The thing I like most about Studio Ghibli's films are that they are always beautifully animated and nimbly voiced. Princess Mononoke and Spirited Away are my favourites, but I will say that I love all the Studio Ghiblis for differentiating reasons. Porco Rosso is a very charming animated film, that is very imaginative as well. The animation is just stunning, with vibrant colours and picturesque Italian landscapes. Also the visuals with Porco's plane is just mind blowing. The visuals are perfectly matched by a truly beautiful music score, that helped make it a very relaxing watch. The story is a very intriguing one, and original, the characters are engaging and the story is of good quality. The English vocal characterisations were excellent, Michael Keaten being the biggest surprise, voicing a hugely engaging character, and while not exactly handsome, Porco has a heart of gold and genuinely cares for Fio, beautifully dynamic voice work from Kimberley Willaims-Paisley. Cary Elwes is also impressive as Curtis, Susan Egan is lovely as Madame Gina and David Ogden Stiers as Piccolo brings some well timed comic relief to the role. Overall, a stunning animated film, yes the ending is a little ambiguous, but Porco Rosso is well worth watching. 9/10 Bethany Cox
158 Reviews
Porco Rosso is that rare animated film that will be enjoyed more by adults than by children.
toqtaqiya219 October 2010
Warning: Spoilers
Porco Rosso is a sympathetic nod from a middle-aged man to his contemporaries, to all the guys who had the same dreams of changing the world, getting the girl, and winning the race, and somehow found themselves transformed into stout, middle-aged men with not much to show for all those ideals and dreams. It's also a wonderful children's film. There's a wonderful cast of characters. Every frame is well crafted, with some of the most marvelous aerial sequences ever animated and skies so exquisite the background painters should be designing for God. Joe Hisaishi's score is perfectly matched to the flow of every scene. The script is nicely paced, with the gradual, almost casual building of the main characters flowing so naturally from the action that it looks effortless. The director's political and social concerns are as clear as ever. Ultimately it's Porco Rosso's magnificent flying machines that are the star turns here. Their sleek designs, based on 1920s Italian models, and their thrilling animation are where Hayao Miyazaki's imagination really takes flight.
This movie will make you believe that pigs could indeed fly.
ironhorse_iv21 May 2015
Warning: Spoilers
This was indeed a beautiful film from Studio Ghibli. It had some really, nearly perfect visuals, some funny humor, and interesting concept, but there was a little something missing, preventing it from being one of my favorites, Hayao Miyazaki's films. Don't get me wrong, I like this movie, but I think this movie got under the hype that every Hayao Miyazaki film is supposed to be judge as good, just because fans love 1988's My Neighbor Totoro, so much. In my opinion, this movie is kinda overrated. Written and directed by Hayao Miyazaki, the film was originally planned as a short in-flight film for Japan Airlines based on Miyazaki's manga, 'The Age of the Flying Boat', but grew into a feature-length film. The movie doesn't really have much of a plot and because of that, the story kinda crash and burns. The plot somewhat revolves around an Italian curse World War I ex-fighter ace, Marco Rousolini AKA Porco Rosso (voiced by Shûichirô Moriyama in Japanese/ Michael Keaton in English) whom became half-man, half-pig after his compatriots were killed in battle. He is now a jaded womanizing bounty hunter rescuing ships and babies from the attacks of bumbling pirates across the Adriatic Sea. While, this sum-up sounds entertaining, in truth, the movie, sadly, has very little flying in it. It only has one-major action set piece in the film. The movie depicts most of airplane battles as childish and silly. Lots of bullets are fired, but nobody dies in this PG movie. Even airplane dog-fight, packed with innocent spectators on the ground, doesn't have one victim. Tons of property damage ensues, but somehow the stray gunfire only hits inanimate objects! Come on- movie. Take more a risk. Sadly, the movie never truly, goes anywhere, intense with its action. The odd collection of air pirates are more rivals than villains, and their screwball antics are played for comedy. Most of the film, has Porco repairing his ship with a female mechanic, Flo Piccolo (Voiced by Akemi Okamura in Japanese/ Kimberly Williams-Paisley in English), after being shot down by Donald Curtis (Voiced by Akio Ōtsuka in Japanese/ Cary Elwes in English), a cocky American fighter pilot who joins forces with the pirates. He hopes to get payback against Curtis, but the movie ignored that, for most of the film, to push the romantic overtures of both Flo & the cocktail singer Gina (Voiced by Tokiko Kato in Japanese/ Susan Egan in English) on him. We get it, Porco must learn to be least misogyny towards women. In other words, try not to be a pig. One of the film's biggest problems, is the lack of emotional connection. Honestly, all of Porco's relationships, don't seem real. It all seem a bit forced and kinda bland. Most people will say the picture's best emotional scene is Porco's backstory of what happened to him in the war. I have to agree, it was amazing. It is taken from a scene from Roald Dahl short story called They Shall Not Grow Old. Originally there are more be explained, but most of the serious tone of WW1 had to scrap off the storyboard because of the Yugoslavian wars of the early 1990s, due to it, being set in Croatia. Another great scene is Porco watching a cartoon in a darken movie theater. The cartoon depicts a Mickey Mouse Expy striving to save his girlfriend from a villainous pig in an airplane. The obvious metaphor is clear. It's a great moment in the film as we see the "pig" as a symbol of a man's alienation, loathing and despair. If you look deep in the film, you might find themes of redemption, loss and love to be very powerful in this, underneath the more fun surface. Sadly, it's not easy to find. The English voice acting is alright for the most part. Michael Keaton does a good job as Porco. He show the cynical side, very well. Still, I kinda like Jean Reno's French dubbing, more, as it was a little well-rounded performance. British actor, Cary Elwes as American, Curtis was mediocre, at best. The Southern accent was bit odd. It's goes in and out, throughout the film. It was really over-the-top Errol Flynnism. Not his best work, but it was watchable. The music to the film was amazing. Another masterpiece from composer Joe Hisaishi. The animation was OK, for the time. Hand by hand, drawings, is hard to do, and I just glad, everything, more so fluently. The only problem that I notice is that Flo looks very similar to Nausicaa from 1984's Nausicaa of the Valley of the Wind, another Ghibli movie; Miyazaki has a tendency to recycle character models, and it shows here. I like how much the movie is a homage to early aviation. You really can tell that they did, their research. The movie was very accurate with the planes designs. However, there were some exaggerated. The end of the film was particularly unimpressive. I really hate that, it ends abruptly and didn't resolve, anything. Miyazaki has expressed interest in making a sequel. He plans to set it in the Spanish Civil War, calling the film's working title, Porco Rosso: The Last Sortie. As of this writing, the movie hasn't been made, or look like it ever will be, made. Still, the movie did influence, other works. One good example is Disney's Tale-Spin, TV show. Overall: This movie is too silly to be taken seriously. Honestly, this movie could have been amazing. It could had been, probably one of Miyazaki's best works, but with glaring plot holes, frustrating romances, and indecisive writing. It's not. Still, it's a warm, nostalgic fun film, even if it doesn't quite fly high enough.
Great Story and characters, beautiful art and music, yet underrated because of few misunderstandings
summerfalcon30 November 2019
This movie is so beautiful, well thought out, both in story and artwork, yet it is way too underrated. In my review, I will be focusing on addressing those critical/negative comments rather than repeating how good it is, which is already done by many others. I think the complaints mostly falls into 2 categories, mostly because they overlooked the hints, and maybe because of the inaccurate dub/sub. As a Japanese, I watched the film in original Japanese, and I hope I can contribute to the review by adding some accuracy and new perspectives. Followings are the 2 main complaints I've found, and my replies to them.
1. No Explanation for why he became a pig.
To tell the truth, I didn't get it either when I first watched it as a kid, but now that I've grown older, it is quite clear that the curse that transformed Marco into a pig is self-inflicted. Someone wrote a perfect interpretation which I'm quoting here: "The curse that transformed Marco into a pig is self-inflicted, because he survived the battle while Gina's husband (and Marco best friend) didn't. He feels guilty and he transformed into a pig because he feels he doesn't deserve love and happiness". Pig is often used to describe "worthless" or "disgusting" person in Japan, and it is understandable that he sees himself as a pig out of survivor's-guilt. This self-deprecation is shown many times throughout the film, such as when Gina told him that her 3rd husband didn't make it home alive, he responded "the good guys never do," making explicit this contrast between himself and a good guy. Also, another thing to take note is that he was sick of the wars, and had very little faith in mankind. Living in isolated island alone, and his phrase "I'd rather be a pig than a fascist", "You should do those kind of things just between you humans" all imply that.
How come he turned back into human (although the face was never shown, it is clear that he returned to human) in the end then? His phrase "Fio, you're a good girl. You make me feel like mankind are not that bad after all" might be the key. While spending time with Fio, seeing her innocent affection to him and to the aircraft, Marco slowly recovered from self-deprecation, and also recovered the faith to mankind. Although Fio was never an object of romantic interest for Marco, she's the one who helped Marco to change the view on himself and to the mankind. That's why the kiss from Fio worked.
2. Open Ending / no conclusion (Gina or Fio, not being shown. Which is actually not true)
I've seen many people complaining that the film didn't show whether Marco chose Gina or Fio in the end. Some even criticizing Miyazaki as "lazy", that he couldn't decide the conclusion himself so left it to viewers imagination. This is very wrong. Miyazaki showed the result in a very subtle way, that only careful people will notice. You just need to combine 2 things.
1) When Curtis visited Gina in her secret garden, she told Curtis "I'm now making a bet. If he (Marco) ever visits me while I'm in this garden during the daytime, I've decided I will truly love him. But that idiot, he only comes to the bar in the night time, never showing himself during the daytime."
2) In the last part, from the sky looking down to Hotel Adriana (from Fio's airplane), you will find Marco's red aircraft docked next to Gina's secret garden, during the DAYTIME. Gina won the bet. Also, in the end, the secret garden was shown again, but without Gina being there. Gina no longer needs to be there waiting for Marco.
Miyazaki set the conclusion in a very subtle way, make it kind of rewarding for those people who noticed it, and for those people who didn't, he gave the space for imagination. Some people might not be happy that Fio wasn't the one chosen after spending so much time building the relationship with Marco, but as I wrote earlier, even though she helped Marco recovering from self-deprecation, she was never an object of romance for Marco. Marco was always out there for Gina, as Gina thanking Marco in the beginning. As Gina told Curtis, "Love here is a bit more complicated than back in your country".
1. No Explanation for why he became a pig.
To tell the truth, I didn't get it either when I first watched it as a kid, but now that I've grown older, it is quite clear that the curse that transformed Marco into a pig is self-inflicted. Someone wrote a perfect interpretation which I'm quoting here: "The curse that transformed Marco into a pig is self-inflicted, because he survived the battle while Gina's husband (and Marco best friend) didn't. He feels guilty and he transformed into a pig because he feels he doesn't deserve love and happiness". Pig is often used to describe "worthless" or "disgusting" person in Japan, and it is understandable that he sees himself as a pig out of survivor's-guilt. This self-deprecation is shown many times throughout the film, such as when Gina told him that her 3rd husband didn't make it home alive, he responded "the good guys never do," making explicit this contrast between himself and a good guy. Also, another thing to take note is that he was sick of the wars, and had very little faith in mankind. Living in isolated island alone, and his phrase "I'd rather be a pig than a fascist", "You should do those kind of things just between you humans" all imply that.
