Pompoko

This a very different, more dynamic film than a lot of other Ghibli works. Although it bears some thematic resemblance to "Mononoke" and "Naussica" in its nature vs. man plot, it plays out much differently through its use of humorous protagonists. Though on the surface the tanuki may look like cuddly teddy bears, they are fierce in their war with the humans. The animation of the transformation scenes and the action shots make this a very appealing film and the characterization is first rate (especially the three old masters)!

It may be helpful for non-japanese audiences to do a little reading on japanese folklore. I caught a lot of the references but much of it went over my head.

Most anime fans remember Isao Takahata best for his wonderful tearjerker, "Grave of the Fireflies", will find interesting this title as well. This lavishly animated tale about raccoons battling for their homeland isn't so dramatic as "Grave of the Fireflies" but is an interesting amalgam of humor, drama, and action delivered instead. At times, the viewer gets treated to scenes which recall the tragic elements , but even though the tone of the movie is somber, a handful of lighthearted moments elevate the overall production out of depression.

As this is a Studio Ghibli film, production values are spectacular. Backgrounds are painted with a tasteful mixture of simplicity and art, and the raccoons are as cuddle-some as you would expect. (If you're scratching your head while reading this, don't be alarmed--according to Japanese folklore, raccoons have the power to transform into anything--including human beings) The actual animation is as colorful and imaginative as you might expect from a Ghibli movie(and there is one scene where we are treated to cameo appearances by Porco Rosso, Kiki, and Totoro.)

While Pom Poko has a story to tell and a meaningful message for one to think about, its character and plot aspects may come across as a bit off-putting to viewers expecting a typical animated feature. Indeed, while some raccoons identify themselves with distinguishable names and/or personalities (for example, Gonta is a burly, rough-and-ready raccoon who is always looking for a fight, while Oroku is the "wise woman" of the tribe), the story offers little in the way of character development. In fact, most of the action in the story is narrated (by Maurice LaMarche in English, Kokondei Shinchou in Japanese), which elevates the overall effect of the movie to that of a semi-documentary. For the most part, this approach works to a very interesting degree and is a refreshing change of pace. However, there were some scenes in the movie where I wished the narration could have been reduced a little bit, as it sometimes gets in the way of appreciating the beauty of the visuals on screen.

Unfortunately, most of the attention that this movie received were some silly controversies about the fact that the movie shows the testicles of the male raccoons, but that was a minor detail if you compare with the charm and the originality of the story. Even when it is not perfect (Some consider this movie a inferior work of Ghibli )this movie was funny enough for me, and is one of the my favorite animes.

Very, very, very strange. And of course the whole magical-ball/scrotum thing is weirdest of all... but once you get over that, it's a fun, sometimes sad sometimes very (yes) heartwarming story of these shape- shifting raccoons (or 'Tanuki') who are trying to fight for their land from being destroyed. Next to Tokyo? You don't say! Beautiful animation, especially inspired and delightful when the raccoons do their BIG parade of crazy crap in the middle of the city, and the narration from Maurice LaMarche (yes, Brain from Pinky and the Brain) works more often than not. Surprises me most of all that this is from the director of 'Grave of the Fireflies'. Guess he just wanted to have fun here, though not without a heavy-duty environmental message via Studio Ghibli (from Hayao MIyazaki? You also don't say).

I'm not entirely sure I can recommend it to, you know, a newcomer to the studio's works. It's at times just so leaps off from anything bound to reality (well, hey, talking 'Tanuki', you gotta go with it from there) that you just got to stick with it. Some of the comedy is very funny, some of it just feels odd, especially with the English translation (some folks like JK Simmons and John Dimaggio provide good voice-work too). It's like hearing a long but involving story from a friendly source, who in the end turns out to be someone who makes the story more profound and striking than it would have been otherwise. It's clever, trippy, and kids will be perplexed but may love it for its subversive quality. I mean, seriously, their scrotum are showing - but nothing else, so for Disney, it's okay (as opposed to Only Yesterday, which has a brief conversation about menstruation, but I digress).

Isao Takahata, the man who brought us the good Only Yesterday and the masterful Grave of the Fireflies, is at his most bizarre here. This is essentially the same story about anthropomorphic animals being distressed that humans are destroying their home that has been told countless times before, but there's precious little here that will be tiresomely familiar. The movie is overflowing with creativity, humour, and invention; and in the end, that's probably why it's ultimately less than a masterpiece. There's so much here that too little attention seems to have gone into tying it all together coherently.

The first half is definitely the best, since the movie treads more carefully while establishing itself. The raccoons living in a forest that's scheduled to be destroyed to make way for a new Tokyo suburb unite to develop their shapeshifting powers and use them to save their home. The problem, however, is that these are not professional guerrillas or revolutionaries or anything of the sort. They are raccoons, and as such, equally concerned with partying and scavenging in the humans' trash as with getting rid of them. There's also a priceless plot point about the need to keep the population down by stopping all mating in spring -- a policy with obvious enforcement problems. The tone is kept mostly light, and things move briskly, making the movie a fun experience thus far. Particularly ingenious is how the raccoons are shown differently according to the dramatic needs of the scene/ sometimes they're drawn completely realistically, walking on four legs and with totally inexpressive faces; sometimes they're drawn like traditional bipedal cartoon characters; and other times they take on human form.

However, its two-hour running time may have been a bit much. There's no concrete point where it stops working, but somehow the second hour works less well than the first. Plot points become more and more dubious and underdeveloped. What kind of Spook War could so easily be mistaken for a parade? Why were they initially so reticent about talking to the TV reporter? Shouldn't they have tried to do something with that million dollars they stole? Also, the "turn back the clock" illusion at the climax is maybe too ambiguous for its own good. It's not that it couldn't have been effective -- Hayao Miyazaki fine-tuned it to be devastatingly effective in Princess Mononoke -- but it just seems a bit incongruous here. The very end tries to be bittersweet in its admission of defeat but continuance of hope, but with only nominal success.

Still, this one is definitely worth seeing. As with all Studio Ghibli films, it's more concerned with real emotions and issues rather than the spraying blood and female nudity of so much other anime, and the level of wit and invention is some of the highest ever. It's a textbook example of how to handle anthropomorphism of animals with a maximum realism and a minimum of sentimentality. And where else are you going to see balls used so effectively as weapons?

I take back what I said about "The Cat Returns" being the weirdest Ghibli movie. "Pom Poko" gets that award instead.

If you watch this movie, you should know beforehand that it is heavily based in old Japanese folklore about the Tanuki, magical raccoon/dogs capable of transforming themselves and other things who like to do mischief to humans (and yeah, they use their nutsacks). So if you don't know that before watching this film (like me), you'll have a really weird time.

This movie's message is completely about deforestation and how animal life gets affected by that matter. They handle it well, but it's really on-the-nose throughout the whole movie, and if it wasn't evident enough, they break the fourth wall to say it themselves. Anyway, they don't portray humans as some devilish, selfish creatures who want to destroy the raccoon's... eh, sorry... the Tanuki's home. Actually, the Tanukis are way eviler when it comes to attacking humans.

As I said before, I had a really weird time watching this, and I was wondering if it was actually a kid's movie. Yes, it's entertaining, fun, and deep, but there are a lot of bizarre moments.

Overall, for Ghibli fans, this is a movie worth checking out, due to its ecologic theme, entertaining story, and charming animation, but too bizarre for casual anime watchers (even though most anime nowadays are way more bizarre than this one).