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Porco Rosso Director: Hayao Miyazaki Number of Items: 2 Format: Color, Widescreen Audience Rating: PG (Parental Guidance Suggested) Running Time: 93 minutes Studio: Buena Vista Home Vid Product Group: DVD Release Date: 2005-02-22 Buy from Amazon |
 "Mediterranean dream"Fine story and a very good characterizations. Extraordinary for the details and precision of the drawings, particularly the aircraft details and the battle scenes. And, of course, the beauty of Miyazaki art. Surely he did a lot of historical and technical researches. Only a remark (not so important), that I can see - as I am italian -: the Italy rebuilt is mainly consistent, but full of absurd details, as usual in foreigner films. For instance, the people in Milan's workshop is acting as Naple's people - while they were totally different in 1930, and a lot of written texts are deeply wrong or. Fine work.  "Brilliant Animated Noir For Everyone by Hayao Miyazaki..."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. "Hits on all the cylinders for me!"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! "Excellent Japanese Release, but..."(*****) for the Japanese-language track on this long-awaited Region 1 release of Kurenai no buta on DVD. Compared to grey- and black-market DVDs and VHSs to which Miyazaki fans have had to resort, this new DVD mastering and cleanup with remastered soundtrack is wonderful. Bravo, well done! ( ****) for this Disney-fied English-track leg-lift aimed at North Americans! Judging by soundtrack "enhancements", dramatic-element telegraphing and noticeable character & plot alterations, we-all Yanks must be too stupid to understand what Miyazaki-san originally had in mind. And apparently only name-brand vocal stars will get us into theaters. While the English track of this DVD fares much better than Disney's recent release of Nausicaä of the Valley of the Wind, there are still bones to pick. Why does the Pig (well-voiced here by Michael Keaton) no longer threaten (bluff) to kill all the air pirates when they're holding some kids hostage? Why does the Pig demand that these seven-year old girls (who now belong to a swim "club" instead of a swim team), wet but sunning themselves in their underwear after escaping from their captors, put their clothes back on? And why did they make Madame Gina (normally calm, supremely self-assured and patient) relatively temperamental, insecure, and girlish? One inexcusable point: the lovely French song Gina sings early on was rerecorded and rearranged, evidently by a poor excuse for a Las Vegas lounge singer, dripping with distasteful American-style sloppy emoting. A nasty change, and unwarranted. Questionable translations, plot surgery and gratuitous tinkering-by-focus group have made some elements a bit of a concern for Miyazaki purists, but thankfully the story's mostly unchanged. I still hate when Disney sneaks in "fill-in" dialog when characters' backs are turned. Why can't a longing gaze at the sunset remain just that? I can recommend this to anyone over about eight years old. The themes are mostly adult, and there are situations of threat, suspense, lots of gunfire, and slapstick violence. Not for small children, but then again not as intense as Princess Mononoke or Nausicaä of the Valley of the Wind. "A glorious achievment that stands the test of time."If you look at a list of the greatest directors of all time, Fellini, Kubrick, Dreyer, Lumet, and Kurosawa are givens on any list. But for me Miyazaki stands out as one of (if not the best) directors of all time for his intense perfectionism that makes his movies so intracitley detailed and fresh, while at the same time retaining an air of nostalgia. "Porco Rosso" is one such film. Miyazaki takes the sleek Bogart-style anti-hero that changed cinema and applies it to an animated film made in the 90s. The result is the bizzare but wonderful story of a humanoid pig who runs from Mussolini's secret police while searching for bounties and the woman he loves. People rightly complain about how animation in Japan tends to focus only on stunning visuals and not story. Here we really get the best of both worlds. The scripting is top-notch, and the characters are great, but we get some excellent `performances' from the animated characters. This film features the best character animation since Tex Avery's cartoon shorts. Every character -down to the tiniest speck in the crowd- is animated believably. The animation is also remarkable during the heart-stopping flying sequences that make me wish the film had a theatrical release here in the states. Add the sweeping and majestic score by Jo Hisaishi and you've got one hell of a ride. This is one of the rare films where everything seems to add up perfectly from start to finish, which is rare for a film from any director no matter how great. Rent it now, but of course, skip the dub. |