How come he turned back into human (although the face was never shown, it is clear that he returned to human) in the end then? His phrase "Fio, you're a good girl. You make me feel like mankind are not that bad after all" might be the key. While spending time with Fio, seeing her innocent affection to him and to the aircraft, Marco slowly recovered from self-deprecation, and also recovered the faith to mankind. Although Fio was never an object of romantic interest for Marco, she's the one who helped Marco to change the view on himself and to the mankind. That's why the kiss from Fio worked.
2. Open Ending / no conclusion (Gina or Fio, not being shown. Which is actually not true)
I've seen many people complaining that the film didn't show whether Marco chose Gina or Fio in the end. Some even criticizing Miyazaki as "lazy", that he couldn't decide the conclusion himself so left it to viewers imagination. This is very wrong. Miyazaki showed the result in a very subtle way, that only careful people will notice. You just need to combine 2 things.
1) When Curtis visited Gina in her secret garden, she told Curtis "I'm now making a bet. If he (Marco) ever visits me while I'm in this garden during the daytime, I've decided I will truly love him. But that idiot, he only comes to the bar in the night time, never showing himself during the daytime."
2) In the last part, from the sky looking down to Hotel Adriana (from Fio's airplane), you will find Marco's red aircraft docked next to Gina's secret garden, during the DAYTIME. Gina won the bet. Also, in the end, the secret garden was shown again, but without Gina being there. Gina no longer needs to be there waiting for Marco.
Miyazaki set the conclusion in a very subtle way, make it kind of rewarding for those people who noticed it, and for those people who didn't, he gave the space for imagination. Some people might not be happy that Fio wasn't the one chosen after spending so much time building the relationship with Marco, but as I wrote earlier, even though she helped Marco recovering from self-deprecation, she was never an object of romance for Marco. Marco was always out there for Gina, as Gina thanking Marco in the beginning. As Gina told Curtis, "Love here is a bit more complicated than back in your country".
Deliberate unevenness, reflections of self and story
monolith9429 December 2014
Warning: Spoilers
I had been putting off watching Porco Rosso for quite some time. It wasn't so much that I was anticipating not liking it. Rather, it was more a trepidation that while good, Porco Rosso wouldn't quite measure up to the other Miyazaki films which I've loved.
I should have known better.
The simplicity of the cover, and the description of the plot that I had in my mind were so much less than what Porco Rosso contains. The marketing, advertising, and so forth, place emphasis on the struggle between Porco and the pirates of the Adriatic. The second point of plot typically mentioned is the "curse" that he has fallen under. In truth, neither of these things form the real backbone of the story: psychology is at the heart of this narrative.
A film simply about a bounty hunter versus pirates could be a fine ride, if executed in a way which stirs. However, without the kind of psychological backdrop that we get in Porco's character, it wouldn't be possible to really move the audience. What raises this story from simply engaging to stirring, moving, is our main characters' relationship to their individual and shared pasts.
In a really clever way, the film introduces this haunting aspect of the past not through the main character, but through the character of Gina. Of a similar generation, Gina introduces this idea during her first conversation with Porco, where she receives news that her husband has been confirmed dead, she seems unusually unemotional. As she expresses to Porco, she has shed so many tears already, that she finds she has no more left to give. The carnage of world war 1 and the vagaries of life in a world where fate can snatch love from us has left her emotionally drained.
Where Gina is melancholy and stoic, Porco broods and isolates. As the sole survivor of a battle where Gina's first husband died, he feels personally responsible. This sort of survivor's guilt is reflected with his constant self-deprecation; constantly we see signs of him expressing a low sense of self-worth. He doesn't deny his skill as a pilot, but what he does deny is that he is in any way a "good guy." When Gina tells him that her husband didn't make it home alive, he responds "the good guys never do," making explicit this contrast between himself and a good guy.
His profession as a mercenary is almost ideal for his state. It allows him to pretend that he's only in it for the money, while at the same time he has put himself in a position to do good works: saving children, defending the monied defenseless, etc. He does have a sense of morality, of course. We see this in his careful targeting of his opponents planes: he always aims to cripple and shoot down, never to kill the opposing pilot. It is difficult for him to see the evidence that we see, however. We understand the regret he feels as a sign of his ethical standards; he dismisses it out of hand. One imagines that, for him, that is a bare-minimum, rather than a characteristic that one can be proud of.
The devices that film uses to achieve the character development of Porco can, at times, be a bit trite. The character of Fio is perhaps a bit too on-the-nose as the young idealist who, unshackled by a painful past, is able to help shake off some of the emotional armor that Porco has surrounded himself in. However, Miyazaki saves the character by simply writing her as an intelligent, brave, young woman whom the audience can both respect and relate to. Even more intelligently, although Fio develops an admiration for and a crush on Porco, this thread isn't really developed. As a character, Fio wouldn't really work as Porco's love interest. It would add on the additional cliché of older-man younger-woman and that would just take Miyazaki's use of common story devices too far.
Gina is the more realistic love interest for Porco, and just as a sense of feminism imbues the character of Fio, so too does a sense of feminism shape Gina. Far from the virgin-whore duality that infects so many female characters, Gina is fully realized as a woman with hopes and desires, losses and memories, that make her an equal of Porco. She has been married, and she has known love, but this doesn't "spoil" her. Rather, it has matured her.
Even more impressively, the relationship between Gino and Porco is based on friendship, a friendship which goes back to happier times. How refreshing to see romance kindled in such a realistic way, as compared to the constant barrage of films where characters either fall in love with each other for narrative convenience.
As good as this movie is, I suspect that its greatest impact can be felt on those who are struggling with the emotions of Gina and Porco. To struggle with one's past is no uncommon thing, and those who are working to set aside feelings of loss and self-loathing will probably find the greatest amount of catharsis as Porco slowly comes to realize that he doesn't need to define himself as a pig any longer. Certainly, only those who have run out of tears will be able to fully appreciate the emotional desolation the Gina describes.
I should have known better.
The simplicity of the cover, and the description of the plot that I had in my mind were so much less than what Porco Rosso contains. The marketing, advertising, and so forth, place emphasis on the struggle between Porco and the pirates of the Adriatic. The second point of plot typically mentioned is the "curse" that he has fallen under. In truth, neither of these things form the real backbone of the story: psychology is at the heart of this narrative.
A film simply about a bounty hunter versus pirates could be a fine ride, if executed in a way which stirs. However, without the kind of psychological backdrop that we get in Porco's character, it wouldn't be possible to really move the audience. What raises this story from simply engaging to stirring, moving, is our main characters' relationship to their individual and shared pasts.
In a really clever way, the film introduces this haunting aspect of the past not through the main character, but through the character of Gina. Of a similar generation, Gina introduces this idea during her first conversation with Porco, where she receives news that her husband has been confirmed dead, she seems unusually unemotional. As she expresses to Porco, she has shed so many tears already, that she finds she has no more left to give. The carnage of world war 1 and the vagaries of life in a world where fate can snatch love from us has left her emotionally drained.
Where Gina is melancholy and stoic, Porco broods and isolates. As the sole survivor of a battle where Gina's first husband died, he feels personally responsible. This sort of survivor's guilt is reflected with his constant self-deprecation; constantly we see signs of him expressing a low sense of self-worth. He doesn't deny his skill as a pilot, but what he does deny is that he is in any way a "good guy." When Gina tells him that her husband didn't make it home alive, he responds "the good guys never do," making explicit this contrast between himself and a good guy.
His profession as a mercenary is almost ideal for his state. It allows him to pretend that he's only in it for the money, while at the same time he has put himself in a position to do good works: saving children, defending the monied defenseless, etc. He does have a sense of morality, of course. We see this in his careful targeting of his opponents planes: he always aims to cripple and shoot down, never to kill the opposing pilot. It is difficult for him to see the evidence that we see, however. We understand the regret he feels as a sign of his ethical standards; he dismisses it out of hand. One imagines that, for him, that is a bare-minimum, rather than a characteristic that one can be proud of.
The devices that film uses to achieve the character development of Porco can, at times, be a bit trite. The character of Fio is perhaps a bit too on-the-nose as the young idealist who, unshackled by a painful past, is able to help shake off some of the emotional armor that Porco has surrounded himself in. However, Miyazaki saves the character by simply writing her as an intelligent, brave, young woman whom the audience can both respect and relate to. Even more intelligently, although Fio develops an admiration for and a crush on Porco, this thread isn't really developed. As a character, Fio wouldn't really work as Porco's love interest. It would add on the additional cliché of older-man younger-woman and that would just take Miyazaki's use of common story devices too far.
Gina is the more realistic love interest for Porco, and just as a sense of feminism imbues the character of Fio, so too does a sense of feminism shape Gina. Far from the virgin-whore duality that infects so many female characters, Gina is fully realized as a woman with hopes and desires, losses and memories, that make her an equal of Porco. She has been married, and she has known love, but this doesn't "spoil" her. Rather, it has matured her.
Even more impressively, the relationship between Gino and Porco is based on friendship, a friendship which goes back to happier times. How refreshing to see romance kindled in such a realistic way, as compared to the constant barrage of films where characters either fall in love with each other for narrative convenience.
As good as this movie is, I suspect that its greatest impact can be felt on those who are struggling with the emotions of Gina and Porco. To struggle with one's past is no uncommon thing, and those who are working to set aside feelings of loss and self-loathing will probably find the greatest amount of catharsis as Porco slowly comes to realize that he doesn't need to define himself as a pig any longer. Certainly, only those who have run out of tears will be able to fully appreciate the emotional desolation the Gina describes.
When Pigs Fly
tieman6428 February 2011
Warning: Spoilers
Hayao Miyazaki is one of the few Japanese animators to be fully embraced by mainstream Western audiences, perhaps because he is a giant europhile, thoroughly fond of European culture, architecture, art and food.
No surprise then that "Porco Rosso" is heavily influenced by 1930-40s British, American and French adventure comics ("Popular Flying", "Battlefield Action", "Frontline Combat" etc), all of which served up exciting tales set in Europe, often with soldiers as heroes. A large subset of these comics focused solely on fighter pilots (The Red Baron, James Bigglesworth, The White Fokker), romanticised knights of the skies, gallant, brave and chivalrous. As the war drew to a close, and film noirs became popular, the prim and proper aviation hero got a little bit scuffed up. He was now not only a total ace, but a suave ladies man, moody loner and cynic.
