Operetta tanuki goten

I think the problem with some reactions to this film is that they don't focus on its problem with deciding who it's really for, and what it's really about.

On the we-like-it side, there are those who are taken in because it's CUUUUUTE. Sure it has very nice visual design, pretty costumes, and a variety of elements. Some children's movie fans love the colour and animation, and all the un-scary 'magical' effects, shapeshifting animals, and so on. Some culture vultures like the complicated references, the layerings of different folklore elements, and the fact that they can watch Zhang Ziyi singing and quasi-miming, in two different languages, in what really was intended to be a children's comedy.

I hate to pop the balloon, but a hodgepodge of styles and references does not a movie make. (1) A children's movie should still have a point, (2) a blend of folktales is not the same as a coherent story, and (3) it's easier to believe in magic when enough thought and care has gone into the technical aspects to make it seem real.

In other words, the ideas could be lovely; but when you put them onstage they have to deliver. Here, they don't.

A good folktale - from any country - has a clear story, a point, and characters who interact strongly with each other. This picture lacks them all.

As a fantasy fan, I must say that I've sat through some turkeys and loved a few, but this one really tries to do too many things - cheaply. The main problem isn't that there's no plot; there's half a plot, which means that you keep getting pulled in, then dropped again as another none-too-sharply-executed dance number kicks off. Putting in Zhang Ziyi to try to add a little glitter smacks of exotic flower syndrome. A few over-sophisticated gestures towards OPERA, Western and Japanese, are no replacement for a solid theme.

The characters all seem to know that they're starring in a movie. Unless you really like watching other peoples' amateur video, this ain't good. I'd like to test this on real children; I think they'd drop it for Uproar in Heaven after about 20 minutes.

I use "Princess Raccoon" (to give the film its not-quite accurate English title) as a litmus test for my friends' sense of humour. It either leaves them cold and baffled - as it clearly did several other commentators on this site - or results in doubled-up laughter, unassailably huge grins and occasional gasps of admiration.

The laughter comes from the film's consummate mixture of parodies in contemporary style. Targets include a bouquet of Japanese and Western classical stage drama forms, from Kabuki to Late Shakespearian and Spanish renaissance Christian fantasy; the naff vacuity of the modern American and European musical, as witness a host of random tap- and rap- dance songs and some very funny banal lyrics, all choreographed with loving "amateur" cliché; Japanese anime and samurai live-action clichés; portentous Buddhist ritual; and the overweening sweetness of Viennese operetta. I've not laughed out loud so much at this type of film since Ken Russell's outrageous musical deconstruction in "The Boyfriend".

The grins come from the clever textual subversion of the Japanese legend, told in a traditional 5-act structure reminiscent of the plays of the 17th century master Chikamatsu. As in his work the narrative is advanced in a mixture of song, recitative, high-flown poetry and low comedy relief - here the pot-broiling of the incompetent ninja, Ostrich, by peasants under the illusion that he is a tanuki-raccoon in human guise. All of this somehow does hang together, and even more remarkably does manage to engage the watcher's emotions through the welter of cultural references.

In truth "Princess Raccoon" wears its pan-cultural garb with alluring lightness, and that's where the gasps of astonishment come in. Visually - again, as with Russell's masterpiece - the film is a treat, a riot of colour with its digitised backdrops of classical Japanese images from screens and prints, over-the-top costumes and stage sets, mixed with some breathtaking live action sequences in summer fields and seashores. You'll love it or loathe it, but there's no point castigating chalk for being cheese; and "Princess Raccoon" stands, first and foremost, as a wickedly funny as well as affectionate put-down of our contemporary cultural vacuity, in both East and West. Bravo!

"Many things happened," sighs Lady Hagi. The actress Hiroko Yakushimaru commented in the DVD extras that this explains her character's entire philosophy. It can also apply to the whole thing.

Watching this movie is an Experience. It confused my brain, but made my mouth smile. I did not expect it, but afterward, I wanted to watch it again.

This is a parody of musicals, movies, theater, folklore, religion and myth. There are many more connections than I can name. There are references to Japanese culture mixed with items from all over the world.

During the villains' rap scene, a giant painting of Andromeda is featured. This set piece looks like a painting by Sir Edward John Poynter. It has a man's face added in the ocean waves.

