disney should have released Porco to the big screen!
Summary: 5 Stars
I have seen this anime movie before, in the subtitled version sold in the Hayao Miyazaki collection. Many dubs of good Japanese anime movies or series are horrible. I have to admit this is a very good dub, and seeing it, I realized I'd missed a few subtle details. I won't spoil it for anyone, but suffice it to say, that I got a completely different take on the ending by hearing this in English. Michael Keaton was an inspired choice as Porco. He gave just the right kind of understated, "man of few words" talk that was expected from his character.
While I'm not certain how old this is, it is definitely from before 1998 when Princess Mononoke was released. The animation is first rate all the way, and the art is extraordinary, as we've come to expect from recent Miyazaki films. A friend of mine who viewed it with me said the backgrounds were almost real life, but the characters and things like planes seemed more cartoon like in the foreground. I personally like the effect, as it gives the characters some dimension. Too many drawn animes look two-dimensional all the time. By fading the background a bit and making it more realistic, it brings more life to the characters, and movement of objects.
As for the movie, itself it has a good story that on the surface excites the younger audience, and on a bit deeper level gives the adults something to enjoy. Porco has a bit of a comment on the history of the time (pre-World War II). Most of that commentary will go right over younger children, who will love Porco and his adventures. Miyazaki seems to have a love for children. Many of his stories appeal to them without being overly dumbed down, and syrupy.
As for my Disney title comment, they have the rights to these films. If Disney spent a little on promotion, this kind of film plays well for American audiences. While it angered me at the time, the way they tanked the distribution of Princess Mononoke, and Spirited Away. It may have made some business sense, since they were both in uniquely Japanese settings. Porco Rosso however, is set in the Adriatic Sea, and has many universal adventure concepts, like pirates, spies, airplanes, and hide-a-way desert islands.
As for the DVD, top notch all around, two discs with wide-screen and tons of extra's on the second. The transfer looks great, and while I don't have a THX system to try it, its THX certified and includes a THX Optimizer. It's also specially enhanced for 16X9 televisions. An outer cardboard art sleeve protects the inner standard DVD clamshell, which has the same art on it on the cover.