And so "Porco Rosso" takes the best from these early wartime adventures and collides them with Humprey Bogart noirs, Michael Curtiz flicks, Pressburger's "A Matter of Life and Death" and Miyazaki's own obsessions, all to create a kind of ultra romantic cocktail. The setting: a fantastical version of 1920's Italy, in which the skies are ruled by heroic seaplane pilots, bounty-hunters and pirates. When they're not dodging tracers and dancing in the skies, these hotshot fly boys hang out at Gina's island café, where they kick back, relax and listen to Gina sing sad tunes of lovers long lost. Here, like Rick's Bar in "Casablanca", there's an unwritten truce between all men. You may be enemies in the clouds, but on Gina's island, everyone's your buddy.
The film revolves around Porco Rosso (Italian for "the crimson pig"), a chubby pig dressed in a detective's trench coat and dark shades. He should be ridiculous, but with his witty one-liners ("I'd rather be a pig than a fascist"), cool detachment, political apathy and romantic distance, comes across instead as Bogart with a snout. The guy's not just the coolest pilot in the Adriatic, but a total ladies man, women fawning over him despite his perpetual disinterest.
Like most of Miyazaki's films, the plot is barely told. What Miyazaki invests in is creating worlds. Moody spaces. And so we savour the film's postcard images of Croatian and Italian villages, its lovingly drawn architecture, Gina's cosy island château (seemingly modelled on Rick's Bar in "Casablanca"), gorgeous Adriatic inlets and coastlines, beautiful landscape shots, interesting machinery and Miyazaki's large cast of good natured friends and foes. Throw in master composer Joe Hisaishi's gorgeous score – romantic, easygoing, suggestive of the French Rivierra - and this film kills you with aesthetics.
All of Miyazaki's other obsessions are here – flying, European/Mediterreanean towns, an aesthetic which suggests a fusion of time periods, little girls, air-planes, airships, Ozu-like still-life tableaux – except environmentalist preaching. The absence of this sermonising makes "Porcco Rosso", like "Kiki's Delivery Service", one of his most laid-back films. It's less about plot than it's about ambiance and environment. What little plot there is, is itself all suggestive; suggested romances, suggested pasts, suggested futures.
The film is packed with great scenes, some of them resembling Carroll Ballard's "Wind", released the same year (one film revolves around building a boat, the other a plane). Beyond the film's dog fights and aerial battles you have Gina's wistful, aching love for Porcco, whom she affectionately calls by his human name, Marco (Gina's love, made wise by age, is mirrored to the young puppy love of a 17 year old girl). It's a weird interspecies love affair, peppered with flashbacks reminiscent of Leone's "A Fistfull of Dynamite".
The film's "beauty and the beast" romance has led to much speculation as to why exactly Porcco is a pig. The film seems to say that Marco put a spell on himself: he views himself as a pig, as being unworthy of living, and it is only gradually, through the validation of others, that he comes to realise that he's not all that bad.
In terms of the flaws, the film's villains are too idiotic. They're bumbling buffoons and their juvenility at times takes you out of the story. Incidentally, many fans of the film wage fierce battles over which of the film's dub tracks is better. Purists prefer the Japanese track, a few like the American track and many prefer the French. The French version, in which Jean Reno plays Porcco, is far better than the Japanese dub, and even Miyazaki thinks so himself. Personally, though, I think "Porcco Rosso" is the only Miyazaki film in which the American (or Disney) dubbing is much better than the original Japanese voice acting. Here, actor Michael Keaton plays Porcco, mixing a little Bat Man, pig and Bogart to great effect. Actress Susan Egan is also suitably classy as Gina.
10/10 – For an alternate take on similar material, see Mamoru Oshii's underrated "The Sky Crawlers".
No surprise then that "Porco Rosso" is heavily influenced by 1930-40s British, American and French adventure comics ("Popular Flying", "Battlefield Action", "Frontline Combat" etc), all of which served up exciting tales set in Europe, often with soldiers as heroes. A large subset of these comics focused solely on fighter pilots (The Red Baron, James Bigglesworth, The White Fokker), romanticised knights of the skies, gallant, brave and chivalrous. As the war drew to a close, and film noirs became popular, the prim and proper aviation hero got a little bit scuffed up. He was now not only a total ace, but a suave ladies man, moody loner and cynic.
And so "Porco Rosso" takes the best from these early wartime adventures and collides them with Humprey Bogart noirs, Michael Curtiz flicks, Pressburger's "A Matter of Life and Death" and Miyazaki's own obsessions, all to create a kind of ultra romantic cocktail. The setting: a fantastical version of 1920's Italy, in which the skies are ruled by heroic seaplane pilots, bounty-hunters and pirates. When they're not dodging tracers and dancing in the skies, these hotshot fly boys hang out at Gina's island café, where they kick back, relax and listen to Gina sing sad tunes of lovers long lost. Here, like Rick's Bar in "Casablanca", there's an unwritten truce between all men. You may be enemies in the clouds, but on Gina's island, everyone's your buddy.
The film revolves around Porco Rosso (Italian for "the crimson pig"), a chubby pig dressed in a detective's trench coat and dark shades. He should be ridiculous, but with his witty one-liners ("I'd rather be a pig than a fascist"), cool detachment, political apathy and romantic distance, comes across instead as Bogart with a snout. The guy's not just the coolest pilot in the Adriatic, but a total ladies man, women fawning over him despite his perpetual disinterest.
Like most of Miyazaki's films, the plot is barely told. What Miyazaki invests in is creating worlds. Moody spaces. And so we savour the film's postcard images of Croatian and Italian villages, its lovingly drawn architecture, Gina's cosy island château (seemingly modelled on Rick's Bar in "Casablanca"), gorgeous Adriatic inlets and coastlines, beautiful landscape shots, interesting machinery and Miyazaki's large cast of good natured friends and foes. Throw in master composer Joe Hisaishi's gorgeous score – romantic, easygoing, suggestive of the French Rivierra - and this film kills you with aesthetics.
All of Miyazaki's other obsessions are here – flying, European/Mediterreanean towns, an aesthetic which suggests a fusion of time periods, little girls, air-planes, airships, Ozu-like still-life tableaux – except environmentalist preaching. The absence of this sermonising makes "Porcco Rosso", like "Kiki's Delivery Service", one of his most laid-back films. It's less about plot than it's about ambiance and environment. What little plot there is, is itself all suggestive; suggested romances, suggested pasts, suggested futures.
The film is packed with great scenes, some of them resembling Carroll Ballard's "Wind", released the same year (one film revolves around building a boat, the other a plane). Beyond the film's dog fights and aerial battles you have Gina's wistful, aching love for Porcco, whom she affectionately calls by his human name, Marco (Gina's love, made wise by age, is mirrored to the young puppy love of a 17 year old girl). It's a weird interspecies love affair, peppered with flashbacks reminiscent of Leone's "A Fistfull of Dynamite".
The film's "beauty and the beast" romance has led to much speculation as to why exactly Porcco is a pig. The film seems to say that Marco put a spell on himself: he views himself as a pig, as being unworthy of living, and it is only gradually, through the validation of others, that he comes to realise that he's not all that bad.
In terms of the flaws, the film's villains are too idiotic. They're bumbling buffoons and their juvenility at times takes you out of the story. Incidentally, many fans of the film wage fierce battles over which of the film's dub tracks is better. Purists prefer the Japanese track, a few like the American track and many prefer the French. The French version, in which Jean Reno plays Porcco, is far better than the Japanese dub, and even Miyazaki thinks so himself. Personally, though, I think "Porcco Rosso" is the only Miyazaki film in which the American (or Disney) dubbing is much better than the original Japanese voice acting. Here, actor Michael Keaton plays Porcco, mixing a little Bat Man, pig and Bogart to great effect. Actress Susan Egan is also suitably classy as Gina.
10/10 – For an alternate take on similar material, see Mamoru Oshii's underrated "The Sky Crawlers".
older protagonist
SnoopyStyle5 August 2019
Porco Rosso is a World War I veteran flyboy who is cursed with the face of a pig. He flies his seaplane after the war as a bounty hunter working for the money. He is hired to rescue a group of kidnapped girls and retrieve a loot of gold from flying pirates. Gina is one of his oldest friends who is the respected owner of a local bar. Donald Curtis is an American rival who is eager to defeat him. After he gets shot down by Curtis, he brings his plane to Mr. Piccolo's repair shop where he's introduced to Piccolo's brilliant plane designing granddaughter Fio.
This is a little different than Miyazaki's other works. Most of the time, his protagonists are much younger. Porco Rosso is a much older protagonist. The world has literally left its mark on his face. Before watching the movie, I assumed it to be a magical curse. It may still be magic but I'm more convinced that its a substitute for those soldiers who were left with horrible facial scars after fighting WWI. Many were horribly scarred by the war. Porco is also very world weary. His cavalier attitude seems to have more to do with his lack of fear for his own safety. There is an overall tired nature to his character and as a consequence, the world has a piece of that. In the end, he's alone. There is less magic in this one even if it is still a flight of fancy.
This is a little different than Miyazaki's other works. Most of the time, his protagonists are much younger. Porco Rosso is a much older protagonist. The world has literally left its mark on his face. Before watching the movie, I assumed it to be a magical curse. It may still be magic but I'm more convinced that its a substitute for those soldiers who were left with horrible facial scars after fighting WWI. Many were horribly scarred by the war. Porco is also very world weary. His cavalier attitude seems to have more to do with his lack of fear for his own safety. There is an overall tired nature to his character and as a consequence, the world has a piece of that. In the end, he's alone. There is less magic in this one even if it is still a flight of fancy.
More than a movie
walrashish22 December 2005
Porco Rosso is not just one of those movies that you watch and give back to Netflix. It is one of those movies that genuinely makes you hate your life, but in a good way. Watching a movie like Porco Rosso makes you wish that you lived in their world, and that you could fly your own plane between the Adriatic Islands and your own private hideaway. It is the kind of film that takes you inside it and leaves you with a sort of culture shock when you are forced to realize that you are in your modern-day room with no way to get around but a car or a bike. It is the sort of movie that you watch again not only because you love it so much, but also so that you can have a portal back into that magical world and dream that you can become like one of the characters in the movie with some sort of "reality". Who cares if there are flaws? Is the world absolutely perfect? So what if there is ambiguity about the ending? Is life always crystal clear? Porco Rosso is one of those movies that has the perfect mix of reality and fantasy; it gives you a world that you wish you were a part of, and COULD be, if only you can find it....
Fascinating and haunting adventure set in Italy of the 20s by the great Hayao Miyazaki
ma-cortes18 August 2011
Riveting and marvelous animated film by the genius cartoonist Hayao Miyazaki .This magnificent cartoon movie concerns about Porco Rosso legend, the adventures of a 1920's bush pilot in Italy , specifically on Adriatic sea , an era during Mussolini government , ruling the fascism , with air pirates, and high fliers of all sorts dominate the skies . It begins when who just happens to look like a humanoid pig , Porco Rosso , a previous Air Ace, he today is a bounty hunter and does a living flying contract jobs, such as rescuing those abducted little girls by air pirates. As hero Porco goes after the pirates, severely damaging their aircraft . Later on , Porco goes to the Hotel Adriano, where he deals with Gina, an old girlfriend who owns the wonderful resort on an island . Donald Curtis, Porco's contender in the air and in catching the affections of Gina , provides a constant challenge to the valiant Porco . Both of then will confront on the air taking place overwhelming chases , pursuits and dogfighting on the skies .
