Heisei tanuki gassen ponpoko

This is a Ghibli film by the studio's 'other', less famous, director, Takahata, who in Japan is still best known for doing the 'Heidi' television series in the 1970's, and who probably had his swan-song with Ghibli with the 1999 box-office disaster 'Tonari no Yamada-kun' ('My Neighbours the Yamadas').

Nevertheless, I think history will judge that his 'Pom Poko' is one of Studio Ghibli's finest works: breathtakingly imaginative and looney, wry, complex, sentimental but un-dogmatic, unapologetically Japanese in its outlook and references. I would in fact rate it higher than Miyazaki's highly-regarded 'Mononoke Hime,' which takes itself a bit too seriously and becomes slightly tiresome as a result.

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.

While Tokyo swells and expands, clearing forest to accommodate its housing needs, a nearby tribe of free-spirited tanuki (Japanese raccoon-dog) hatches plans to defend its turf. That's the intention anyway, if everyone would just sit still and pay attention long enough to chart a course of action. Fortunately, they do have one ace up their sleeve: the long-fabled (and nearly forgotten) ability to shape-shift. Once unlocked and understood, this plays heavily into the tanuki's efforts to subvert construction crews - destructive pranks, mostly - but also their day-to-day appearance.

Effective animation is essential here, and Studio Ghibli is up to the task. Depending upon the critters' moods, they'll slide from super-realistic to ultra-expressive, often several times over the course of a single scene. Ghibli makes it all feel smooth and natural, enhancing the important bits with their usual assortment of small details and charming body language.

There isn't much to the story - all the fun is in the light spirit, zany transformations and oafish nature of the animals - and that's a problem as the duration grows and the climax remains elusive. It holds on for way too long, repeating the same beats three or four times too often. The first hour is a wonderful blast of unbridled creativity and innocent attitude, peaking in a wild parade scene that rivals the one in Paprika, but I was ready for it to end at least half an hour before it did.

I find it hard to summarize this film, since it is sort of all over the place. The main plot of the film involves the tanuki (raccoon-dogs) of the Tama hills near Tokyo and their struggle against the encroaching development that is destroying their woods. As the tanuki attempt to defend their home through the use of their shape-shifting abilities, they are also challenged by an inability to agree on the best course of action and a growing sense that their efforts may be inevitably doomed to failure.

The film, like its tanuki characters, seemed a bit unfocused at times, especially towards the end. Indeed, the plot mainly served as a set-up for showing a succession tanuki antics. Admittedly, said antics were very entertaining, but at 2 hours of runtime I'd prefer a little more narrative support.

Some have referred to this movie as environmentalist in nature, but viewed from that standpoint, it is actually somewhat weak. I was especially disappointed by the ending, which I thought failed to make any meaningful comment on the sequence of events depicted in the movie. Without giving too much away, it seemed like the movie was saying, "Development and urban sprawl are inevitable, but oh well. At least there are still golf courses and parks!" It was as if the people making the film didn't want to hurt anyone's feelings. I have nothing against ambiguity, especially with such a broad theme as the conflict between humans and nature, but I thought the overall effect of the film was wishy-washy, avoiding more serious questions for the sake of preserving a lighthearted tone.

The best aspects of this film in my opinion were its unrestrained playfulness, wacky sense of humor, and use of Japanese culture and folklore, much of which was largely unfamiliar to me as a Western viewer. The art and animation were also quite well done, with realistic natural elements rendered quite convincingly and an overall visual harmony between the static backgrounds and animated figures. Despite the shortcomings mentioned in the preceding paragraphs, I enjoyed this film quite a bit. 7 / 10.

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).