My crimson pig

It's been a pretty quiet weekend. One of my housemates has gone home for Easter and the other one has been out a lot. Apart from a couple of trips into town to pick up The Independent for their free Instant German guide and CD (I've now got 2 languages to learn/get back into) it's been pretty dull. The freakish April weather (sunny to rain to snow (and I mean proper snow) to sleet to bright sunshine) has been toying with me so I've had the chance to get some decent updates to this site.
The third Ghibli review of the weekend is the curious film that is Kurenai no buta (Porco Rosso). This film was originally conceived as a 30-40 minute "short" for, as Miyazaki put it, "a movie which tired businessmen on international flights can enjoy even with their minds dulled due to lack of oxygen" on JAL flights. As work on the film matured it became clear that it should be upgraded into a full-length feature. JAL still got to premiere the film on their flights, but Porco Rosso also became a huge hit in the cinemas of Japan in 1992. The story centres on Marco "Porco" Paggot, a humanoid cursed to live with the head of a pig. He lives by himself on a small island making his living collecting the bounty on sea pirates that plague the Adriatic. The introduction to the films sees Porco foil a raid by the Mamma Auito ("Mummy, Help!" gang). The pirates, frustrated by Porco's continuing interference hire ace US pilot and aspiring actor Donald Curtis to take Porco down. We are then introduced to Gina, a singer at a local bar, who is loved by all the men, but who holds a place in her heart for Marco. She seems to be the one person who remembers him as a human before his curse. Gina has been widowed by pilots several times. Curtis ambushes Porco who is on his way to have his plane repaired in Italy and shoots him down. Arriving secretly in Italy with his battered plane, Porco encounters Fio, the feisty daughter of his usual mechanic, who sets about designing the modifications to Porco's new plane.
Set in the late 1920s, fascism is on the rise and the authorities are after Porco. We are not told why, but it is implied that he deserted from the Italian air force after he grew disillusioned. As he returns to duel with Curtis on equal terms, he is persuaded to take Fio with him. Fio asks the questions that the audience want to know. As usual, Miyazaki doesn't provide us with the answers on a spoon, we have to find them. Porco tells Fio a story of a WW1 battle where his best friend (and Gina's 1st husband) was killed. He mentions an ethereal cloud made of planes piloted by those who have been been lost in battle that is taken from a Rohl Dahl story - Miyazaki loves Dahl's more mature works. Porco and Fio are ambushed by the Mama Auito gang and the duel with Curtis is set up. The stakes are high and Gina learns that the fascists are on their way and sets out to warn Porco.
The rest of this review contains some spoilers to the ending of the film so be warned.

It is hinted that at the same time Marco left the Italian AF, he became so disillusioned by humanity that his curse was self-imposed. As his duel with Curtis comes to blows, Gina arrives and helps Porco to realise that there was still some hope for humanity as he experienced Fio's innocence and Gina's love. At the end we are left with a pull-out shot from above where Curtis suddenly demands to look at Porco's face - has he lifted his own curse and become human again? Another, vague point left floating is Gina and Porco's relationship. Gina tells Curtis that she can't accept his proposal as she has a bet with herself that Porco will one day confess his love for her. Fio's narration closes that film, leaving the question unanswered, but looking closely at the bar, shows Porco's red plane moored up behind Gina's house suggesting a happy ending. Miyazaki has also dropped hints that Porco and Gina did get married.

The usual theme of flying is here; more so than any other film. This was a real labour of love for Miyazaki and the aerial sequences are breathtaking. Every move of the joystick, press on the rudder pedals and throttle adjustment is shown and the pure freedom of open-cockpit seaplane flight is felt by all who watch it. The period is a very romantic one - Gina's sultry song at the bar wows all who see it and the feelings that her and Marco share for each other are very strong. It is only Marco's lack of faith in humanity that keeps them apart. Gina has been widowed 3 times before by pilots so why should he risk making it 4? Surprisingly, the film came out in several European countries and Miyazaki has gone on record as saying that the French dub (starring Jean Reno as Porco) he his preferred soundtrack given the very European setting of the film. Again, there are no evil characters - the pirates are only interested in money and come across as being almost lovable rogues (especially when they compete to be in the photograph with Fio). Curtis is simply looking to further his name to help his film star aspirations and shooting down Porco Rosso will help him no end. Interestingly, it is out hero that displays almost antihero traits. He isn't interested in helping people, just the bounty that he can collect on the pirates he foils. His world-weariness, gruff demeanor and refusal to acknowledge Gina's love make him almost unlikeable at first. As he recalls the battle which led him to see the procession of ethereal planes, Fio starts to see his face change to that of a human. In many ways, we can conclude that Fio is the true hero of Porco Rosso. She will do anything for Porco and even offers herself as his wager for the duel. Her determination to succeed and find the cause of Marco's curse mean that she fits into the Miyazaki temple of young female heroines in his films.

Being an avid flight-enthusiast, Porco Rosso is my favourite Miyazaki. One of the joy's of Ghibli films is that so many genres are covered; fantasy (Spirited away, Howl's Moving Castle, The cat returns), drama (Whisper of the Heart, Grave of the fireflies), adventure (Porco Rosso, Laputa) and many more. This ensures that there is no one defining "best" film. Any of the films can be someone's favorite. Porco Rosso is one of the more adult films Ghibli have produced, perhaps showing some trace of original plan to show it to businessmen. It's got nothing inappropriate for children, but the themes explored are definaitely more mature and not many children are likely to identify with Porco's world-weariness. But beyond the simple feeling of freedom in the flight sequences is the joy of Marco rediscovering his faith in humanity, the mysteries that can be cleared up by watching closely and wonderful period music. I'm sure many will disagree, but for me this is the perfect Ghibli film.