This wonderful film is plenty of fantasy , adventures, spectacular dogfighting and with agreeable message . The picture is narrated with sensibility and sense of wonder and quite entertaining , as it is apt for small kids but no contains graphic violence as ¨Monokome-Hime¨. Compellingly made by Hayao Miyazaki who also directed other excellent cartoon movies as ¨Howl's moving castle, Chihiro, Nicky , Nausica of the valley of the wind , My neighbor Tororo¨ and many others . The film packs lively situations , hilarious scenes , spectacular images and culminating in an air confrontation with breathtaking ending . All roles have multiple dimensions and display really astonishing humanity .It picks up a big resonance , weight and breathtaking frames that make it all an awesome film . Never remotely didactic , the movie is ultimately an adventure/fantasy cartoon movie that touches brief thoughtful issues . The drawings have a special ancient touch that conveys the forgotten wisdom of the past that could really affect the way you interact with others and with the ambient . This stunning film with appropriate runtime , converted into one of the first of any kind to gross over the box office in Japan and all over the world.
The motion picture was splendidly realized by Hayao Miyazaki and accompanied by the sensitive music score composed by his usual musician, Joe Hisaishi . Sensational and fantastic tale, it's a masterpiece animated movie , a great animation with an enjoyable meaning . Miyazaki wasn't yet a culture hero in Japan when made this animated mythic adventure ; later on , he directed ¨Princess Monokone¨converted the first of any kind to gross over the box office in Japan and around the world , it raised him to a status approaching living national treasure . Miyazaki also directed other excellent cartoon movies as ¨Lupin¨ (1978) , Castle of Cagliostro¨ (1979) , ¨Nausica of the valley of wind¨ , ¨Howl's moving castle¨ , ¨Laputa castle of the sky¨ ,¨Porco Rosso¨ , ¨Kiki's delivery service¨, ¨Chihiro¨ or ¨Spirited away¨: the highest grossing Japanese film ever , and this cult movie : ¨My neighbour Tororo¨ . ¨Kurenai no buta (1992) is one of a kind, if you enjoy interesting stories and have a soft spot for deep characters and well planed scenarios, you are in for a great one. Rating : Better that average , worthwhile watching ; advisable to see for children and adults who appeal the gorgeous drawings .
This wonderful film is plenty of fantasy , adventures, spectacular dogfighting and with agreeable message . The picture is narrated with sensibility and sense of wonder and quite entertaining , as it is apt for small kids but no contains graphic violence as ¨Monokome-Hime¨. Compellingly made by Hayao Miyazaki who also directed other excellent cartoon movies as ¨Howl's moving castle, Chihiro, Nicky , Nausica of the valley of the wind , My neighbor Tororo¨ and many others . The film packs lively situations , hilarious scenes , spectacular images and culminating in an air confrontation with breathtaking ending . All roles have multiple dimensions and display really astonishing humanity .It picks up a big resonance , weight and breathtaking frames that make it all an awesome film . Never remotely didactic , the movie is ultimately an adventure/fantasy cartoon movie that touches brief thoughtful issues . The drawings have a special ancient touch that conveys the forgotten wisdom of the past that could really affect the way you interact with others and with the ambient . This stunning film with appropriate runtime , converted into one of the first of any kind to gross over the box office in Japan and all over the world.
The motion picture was splendidly realized by Hayao Miyazaki and accompanied by the sensitive music score composed by his usual musician, Joe Hisaishi . Sensational and fantastic tale, it's a masterpiece animated movie , a great animation with an enjoyable meaning . Miyazaki wasn't yet a culture hero in Japan when made this animated mythic adventure ; later on , he directed ¨Princess Monokone¨converted the first of any kind to gross over the box office in Japan and around the world , it raised him to a status approaching living national treasure . Miyazaki also directed other excellent cartoon movies as ¨Lupin¨ (1978) , Castle of Cagliostro¨ (1979) , ¨Nausica of the valley of wind¨ , ¨Howl's moving castle¨ , ¨Laputa castle of the sky¨ ,¨Porco Rosso¨ , ¨Kiki's delivery service¨, ¨Chihiro¨ or ¨Spirited away¨: the highest grossing Japanese film ever , and this cult movie : ¨My neighbour Tororo¨ . ¨Kurenai no buta (1992) is one of a kind, if you enjoy interesting stories and have a soft spot for deep characters and well planed scenarios, you are in for a great one. Rating : Better that average , worthwhile watching ; advisable to see for children and adults who appeal the gorgeous drawings .
A magical European adventure that is too real to brand a cartoon. A visual splendor - the imagination of an artist unequaled in the animation world.
Freddy_Levit4 July 2005
Over the decades, Japan has established itself in the animation scene as a contender, creating some of the most mind boggling realistic, detailed animation the world has ever seen. However, Japan had primarily made cartoons involving their traditional, cultural and supernatural themes that the world felt alienated to.
It wasn't until a great artist came along in the mid-1970s that was to make Disney look like a second class citizen in the animation business. Hayao Miyazaki was Japan's inspiration to open their eyes to new horizons and show the world their hand in art. His first motion picture released in the late 70s was Lupin III: Castle of Cagliostro, which proved to be a world success. From that point on, he created some of the most memorable, brilliant and detailed masterpieces the western world ever saw - most having something to do with world issues and human's spiritual touch with nature. It wasn't until I saw Porco Rosso that I found my oasis in animation, a film that has no reason to be a cartoon due to its sheer realism and setting.
The premise is simple, subtle and imaginatively compelling. The story follows a humanoid pig known as Porco Rosso ('Crimson Pig' in English Translation), a bush pilot during the rise of the Nazis in the 1930s when Mussolini was a strong ally with Hitler. Whilst war is on the brink of initiation, Bush Pilot 'Pirates' roam the Italian coast, robbing ships, tourists and living the life few people could experience. Among these gambling, thieving, dirty pirates however, Porco Rosso stands as the ace pilot and feared by all. As he threatens the welfare of all the pirates, particularly the Mamma Aiuto Gang, the price on his head sky rockets. The only thing that lies between him and the pirates is a beautiful woman named Madame Gina, the singer and proprietor of an island resort popular with all the pilots that come through. Gina loves Porco since childhood, when he was a real human, and cannot bare to lose yet another close one, like her previous husbands. Both Porco's and Gina's world is turned upside down when an American ace pilot named Curtis intrudes into their lives, insisting on making a name for himself as he plans to fight Porco in an air battle all the while falling in love with Gina.......the American way.
Porco's subsequent adventures lead him to discover something about himself, about those important to him and about letting go of his constant turmoil and guilt of events that have haunted him for years, as he meets new characters that open his eyes and return him to what he once was.........just a human.
Rarily has an adventure movie been so fun, rich and captivating as Porco Rosso in addition to its overwhelmingly brilliant animation. Like I said before, there is no reason for this film to be a cartoon, but because it is and because it was realized in the way that it was, this is what makes it a masterpiece among World Animation.
The story, being very simple, could be taken on many levels with its inner meaning and symbolism. You forget that you are watching a cartoon after 5 minutes. It takes itself mildly seriously and the comic relief is timed to perfection. The characters vividly come to life and drain you of your emotions with each of their stories. The world Hayao Miyazaki creates is so real, that you are inevitably drawn into it. The magnificent romantic and exotic music and attention to authenticity make the film's atmosphere so convincing and breathtaking - the music always suiting at the right moments. I hardly believed this was a Japanese film, considering it felt completely like a European production. But no, only Hayao Miyazaki could accomplish such feats as to utilize your imagination and transport you to another world without any reference to his origins. That is his gift. This was evident ever since his motion picture debut. He has made many brilliant films, but Porco Rosso is the black sheep in the crowd. It is like something he's never done before, as all his films were supernatural in many ways.
This is my favorite cartoon of all time, and one of the great motion pictures you're bound to ever come across in world cinema. Forget about Disney. If you love animation and film, go no further than Hayao Miyazaki, one of the last great directors and story tellers in a world which has forgotten quality. Disney died a long time ago, and Miyazaki is a director in the old tradition - a tradition where plot and characters meant much more than special effects. Porco Rosso is an escape you'll come back to often. Few films have captured the essence of Europe, Flying and Adventure quite like it. It lifts your spirits and inspires you to see the world in a different way. The beautiful mix of music, color, animation, detail and setting make this a most unforgettable experience. 'Porco Rosso' is the definitive work from the legend of modern animation, Hayao Miyazaki.
It wasn't until a great artist came along in the mid-1970s that was to make Disney look like a second class citizen in the animation business. Hayao Miyazaki was Japan's inspiration to open their eyes to new horizons and show the world their hand in art. His first motion picture released in the late 70s was Lupin III: Castle of Cagliostro, which proved to be a world success. From that point on, he created some of the most memorable, brilliant and detailed masterpieces the western world ever saw - most having something to do with world issues and human's spiritual touch with nature. It wasn't until I saw Porco Rosso that I found my oasis in animation, a film that has no reason to be a cartoon due to its sheer realism and setting.
The premise is simple, subtle and imaginatively compelling. The story follows a humanoid pig known as Porco Rosso ('Crimson Pig' in English Translation), a bush pilot during the rise of the Nazis in the 1930s when Mussolini was a strong ally with Hitler. Whilst war is on the brink of initiation, Bush Pilot 'Pirates' roam the Italian coast, robbing ships, tourists and living the life few people could experience. Among these gambling, thieving, dirty pirates however, Porco Rosso stands as the ace pilot and feared by all. As he threatens the welfare of all the pirates, particularly the Mamma Aiuto Gang, the price on his head sky rockets. The only thing that lies between him and the pirates is a beautiful woman named Madame Gina, the singer and proprietor of an island resort popular with all the pilots that come through. Gina loves Porco since childhood, when he was a real human, and cannot bare to lose yet another close one, like her previous husbands. Both Porco's and Gina's world is turned upside down when an American ace pilot named Curtis intrudes into their lives, insisting on making a name for himself as he plans to fight Porco in an air battle all the while falling in love with Gina.......the American way.
Porco's subsequent adventures lead him to discover something about himself, about those important to him and about letting go of his constant turmoil and guilt of events that have haunted him for years, as he meets new characters that open his eyes and return him to what he once was.........just a human.
Rarily has an adventure movie been so fun, rich and captivating as Porco Rosso in addition to its overwhelmingly brilliant animation. Like I said before, there is no reason for this film to be a cartoon, but because it is and because it was realized in the way that it was, this is what makes it a masterpiece among World Animation.