The ancient Greek story of Andromeda has been used in movies such as "Clash of the Titans." Her mother was in trouble with the gods for bragging about her beauty. Her parents send Andromeda to be killed by a sea monster to atone for this, but she is saved by a handsome hero.

This myth is echoed in "Princess Raccoon" when Prince Amechiyo is doomed by his father, who wants to remain, "the fairest of them all." This phrase also reminded me of the fairy tale Snow White.

The set painting sometimes has the number 1582 on it. I'm not sure, but it could be related to Japan being exposed to Western traders. Some Portuguese characters appear in early scenes.

The female villain, Virgen Hag, is Catholic. The hero carries a rosary. Words from that religion are used, but it doesn't seem to be with understanding. The satire doesn't bite.

Every scene is full of connections and links. I'm sure I didn't get half of all the jokes. The movie is still enjoyable as spectacle. Gawk at the visuals and listen to the "soda-water" songs.

I think this could become a cult musical like the Rocky Horror Picture Show.

Maverick director Seijun Suzuki finally was able to film his dream project, "Princess Raccoon" and in a way it's lucky he didn't try this in the 1960's. Special effects and computer graphics certain made this sort of production easier to achieve than the old film matte technology would have.

Some familiarity with Japanese history and theatrical traditions will help with the enjoyment of this film. Much as familiarity with Shakespeare's "The Tempest" would help with Peter Greenaway's dense "Prospero's Books". These two films actually have a bit in common although, "Princess Raccoon" is much more colorful and easier to watch for someone without the background to fully appreciate it.

While the art design, acting and direction are fine for most of the film, it seems to this viewer that the energy runs out in the last third of the film. Most of the interesting sets have been already been introduced and the camera seems to step back for more of a filmed stage play experience.

This is certainly a unique film experience and I recommend it to anyone who is interested in alternate forms of film performance. It's not really meant for children although nothing happens that would upset them. If the last third was better I would have given it nine stars.

I guess playing a Japanese character or acting in a Japanese movie doesn't warrant as much an uproar as having to play a Japanese geisha. And of course no prizes to be given out if you can guess why I would want to watch Princess Raccoon in the first place - that Zhang Ziyi is one of the leads in a Japanese movie, has piqued enough interest to pop the DVD into the player.

The story is a simple one, which somewhat resembles that of Snow White. King Azuchi (Mikijiro Hira) is a terribly vain man, and like Snow White's evil stepmother, cannot stand for his offspring to be more beautiful (yes) than himself. So he hatches a plan to get rid of him, first by getting him murdered, failing which exile doesn't seem that bad of an alternative as well. So Prince Amechiyo (Jo Odagiri) accidentally journeys to the forbidden grounds at the foot of Mt Kairasu, where he meets with the Raccoon Princess Tanukihime (Zhang Ziyi), and thus it becomes a tale of forbidden love, as he's human, and she's obviously not, and goes through its Romeo and Juliet routines.

But as it is, the plot is somewhat meandering and plodding. While its central structure is clear, it tangents off with a number of subplots, and unless you're in a mood for fantastical elements with magic, deities and all in various surreal scenes, you'll find the story going terribly all over the place. There are too many characters here, and most of them the minor ones that just chalk up the number of casts without adding much to the story, and there perhaps to boast the beautiful costumes.

What takes the cake here is the gorgeous sets and special effects. For the most parts, watching the movie is like watching a stage play, in that the camera pretty much doesn't try anything fancy, nor break the invisible 180 degree rule. It's as if you're sitting in a theatre, and watching events unfold in pretty much the style of a stage musical built on intricately designed sets, with the multitude of songs and dances. What makes this movie unique is the visual presentation, fusing effortlessly the elements of computer generated graphics with live action (though some were deliberately cheesy), and that forms the primary appeal when watching the movie, which is part musical, part kabuki, part opera, nothing less than a visual spectacle.

Zhang Ziyi obviously had her handicap in the movie worked to her advantage. Being a magical raccoon, she speaks in an incomprehensible language (which is Mandarin) to the rest of the Japanese folks, while being able to rote learn and spew by heart her lines in songs, given that they're repetitive in nature. Her acting's her a little over the top and exaggerated, perhaps to complement the operatic elements in the movie.

Pick this up only if you are a completist in wanting to watch the movies in the filmography of Zhang Ziyi, or love graphics, sets and beautiful visuals. Otherwise the story is likely to bore you to death.