There are any number of scenes or elements in Porco Rosso which inject an air of surprise or unpredictability into familiar characters. This is in stark contrast to Dreamworks, whose affection for old Hollywood and more adult movies frequently stifles the initial creative spark of their films. Although the character of Marco is clearly inspired by Humphrey Bogart, you never get the sense of the film's creativity being held back by a need to be respectful to these archetypes. The fly-by sequences, with the planes swooping low and causing chaos, are particularly well-executed so that they don't feel choreographed.įrom a more narrative point of view, the great success of Porco Rosso is its ability to turn the most hackneyed elements of wartime romances into something new and interesting while simultaneously paying homage to these stories. The animation is much more kinetic than Nausicaa of the Valley of the Wind, so that while the flying sequences retain a poetry and grace, they are also a lot more exciting. The lovingly hand-crafted feel of the old-fashioned aeroplanes and the pilots' paraphernalia is immensely detailed, making even the most ridiculous of machines feel grounded in reality. Like all of Miyazaki's work, the design of Porco Rosso is fantastic. The film was originally going to be set in Croatia, but was altered to fascist Italy and made darker following the outbreak of war in Yugoslavia. On the other hand, the film contains Miyazaki's own perspectives on war, honour and gender equality, held together by his continued obsession with flight. On the one hand, the film is a tribute to European war films and the Hollywood romances of the 1940s, containing strong references to Casablanca and A Matter of Life and Death. Porco Rosso is a marriage between two related tropes or motifs in Miyazaki's work. The legacy of the airline's involvement can be seen in the opening sequence, which lists the title and key cast members in ten languages.
As the production grew, the airline continued to fund it and gave it in-flight distribution long before its theatrical release in spite of this, it was still the highest grossing film in Japan that year. Porco Rosso began life as a short promotional film funded by Japan Airlines. But despite its more male-oriented storyline and realistic backdrop, it remains every bit as magical as the master's more direct dabbles in fantasy. Amid the constant clamour to bring Princess Mononoke to the big screen, he crafted Porco Rosso, a notable departure from the themes and characterisations of his previous work.
With Studio Ghibli films consistently topping the Japanese box office, Hayao Miyazaki could afford to take a few risks. Starring Shuichiro Moriyama, Akio Otsuka, Tokiko Kate, Tsunehiko Kamijo
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