The story, being very simple, could be taken on many levels with its inner meaning and symbolism. You forget that you are watching a cartoon after 5 minutes. It takes itself mildly seriously and the comic relief is timed to perfection. The characters vividly come to life and drain you of your emotions with each of their stories. The world Hayao Miyazaki creates is so real, that you are inevitably drawn into it. The magnificent romantic and exotic music and attention to authenticity make the film's atmosphere so convincing and breathtaking - the music always suiting at the right moments. I hardly believed this was a Japanese film, considering it felt completely like a European production. But no, only Hayao Miyazaki could accomplish such feats as to utilize your imagination and transport you to another world without any reference to his origins. That is his gift. This was evident ever since his motion picture debut. He has made many brilliant films, but Porco Rosso is the black sheep in the crowd. It is like something he's never done before, as all his films were supernatural in many ways.
This is my favorite cartoon of all time, and one of the great motion pictures you're bound to ever come across in world cinema. Forget about Disney. If you love animation and film, go no further than Hayao Miyazaki, one of the last great directors and story tellers in a world which has forgotten quality. Disney died a long time ago, and Miyazaki is a director in the old tradition - a tradition where plot and characters meant much more than special effects. Porco Rosso is an escape you'll come back to often. Few films have captured the essence of Europe, Flying and Adventure quite like it. It lifts your spirits and inspires you to see the world in a different way. The beautiful mix of music, color, animation, detail and setting make this a most unforgettable experience. 'Porco Rosso' is the definitive work from the legend of modern animation, Hayao Miyazaki.
Not a Plane Old Movie
JayWolfgramm22 July 2023
"Porco Rosso" is a 1992 animated film written and directed by Miyazaki. Given the director's track record, there are certain trademarks that you can count on for this movie. First and foremost being that the film is beautifully animated. Next, you can be sure there will be a strong female protagonist. There will also be a love for aviation and a pig. This movie is so much trademark Ghibili they literally show the engine running the plane of the movie and it's a "Ghibili Engine". Despite this hitting all these usual Miyazaki trademarks, it still remains a very unique animated film.
Porco is a former Air Force pilot turned bounty hunter. He is the scourge of many sky pirates and they form a plot to destroy Porco. They bring in an American pilot named "Donald Curtis". One piece of trivia that I can't get passed is the fact that Donald Curtis is an actual person. He was, as the film portrays, a fighter pilot, screen writer and actor. It is just so weird to have this obvious fictional movie have an obscure real-life person be an antagonist.
I also want to mention my favorite character of the movie, Flo Piccolo. She is the 17-year old aviation engineer that tags along on Porco's adventure. She is always so upbeat and optimistic that she is a joy to be around. She provides the emotional stakes of the film.
This movie has a unique sense of humor. It is one of Ghibli's most humorous features. There are a lot of scenes that, on paper, could be very intense action-packed scenes, but in execution are quirky and fun. For example, pirates are kidnapping 15 kids. This could be terrifying. But in the movie, the kids do not find it frightening, they think it is fun, and their amusement frustrates the pirates.
The movie is entertaining for kids while still never talking down to their audience. I appreciate it that the movie doesn't spell out everything for the viewers and leaves them with some unanswered questions.
On the negative side, the fact that our main character is a pig really has no impact on the story. The women all still seem to adore him despite his pig face. No one ever seems to bat an eye at his cursed face. It gives the movie a unique look, the idea of "oh when pigs fly". But I never got the idea that his life was worse off, because of his pig face. Also, a lot of the movie feels directionless. What is our main character trying to do? He even admits at one point, he hasn't been hired for a bounty, he's just cruising along. His main goal for most of the movie is just getting his plane fixed. The fight with Donald Curtis is more of a side quest. There are also things that the film likely should have shown, but instead just flies passed them.
Overall, I recommend giving this one a watch. Don't let this one pass you by.
Porco is a former Air Force pilot turned bounty hunter. He is the scourge of many sky pirates and they form a plot to destroy Porco. They bring in an American pilot named "Donald Curtis". One piece of trivia that I can't get passed is the fact that Donald Curtis is an actual person. He was, as the film portrays, a fighter pilot, screen writer and actor. It is just so weird to have this obvious fictional movie have an obscure real-life person be an antagonist.
I also want to mention my favorite character of the movie, Flo Piccolo. She is the 17-year old aviation engineer that tags along on Porco's adventure. She is always so upbeat and optimistic that she is a joy to be around. She provides the emotional stakes of the film.
This movie has a unique sense of humor. It is one of Ghibli's most humorous features. There are a lot of scenes that, on paper, could be very intense action-packed scenes, but in execution are quirky and fun. For example, pirates are kidnapping 15 kids. This could be terrifying. But in the movie, the kids do not find it frightening, they think it is fun, and their amusement frustrates the pirates.
The movie is entertaining for kids while still never talking down to their audience. I appreciate it that the movie doesn't spell out everything for the viewers and leaves them with some unanswered questions.
On the negative side, the fact that our main character is a pig really has no impact on the story. The women all still seem to adore him despite his pig face. No one ever seems to bat an eye at his cursed face. It gives the movie a unique look, the idea of "oh when pigs fly". But I never got the idea that his life was worse off, because of his pig face. Also, a lot of the movie feels directionless. What is our main character trying to do? He even admits at one point, he hasn't been hired for a bounty, he's just cruising along. His main goal for most of the movie is just getting his plane fixed. The fight with Donald Curtis is more of a side quest. There are also things that the film likely should have shown, but instead just flies passed them.
Overall, I recommend giving this one a watch. Don't let this one pass you by.
Miyazaki's most underrated feature
MissSimonetta9 March 2014
On the surface, Porco Rosso (1992) is a lushly animated adventure flick with a tinge of nostalgia for the pilots of the 1920s. Underneath the skin, its a film fraught with anxiety about war and fascism. In some ways, it is like Miyazaki's first feature, The Castle of Cagliostro (1979), a seemingly frothy popcorn film that contains well-hidden sadness at the core; however, here that sadness is much more visible.
This seems to be one of Miyazaki's lesser known films for whatever reason. Is it because the main character is a middle aged man disillusioned with life instead of a child or teenager? Is it the pre-WWII setting? Is it the lack of fantasy elements (outside of the protagonist having turned himself into a pig, that is)? I don't know, but it's a shame.
This seems to be one of Miyazaki's lesser known films for whatever reason. Is it because the main character is a middle aged man disillusioned with life instead of a child or teenager? Is it the pre-WWII setting? Is it the lack of fantasy elements (outside of the protagonist having turned himself into a pig, that is)? I don't know, but it's a shame.
a good film that just ends abruptly
planktonrules24 June 2005
This is a beautiful film and I longed for its domestic release. Unfortately, I felt very disappointed at how the movie just abruptly ended. It looked as if they were on some sort of deadline and since they were running behind, they just ended the film! It's a real shame, as up until the ending, the movie was great--exceptional animation and direction throughout! I've seen many Miyazaki films and this was the first that disappointed me (though, I must admit when I saw Nausicaa I was even more disappointed). Instead, try watching Kiki's Delivery Service, My Neighbor Totoro, Spirited Away, Princess Mononoke or Castle in the Sky--all are much more complete and satisfying Miyazaki films.
Doesn't fly quite high enough
jiw223 October 2005
Warning: Spoilers
I confess to having been a bit let down by Porco Rosso. Perhaps I've been spoiled by the epic grandeur of Nausicaa and Princess Mononoke (or by the dreamlike wonder of Spirited Away), but this one seemed rather mundane at best, not to mention annoyingly incomplete.
As many here have already noted, the film revolves around Porco's love life -- or lack thereof. Though he blusters about being a "notorious womanizer," he lives alone on a desert island, seems remarkably uncomfortable in the presence of women, and keeps the two outstanding beauties who love him at arm's length with droll, self-deprecating tough-guy sarcasm and feeble excuses. By the time we reach the end, all that relentlessly fatalistic wisecracking begins to feel uncomfortably close to a subtle form of whining, tending to make Porco less sympathetic than he might otherwise be.
Given this focus on Porco's unfulfilling romances, some sort of logical closure on the subject is surely called for. Yet the most we ever get -- or do we? -- is a possible, minuscule, indication in the final scene that might or might not indicate that he ultimately returns to Gina. (Though personally, I find the spunky go-getter Fio a far more engaging heroine than the cool but essentially passive Gina). A bit of a fizzle after all the attention given to the subject during the story's unwinding.
How did Porco acquire his curse in the first place? Well don't ask, because you won't be answered. And though the story appears to take place sometime in the mid-Thirties, we're told that by the ending credits several wars have passed, and jets are flying over Porco's Mediterranean, yet an apparently recent movie poster of a seemingly un-aged Curtis in Forties style decorates a wall.
Though we're supposed to think of Porco Rosso as being somehow more "adult" than Myazaki's other films, the nonthreatening Popeye-style villains keep dragging us back to the grade-school level, robbing the story of any real suspense. Too many unanswered questions; too little genuine conflict. Even the Master's artistry and imagination can't cover so many holes.
On the plus side, Michael Keaton's dub as Porco is absolutely wonderful, possibly the best voice-over job I've ever heard. In fact, the entire voice cast delivers a collectively flawless performance. And, this being a Miyazaki film, the animation is, of course, superb. For those reasons alone, I'd classify Porco Rosso as a must-see -- but only once; repeated viewings only make the shortcomings of its script all the more glaring. It's a daring concept, but much as it pains me to say so, Porco Rosso promises far more than it can deliver.
As many here have already noted, the film revolves around Porco's love life -- or lack thereof. Though he blusters about being a "notorious womanizer," he lives alone on a desert island, seems remarkably uncomfortable in the presence of women, and keeps the two outstanding beauties who love him at arm's length with droll, self-deprecating tough-guy sarcasm and feeble excuses. By the time we reach the end, all that relentlessly fatalistic wisecracking begins to feel uncomfortably close to a subtle form of whining, tending to make Porco less sympathetic than he might otherwise be.
Given this focus on Porco's unfulfilling romances, some sort of logical closure on the subject is surely called for. Yet the most we ever get -- or do we? -- is a possible, minuscule, indication in the final scene that might or might not indicate that he ultimately returns to Gina. (Though personally, I find the spunky go-getter Fio a far more engaging heroine than the cool but essentially passive Gina). A bit of a fizzle after all the attention given to the subject during the story's unwinding.
How did Porco acquire his curse in the first place? Well don't ask, because you won't be answered. And though the story appears to take place sometime in the mid-Thirties, we're told that by the ending credits several wars have passed, and jets are flying over Porco's Mediterranean, yet an apparently recent movie poster of a seemingly un-aged Curtis in Forties style decorates a wall.
Though we're supposed to think of Porco Rosso as being somehow more "adult" than Myazaki's other films, the nonthreatening Popeye-style villains keep dragging us back to the grade-school level, robbing the story of any real suspense. Too many unanswered questions; too little genuine conflict. Even the Master's artistry and imagination can't cover so many holes.
On the plus side, Michael Keaton's dub as Porco is absolutely wonderful, possibly the best voice-over job I've ever heard. In fact, the entire voice cast delivers a collectively flawless performance. And, this being a Miyazaki film, the animation is, of course, superb. For those reasons alone, I'd classify Porco Rosso as a must-see -- but only once; repeated viewings only make the shortcomings of its script all the more glaring. It's a daring concept, but much as it pains me to say so, Porco Rosso promises far more than it can deliver.
Takes you masterfully back to a never existent time
falkonerk4 March 2013
Warning: Spoilers
First of all, I want to clarify some misconceptions about the film that might have appeared in the comment section. First of all, the movie plays in the time frame after the rise of Fascism in Italy from 1922 on to before the second world war. There is a flashback scene playing in the World War I. In the end, there is a time lapse and they mention World War II.
Secondly, the film is not a story about how a man got jinxed to be a pig. Marco having the appearance of a pig can be interpreted in different ways and is often used in word plays and ironic statements, like "better to be a pig than to be a Fascist". The reason why it was never explained is probably that it would be totally unnecessary or even harm the story, including the grand finale. It is the great strength of this movie that it does not want to cover all the stories details, but leaves in a very poetic way so much room for speculation and dreaming.
The drawings are just beautiful in all of their details and animation and the music by the ever ingenious Joe Hisaishi surprises. While Hisaishi does take notes from European classical music, it is surprising how he managed to fusion his particular style of music with the nostalgia of the twenties and Italian and Austrian (or rather Dalmatian) influences.
This movie is an absolute masterpiece in story telling, animation and music and is greatly underestimated. While other works of Ghibli might be cineastically great, they serve completely different audiences. What makes Porco Rosso so outstanding is that it realistically gives us viewers strong emotions about bygone days that actually never existed in the way they had been depicted and thus sends a strong message to everyone about things we might want to preserve, ideas of freedom,solitude, guilt, adventure and love that do actually exist.
Secondly, the film is not a story about how a man got jinxed to be a pig. Marco having the appearance of a pig can be interpreted in different ways and is often used in word plays and ironic statements, like "better to be a pig than to be a Fascist". The reason why it was never explained is probably that it would be totally unnecessary or even harm the story, including the grand finale. It is the great strength of this movie that it does not want to cover all the stories details, but leaves in a very poetic way so much room for speculation and dreaming.
The drawings are just beautiful in all of their details and animation and the music by the ever ingenious Joe Hisaishi surprises. While Hisaishi does take notes from European classical music, it is surprising how he managed to fusion his particular style of music with the nostalgia of the twenties and Italian and Austrian (or rather Dalmatian) influences.
This movie is an absolute masterpiece in story telling, animation and music and is greatly underestimated. While other works of Ghibli might be cineastically great, they serve completely different audiences. What makes Porco Rosso so outstanding is that it realistically gives us viewers strong emotions about bygone days that actually never existed in the way they had been depicted and thus sends a strong message to everyone about things we might want to preserve, ideas of freedom,solitude, guilt, adventure and love that do actually exist.
It's a Miyazaki Ghibli... What else is there to say?
dballred14 January 2003
If somebody were to start up an all-Ghibli network on television, I'd leave the set on that channel unless I heard a nuclear attack siren. Kurenai no Buta is one of those films that could fill up much of the schedule, as I could watch it over and over again.
Set in Fascist Italy in the late twenties, the story is about a cursed WWI Italian fighter pilot, Porco Rosso, doomed to live out his life in the form of a pig. He spends his leisure hours basking on his secluded private beach with his bright red monoplane. He makes his living by tangling with air pirates, collecting rewards for recovery of valuables.
Porco Rosso has a lot to deal with in this story. He has the pirates to contend with, a swashbuckling American mercenary looking for a good dogfight, an increasingly intrusive Fascist presence eyeing his activities, a finicky airplane, and two women in love with him. Other than the vaguely appearing Fascists, there are no real villains in the film.
Mamma Aiuto is a heavy-set bearded chap, somewhat reminiscent of Bluto in the Popeye cartoons. He and his gang of bungling pirates have honor, if not exactly fastidious bathing habits.
Donald Curtis, an American mercenary, seems driven to glory and fame-and falls in love with every pretty face he sees. He's after notoriety and feels an air duel with Porco Rosso is the ticket to get there.
Gina, Porco's childhood sweetheart, runs a popular island resort. She's still in love with him, but he doesn't quite get it. All the pilots of the Adriatic love Gina, who was married and widowed thrice. Donald Curtis is right in there with everyone else vying for her attention.
Fio Piccolo, a 17-year old American aeronautical engineer, is commissioned by a reluctant Porco to fix his plane. She also falls in love with him as she gradually sees his character. He gets it, but he's not really interested in that kind of arrangement--especially with one so young.
A working, radio-controlled scale model of his plane hangs in the Ghibli Museum in Mitaka, Japan, along with photos of it in flight as proof that the airplane depicted in the film actually could fly.
This story weaves together beautifully and leads to an ending that is a topic of discussion among those who have seen it. This is a must-see film. I give it an easy 10.
Set in Fascist Italy in the late twenties, the story is about a cursed WWI Italian fighter pilot, Porco Rosso, doomed to live out his life in the form of a pig. He spends his leisure hours basking on his secluded private beach with his bright red monoplane. He makes his living by tangling with air pirates, collecting rewards for recovery of valuables.
Porco Rosso has a lot to deal with in this story. He has the pirates to contend with, a swashbuckling American mercenary looking for a good dogfight, an increasingly intrusive Fascist presence eyeing his activities, a finicky airplane, and two women in love with him. Other than the vaguely appearing Fascists, there are no real villains in the film.
Mamma Aiuto is a heavy-set bearded chap, somewhat reminiscent of Bluto in the Popeye cartoons. He and his gang of bungling pirates have honor, if not exactly fastidious bathing habits.
Donald Curtis, an American mercenary, seems driven to glory and fame-and falls in love with every pretty face he sees. He's after notoriety and feels an air duel with Porco Rosso is the ticket to get there.
Gina, Porco's childhood sweetheart, runs a popular island resort. She's still in love with him, but he doesn't quite get it. All the pilots of the Adriatic love Gina, who was married and widowed thrice. Donald Curtis is right in there with everyone else vying for her attention.
Fio Piccolo, a 17-year old American aeronautical engineer, is commissioned by a reluctant Porco to fix his plane. She also falls in love with him as she gradually sees his character. He gets it, but he's not really interested in that kind of arrangement--especially with one so young.
A working, radio-controlled scale model of his plane hangs in the Ghibli Museum in Mitaka, Japan, along with photos of it in flight as proof that the airplane depicted in the film actually could fly.
This story weaves together beautifully and leads to an ending that is a topic of discussion among those who have seen it. This is a must-see film. I give it an easy 10.
Exupery
ardent-19 October 2002
This was truly an emotional and unexpected experience. Having known Miyazaki has been influenced by Exupery(author of the little prince)I watched this film with a lump in my throat. A story of a PIG no less destined to live out his days in the sky, where his heart IS purified by the heavens above and the sea below. A beautiful film a love poem to Exupery and all the brave fliers who've come and gone.
Not among Miyazaki's/Ghibli's best, but still a decent watch overall
Horst_In_Translation28 October 2019
Warning: Spoilers
"Kurenai no buta" (named after the protagonist) or "Porco Rosso" is a Japanese animated movie from 1992, so this one, which runs for over 1.5 hours, is already over 25 years old now and of course here we have a work by Hayao Miyazaki for Studio Ghibli. Miyazaki is certainly still a contender for most known Japanese filmmaker these days if we look at those still alive and maybe if we exclude Kurosawa also a contender for most popular Japanese filmmaker of all times. When he made this one we have here, he was already really established with a big body of work. Now I cannot say anything about the Japanese voice actors for this one because a) I have never heard the names and b) I watched the dubbed version in my native language (German), but I did like the voice work overall. Compared to other works by Miyazaki I have seen, this one here does not offer too much fantasy elements really, which is of course a bold statement given the fact that the main character is a pig or at least has the face of a pig. But they did all they could to make him seem human. Many examples for that: Of course he can talk, the sunglasses, he is able to fly a plane, beautiful females (humans) are falling for him etc. The fact that he has the face of a pig though is an aspect that plays a big role throughout the movie, even if it is not in a way you'd expect. He is respected enough because of how great a pilot he is and people do not judge him too much for or even talk about too much about his face. But there are many funny one-liners making references to that and you have to experience these yourself because they most of the time come out of nowhere and I don't want to spoil the fun. There is one character worried about another character that something could happen to him and she says something like he will end up as roasted pork or near the end there is a reference about another character saying he will turn him into a special brand of ham.
So from that description you already see that I liked the comedy here a lot, probably more than any other aspect. There are other fun moments (again involving one-liners) that are not linked to pork and show that the film really at times does not take itself too seriously and I quite liked that. It made the watch certainly lighter because sadly I must say while the characters were good and slightly memorable too, the overall flying plot did not have too much of an impact on me and I don't know.. I think Miyazaki could have delivered better there, for example about the memorable red plane and how it crashes early on, but he just has a new one at some point. Or also the whole key story about how he became who he is today with his curse. This all could have been handled more emotionally. But still, don't get me wrong. The film is a success. And I enjoyed it quite a bit overall. How can you not fall in love with Fio honestly, regardless of the size of her butt. Another fun quote. Sigh.. I am a bit afraid that if this film had been made today, some white knights and hardcore feminists would be offended. So maybe it is good that is this old. When she finally kisses the protagonist on the cheek, it is a fairly cute moment. What else can I say about this one. Oh yeah, it is very kids-friendly. Yes the American pilot is an antagonist, but he is never scary or evil or anything like that really. He even gets compliments from the two female protagonists near the end, even if they like Porco/Marco more. By the way, this film is set in Italy, not too expected for a Japanese movie of course.
And then there are these air pirates. They are rather clumsy and incompetent like Team Rocket from Pokemon or the Daltons from Lucky Luke, again no scary antagonists and they reminded me physically of a mix between Schnauz/Scuttle (from Mickey Mouse comics) and Bluto, the antagonist to Popeye in these really old cartoons. Oh well, the scene when their leader photobombs the Fio picture says it all about how scary and intimidating they are. I mean they are even accepted as referees somehow. On the contrary really. With their kidnapping early on, they are really gentlemen-like towards these 15 girls saying stuff like none of them should be left behind that no friendships are destroyed or so. It was pretty funny for how absurd it was really. But yes, this is a prime example of evidence how this is a film for kids and grown-ups alike.
The very ending I liked a lot too. No need for a forced happy ending like Porco getting one of the girls who both want him. The character was really interesting too admittedly, sometimes even felt a bit like James Bond. By the way, Fio seemed so young to me that I was surprised they actually included her as a potential love interest, maybe also because the voice in the German dub sounded like from a child. But what I really wanted to say is that the ending also did not deliver in terms of the curse being lifted. We don't know about that as we only find out from Fio's narration that she never saw Porco again and we don't know what happened to him or what other adventures he experienced. Actually, this really could have made for a sequel in which we could have found out. But the inclusion of the lifelong friendship between her and Porco's other love interest, who surprised me that she can also fly a plane because she seemed so posh and elegant, was a great idea and put a big smile on my lips and it was almost perfect. Maybe it was actually perfect, in terms of how they closed the film before the closing credits rolled in. Let me think, what else can I say about this movie. The music was good too, but also not as great as Miyazaki at his prime from what I have seen in other movies and this description can pretty much be used for almost every aspect and character here really with the exception of Fio, who is definitely among the best Studio Ghibli has come up with since their creation. So overall, no hesitation for me in giving this film a thumbs-up. I would not say it was a great watch, but a good one for sure and if you are a little bit more into aviation than myself, then perhaps you will really end up liking it and see it as one of 1992's finest. What I found a bit strange here, was that there were at least two character inclusions, even if only very brief and insignificant, who looked like Hitler and taking the war background of this movie into account, I wonder how much of this was coincidence. But it's okay. Those were kinda fun too. So I give this film a positive recommendation, but honestly, I don't think I even have to because chances are low you consider watching this one without having seen anything else by Miyazaki and then you should be able to make up your mind yourself. It was a daring project all in all I say and the outcome is convincing, sometimes even impressive. Go watch. A bit of a pity nobody else was in my showing, but I enjoyed this private screening for sure too. Still the film deserves better because it was really nice to see it on the big screen. If you get the chance to do so too, don't miss out. Pigs can fly and this film is up in the high quality regions too.
So from that description you already see that I liked the comedy here a lot, probably more than any other aspect. There are other fun moments (again involving one-liners) that are not linked to pork and show that the film really at times does not take itself too seriously and I quite liked that. It made the watch certainly lighter because sadly I must say while the characters were good and slightly memorable too, the overall flying plot did not have too much of an impact on me and I don't know.. I think Miyazaki could have delivered better there, for example about the memorable red plane and how it crashes early on, but he just has a new one at some point. Or also the whole key story about how he became who he is today with his curse. This all could have been handled more emotionally. But still, don't get me wrong. The film is a success. And I enjoyed it quite a bit overall. How can you not fall in love with Fio honestly, regardless of the size of her butt. Another fun quote. Sigh.. I am a bit afraid that if this film had been made today, some white knights and hardcore feminists would be offended. So maybe it is good that is this old. When she finally kisses the protagonist on the cheek, it is a fairly cute moment. What else can I say about this one. Oh yeah, it is very kids-friendly. Yes the American pilot is an antagonist, but he is never scary or evil or anything like that really. He even gets compliments from the two female protagonists near the end, even if they like Porco/Marco more. By the way, this film is set in Italy, not too expected for a Japanese movie of course.
And then there are these air pirates. They are rather clumsy and incompetent like Team Rocket from Pokemon or the Daltons from Lucky Luke, again no scary antagonists and they reminded me physically of a mix between Schnauz/Scuttle (from Mickey Mouse comics) and Bluto, the antagonist to Popeye in these really old cartoons. Oh well, the scene when their leader photobombs the Fio picture says it all about how scary and intimidating they are. I mean they are even accepted as referees somehow. On the contrary really. With their kidnapping early on, they are really gentlemen-like towards these 15 girls saying stuff like none of them should be left behind that no friendships are destroyed or so. It was pretty funny for how absurd it was really. But yes, this is a prime example of evidence how this is a film for kids and grown-ups alike.
The very ending I liked a lot too. No need for a forced happy ending like Porco getting one of the girls who both want him. The character was really interesting too admittedly, sometimes even felt a bit like James Bond. By the way, Fio seemed so young to me that I was surprised they actually included her as a potential love interest, maybe also because the voice in the German dub sounded like from a child. But what I really wanted to say is that the ending also did not deliver in terms of the curse being lifted. We don't know about that as we only find out from Fio's narration that she never saw Porco again and we don't know what happened to him or what other adventures he experienced. Actually, this really could have made for a sequel in which we could have found out. But the inclusion of the lifelong friendship between her and Porco's other love interest, who surprised me that she can also fly a plane because she seemed so posh and elegant, was a great idea and put a big smile on my lips and it was almost perfect. Maybe it was actually perfect, in terms of how they closed the film before the closing credits rolled in. Let me think, what else can I say about this movie. The music was good too, but also not as great as Miyazaki at his prime from what I have seen in other movies and this description can pretty much be used for almost every aspect and character here really with the exception of Fio, who is definitely among the best Studio Ghibli has come up with since their creation. So overall, no hesitation for me in giving this film a thumbs-up. I would not say it was a great watch, but a good one for sure and if you are a little bit more into aviation than myself, then perhaps you will really end up liking it and see it as one of 1992's finest. What I found a bit strange here, was that there were at least two character inclusions, even if only very brief and insignificant, who looked like Hitler and taking the war background of this movie into account, I wonder how much of this was coincidence. But it's okay. Those were kinda fun too. So I give this film a positive recommendation, but honestly, I don't think I even have to because chances are low you consider watching this one without having seen anything else by Miyazaki and then you should be able to make up your mind yourself. It was a daring project all in all I say and the outcome is convincing, sometimes even impressive. Go watch. A bit of a pity nobody else was in my showing, but I enjoyed this private screening for sure too. Still the film deserves better because it was really nice to see it on the big screen. If you get the chance to do so too, don't miss out. Pigs can fly and this film is up in the high quality regions too.
An underrated classic
benturkalj12 October 2005
Although few people actually know about this film, it must be stated that this one of the best animated films of all time. It is also quite unique, and has comedy and themes more enjoyable for an adult audience, though youngsters should also get a kick out of it.
Porco Rosso follows the adventures of a man known as porco, a pilot who attacks pirates for a fee during World War II, and has the unfortunate problem of being cursed to look like a pig. It follows his adventures, battling many different foes for a number of different reasons.
Porco Rosso has a lot of things to recommend it. The artwork is stunning, with amazing attention to detail and a great anime style. The story is an absolute joy to follow, and has that perfect blend of comedy, drama and action. Although it is hard to describe the story properly without giving to much away, this truly is one to watch at all ages, though most of the humor is aimed at adults. Do yourself a favor and see it: you won't be disappointed.
Porco Rosso follows the adventures of a man known as porco, a pilot who attacks pirates for a fee during World War II, and has the unfortunate problem of being cursed to look like a pig. It follows his adventures, battling many different foes for a number of different reasons.
Porco Rosso has a lot of things to recommend it. The artwork is stunning, with amazing attention to detail and a great anime style. The story is an absolute joy to follow, and has that perfect blend of comedy, drama and action. Although it is hard to describe the story properly without giving to much away, this truly is one to watch at all ages, though most of the humor is aimed at adults. Do yourself a favor and see it: you won't be disappointed.
Not only for fans
LLinus18 August 2013
Another original idea from the mastermind Hayao Miyazaki, a picture with cute humor and stunning animation, it is as absorbing to watch as always. This picture has a very comical atmosphere, which make you grin all the way through, the background, landscape, clouds, with the sun peeking up, its all very pleasurable to watch. A cute symphony is added, adapted to every situation we come across, Miyazaki was able to create this suitable soundtrack which made the picture even more captivating. Miyazaki being responsible for directing, writing and composing, one can wonder how he manages it all, it once again shows his brilliance. The main character, Porco Rosso, is a cursed human, who now is a pig, although the only thing that the curse changed was his appearance, being a war hero he is admired by many people, a pilot, Porco is one grumpy character, agonized of what he has become, although amusing to watch. Overall, this movie is entertaining, creative ideas and a brilliant animation, an enjoyable flick.
A shockingly perfect work of art
moribana29 April 2002
Miyazaki is an inspiration for artists everywhere. His total mastery of all aspects of storytelling craft makes the amazing seem easy.
Kurenai no Buta manages to be over-the-top fun and exceedingly subtle at the same moment. The dialogue is at once straightforward yet with layer upon layer of dramatic meaning. The animated wizardry is stunning as usual, yet never over the top. It always comes across as so natural.
This film is a homage to so many different genres, places, people and attitudes one could go on ages pulling them all out. Amazing amount of detail packed into every scene.
Well I am running out of superlatives. Like all master works of art, this leaves you with something special. In this case I find it hard to describe perhaps since the Pig himself is such a mysterious character.
See it.
Kurenai no Buta manages to be over-the-top fun and exceedingly subtle at the same moment. The dialogue is at once straightforward yet with layer upon layer of dramatic meaning. The animated wizardry is stunning as usual, yet never over the top. It always comes across as so natural.
This film is a homage to so many different genres, places, people and attitudes one could go on ages pulling them all out. Amazing amount of detail packed into every scene.
Well I am running out of superlatives. Like all master works of art, this leaves you with something special. In this case I find it hard to describe perhaps since the Pig himself is such a mysterious character.
See it.
PORCO ROSSO (Hayao Miyazaki, 1992) ***
Bunuel197624 November 2007
This earlier Miyazaki is (perhaps thankfully) less ambitious in scope than his later and more renowned work but, as a result, it has a greater warmth with engaging leads and several lively action sequences at the service of a somewhat dreary plot. The story deals with a reckless Italian pilot who has mysteriously been turned into a pig after his comrades have all perished during a mission; he still flies as a pig (hence the title) and spends his time chasing pirates of the air.
The bulk of the narrative is taken up by the rivalry between Porco Rosso (literally Crimson Pig) and an American flier who wants to be a movie star; this enmity involves Porco’s long-suffering bar hostess lover and his teenage female mechanic and which climaxes in a highly enjoyable aerial dogfight-cum-fistfight ending with both contestants black and blue; the pirates of the air, who in the opening sequences are shown clumsily kidnapping 15 schoolchildren, are all in love with Porco’s girl and are eventually reformed by his mechanic’s charms.
The film does have its more sober passages (especially when, in one of its visual highlights, Porco is forced by the girl to reminisce about that fateful mission) and even has a bittersweet ending – but it’s the overall genial tone which eventually endears it to the viewer.
The bulk of the narrative is taken up by the rivalry between Porco Rosso (literally Crimson Pig) and an American flier who wants to be a movie star; this enmity involves Porco’s long-suffering bar hostess lover and his teenage female mechanic and which climaxes in a highly enjoyable aerial dogfight-cum-fistfight ending with both contestants black and blue; the pirates of the air, who in the opening sequences are shown clumsily kidnapping 15 schoolchildren, are all in love with Porco’s girl and are eventually reformed by his mechanic’s charms.
The film does have its more sober passages (especially when, in one of its visual highlights, Porco is forced by the girl to reminisce about that fateful mission) and even has a bittersweet ending – but it’s the overall genial tone which eventually endears it to the viewer.
Great story, wonderful characters, fantastic animation
digadigado8 July 2005
First of all, I've never seen the title "Kurenai no buta" except on IMDb. The English title on my copy and all other references I've found on the web are "Porco Rosso". Outside Japan, that's the title to look for at the video store.
Let's see what we've got: an Italian Pig speaking Japanese, "Knock your socks off" aerial vistas, not one but two beautiful heroines, an Adriatic hotel that's actually a small island, better dialog than many "live" movies, sky pirates, even good music. How many films can claim all that?
Perhaps the most attractive character of the film, after you've gotten past the many obvious ones, is Myazaki's amazing imagination which pervades all aspects of the production.
To me, the storyline is reminiscent of Hollywood's Golden Age. The characters are wonderful, even to an adult audience and, of course, high quality animation is the frosting on the cake.
After seeing Porco Rosso, I bought the DVD, and I hardly ever do that!
Let's see what we've got: an Italian Pig speaking Japanese, "Knock your socks off" aerial vistas, not one but two beautiful heroines, an Adriatic hotel that's actually a small island, better dialog than many "live" movies, sky pirates, even good music. How many films can claim all that?
Perhaps the most attractive character of the film, after you've gotten past the many obvious ones, is Myazaki's amazing imagination which pervades all aspects of the production.
To me, the storyline is reminiscent of Hollywood's Golden Age. The characters are wonderful, even to an adult audience and, of course, high quality animation is the frosting on the cake.
After seeing Porco Rosso, I bought the DVD, and I hardly ever do that!
Light adventure: fun, but no gravitas
refresh_daemon15 September 2007
A bit of magic? Check. Precocious young woman? Check. Flying? Check. Lots of white people speaking Japanese? It's gotta be a Miyazaki film. Porco Rosso is quite unusual for a Miyazaki film in that its protagonist isn't idealistic, precocious and young, but rather is an older cynical bounty hunting flying ace cursed to look like a pig. The titular Porco has more to do with Han Solo than Luke Skywalker.
However, the film is still very clearly a Miyazaki and Studio Ghibli work. Set near the time of WWII in the Adriatic, Porco makes a living as a wing for hire. This is thrown off by the introduction of American flying ace Curtis who joins the pirates Porco has foiled in their revenge on Porco. And that's about it when it comes to the story. Porco Rosso doesn't set a very high story bar, as the story itself it rather weak. The film comes across more like an extended episode of a television series. Granted, an excellent episode, but not an ambitious one. Although life is on the line for some of the characters, the gravitas of the film is very low, consequently leading to little tension and consequently little release.
Thus the story of the film itself fails to deliver the kind of impact that most of Miyazaki's works have. But the film is still gorgeous and have a sense of fun, just not really a strong sense of magic or adventure. It's almost like a watered down Indiana Jones movie. However, I can imagine this film being the basis for an excellent television series featuring the titular pig.
The characters are drawn well and the film has a rather fun sense of humor about it (see the kidnapped schoolgirls in the opening of the film), but ultimately doesn't really accomplish the sense of adventure that I think it was set out to accomplish. It comes across as light entertainment--fun, but insubstantial and consequently not a must see. But if you're looking for a sort of light adventure with a Ghibli twist, this isn't bad. Just don't have expectations for an immersive and rewarding pic. 7/10.
However, the film is still very clearly a Miyazaki and Studio Ghibli work. Set near the time of WWII in the Adriatic, Porco makes a living as a wing for hire. This is thrown off by the introduction of American flying ace Curtis who joins the pirates Porco has foiled in their revenge on Porco. And that's about it when it comes to the story. Porco Rosso doesn't set a very high story bar, as the story itself it rather weak. The film comes across more like an extended episode of a television series. Granted, an excellent episode, but not an ambitious one. Although life is on the line for some of the characters, the gravitas of the film is very low, consequently leading to little tension and consequently little release.
Thus the story of the film itself fails to deliver the kind of impact that most of Miyazaki's works have. But the film is still gorgeous and have a sense of fun, just not really a strong sense of magic or adventure. It's almost like a watered down Indiana Jones movie. However, I can imagine this film being the basis for an excellent television series featuring the titular pig.
The characters are drawn well and the film has a rather fun sense of humor about it (see the kidnapped schoolgirls in the opening of the film), but ultimately doesn't really accomplish the sense of adventure that I think it was set out to accomplish. It comes across as light entertainment--fun, but insubstantial and consequently not a must see. But if you're looking for a sort of light adventure with a Ghibli twist, this isn't bad. Just don't have expectations for an immersive and rewarding pic. 7/10.
The Higher you fly, the longer the fall
vegeta39866 November 2008
Warning: Spoilers
I love Miyazaki movies. From the first movie i saw of his, spirited away, to the latest before this one, castle of cagliostro, i've loved them all. They all have an air about them that leaves you breathless and puts you in a great mood if you're feeling down never disappointing the audience... until this one.
Now don't get me wrong. i didn't HATE this movie, but at the same time, it was not nearly his best. It still captures the spirit and life of a Miyazaki movie, but at the same time, has so many plot holes and frustrating things that you are taken out of the story and left complaining. and Miyazaki should NEVER do that.
I found several problems with this movie. 1. They don't ever explain why he's a pig. now, forgive me if i sound a bit prudish but um.. he's a pig. and no one questions it? Does that happen often or something in that world? I'm not confused by the fact that he IS a pig, i'd just like to know WHY he's a pig, and WHY nobody asks him about it. Halfway through the movie when Fio asks him to tell him a story i figure he was going to tell her why he's a pig, but then he goes into a weird heaven story and you never find out. that frustrated me, and there was no reason why they couldn't have spent 45 seconds telling us why. it's like in howl's moving castle if they started the movie with sophie already old and not telling us why. it was stupid and they could have rectified it easily
2. it couldn't decide what age range it was. normally, in a film if you can't tell what age range it's meant for, that's the sign of a good movie, bringing in both the kids and the older demographic. but in this film it was just frustrating. one scene it would be full of laughs and for kids, the next it would be about death and going to heaven. it didn't flow seamlessly like Miyazaki does in his other films such as Castle in the sky. you know it's adult, but at the same time, keeps yo+u happy. Porco just had odd juxtapositions that just don't make a whole lot of sense. the switches needed to flow better.
3. The love interest. OK. this is one i didn't understand AT ALL. Gina, the main love interest is about as interesting as a sack of wet leaves. She's boring, has no personality or anything likable about her, and she hardly does ANYTHING throughout the entire film. On the other hand, the girl Fio travels with Porco for the entire movie. Saving his life, placing herself up to wager for Porco's honor, and eventually freeing him from the curse. and yet, Porco ends up with miss wet leaves? that's just stupid. they spend so much time building the relationship between porco and fio and then dismissing it at the end? wow that's terrible. i'm not one to normally complain about there being a lack of love in movies but my god was the love resolution done terribly in this movie.
4. The ending. for the resolution of this film, we get stock footage of a cloud and a narration by fio. Telling us basically nothing. She becomes the owner of the garage, the American is a star, and porco (mumbles off) oh. thanks. yeah. god forbid we actually want to KNOW what happened at the end. This ending was tacked on, lazy, and the cheapest thing ever. it's like the ending to Fable (the game). you stick with it to the end and you expect a big payoff and get slapped in the face. it was rushed and felt cheap. Miyazaki never does that, and i was very surprised and disappointed he did it here.
The voice acting, animation, and music are once again superb, but it got more than a little messed up in the script department. If you need to see this to finish off your Miyazaki collection, i'd say save this one for later rather than watch it now. and if you're trying to get someone into him, don't start off with this one. i recommend Kiki's delivery service, or for the adventure fans, Castle in the Sky.
The plot premise really was a very good one. It just needed a bit of tweaking and a few rewrites, and it would have been amazing, probably one of his best. But with glaring plot holes, frustrating romances, and indecisive writing, Porco Rosso gets 5 aerial maneuvers, out of 10.
Now don't get me wrong. i didn't HATE this movie, but at the same time, it was not nearly his best. It still captures the spirit and life of a Miyazaki movie, but at the same time, has so many plot holes and frustrating things that you are taken out of the story and left complaining. and Miyazaki should NEVER do that.
I found several problems with this movie. 1. They don't ever explain why he's a pig. now, forgive me if i sound a bit prudish but um.. he's a pig. and no one questions it? Does that happen often or something in that world? I'm not confused by the fact that he IS a pig, i'd just like to know WHY he's a pig, and WHY nobody asks him about it. Halfway through the movie when Fio asks him to tell him a story i figure he was going to tell her why he's a pig, but then he goes into a weird heaven story and you never find out. that frustrated me, and there was no reason why they couldn't have spent 45 seconds telling us why. it's like in howl's moving castle if they started the movie with sophie already old and not telling us why. it was stupid and they could have rectified it easily
2. it couldn't decide what age range it was. normally, in a film if you can't tell what age range it's meant for, that's the sign of a good movie, bringing in both the kids and the older demographic. but in this film it was just frustrating. one scene it would be full of laughs and for kids, the next it would be about death and going to heaven. it didn't flow seamlessly like Miyazaki does in his other films such as Castle in the sky. you know it's adult, but at the same time, keeps yo+u happy. Porco just had odd juxtapositions that just don't make a whole lot of sense. the switches needed to flow better.
3. The love interest. OK. this is one i didn't understand AT ALL. Gina, the main love interest is about as interesting as a sack of wet leaves. She's boring, has no personality or anything likable about her, and she hardly does ANYTHING throughout the entire film. On the other hand, the girl Fio travels with Porco for the entire movie. Saving his life, placing herself up to wager for Porco's honor, and eventually freeing him from the curse. and yet, Porco ends up with miss wet leaves? that's just stupid. they spend so much time building the relationship between porco and fio and then dismissing it at the end? wow that's terrible. i'm not one to normally complain about there being a lack of love in movies but my god was the love resolution done terribly in this movie.
4. The ending. for the resolution of this film, we get stock footage of a cloud and a narration by fio. Telling us basically nothing. She becomes the owner of the garage, the American is a star, and porco (mumbles off) oh. thanks. yeah. god forbid we actually want to KNOW what happened at the end. This ending was tacked on, lazy, and the cheapest thing ever. it's like the ending to Fable (the game). you stick with it to the end and you expect a big payoff and get slapped in the face. it was rushed and felt cheap. Miyazaki never does that, and i was very surprised and disappointed he did it here.
The voice acting, animation, and music are once again superb, but it got more than a little messed up in the script department. If you need to see this to finish off your Miyazaki collection, i'd say save this one for later rather than watch it now. and if you're trying to get someone into him, don't start off with this one. i recommend Kiki's delivery service, or for the adventure fans, Castle in the Sky.
The plot premise really was a very good one. It just needed a bit of tweaking and a few rewrites, and it would have been amazing, probably one of his best. But with glaring plot holes, frustrating romances, and indecisive writing, Porco Rosso gets 5 aerial maneuvers, out of 10.
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