A Film by Hayao Miyazaki

Eight down…three to go!

If there’s one enduring theme that has moved through Hayao Miyazaki’s entire career, From Lupin III: The Castle of Cagliostro to The Wind Rises, it is his love for aeronautics both realistic and fantastical. He always has weird planes, airships, and even crazy spacecraft in his less rural-centric films. Even the sequel to My Neighbor Totoro, a short film named Mei and the Kittenbus, includes gigantic cat airships. One has to look no further than Porco Rosso to see this fascination on full display with crazy seaplanes based loosely on some of the wild “flying boat” designs of the 1930’s (Marco’s is similar to a Macchi M33 racing floatplane from 1925).

One can tell Miyazaki is infatuated with those early years of aviation – where wild inventors and engineers made crazy contraptions, and the men that would end up piloting them acted like chivalrous knights of a medieval court. The “romance of the air”, as it were, captured the hearts and minds of many young people in those days, and I’m sure Miyazaki was no stranger to it.

“In Early 1930’s era Italy air pirates, bounty hunters and high fliers of all sorts rule the skies. The most cunning and skilled of these pilots is Porco Rosso. A former Ace, he now makes a living flying contract jobs, such as rescuing those kidnapped by air pirates. Donald Curtis, Porco’s rival in the air and in catching the affections of women, provides a constant challenge to the hero, culminating in a hilarious, action packed finale. Miyazaki once said, “Initially, it was supposed to be a 45-minute film for tired businessmen to watch on long airplane flights… Why kids love it is a mystery to me.”

Once again, this film was shown accompanied by a short “bonus feature” from a longer documentary series called Ten Years with Hayao Miyazaki.

Porco Rosso (Italian for “Crimson Pig”) tells the tale of an ace pilot named Marco Pagot (or Marco Rossolini in the English dub), who has been cursed to walk the Earth as an anthropomorphized pig. We learn that this was not a curse that was brought onto him from a third party (like a witch or something), but one he brought onto himself through grief after witnessing all of his friends die around him at the tail end of World War I. He feels that he deserves to be alone, and as such, acts in a pig-headed way at all times to ward people off.

Working as a bounty hunter, “Porco Rosso” has become somewhat of a celebrity due to his handling of the spike in air pirate activity in The Mediterranean Sea. Fascists have taken over the Italian Air Force and have grown sick of air piracy in general, outlawing the cause of the only line of work he has. He’s on bad terms with the Italian Government, and has a bounty on his own head as well. This is made even more complicated when he HAS TO go back to Italy to get his plane fixed after an attack by the American flyboy, Donald Curtis.

As with all of these, I watched this in its English dubbed form, which is generally pretty good in this film (in my opinion). I know this dub in particular is a tad controversial because of them changing some of the dialogue, a common thing in these early Disney/Ghibli dubs (keep in mind Weinstein wanted to hack these up a lot and loved adding things in like extra music). It’s possible that this version was different than the one I originally saw as they have tweaked them a few times, but I am not sure. I am generally not against dubs, and when I have my son with me I will ALWAYS see it in English unless he wants to watch the other way when he’s older.

The Film stars Michael Keaton as Porco Rosso, Cary Elwes, as the Texan Donald Curtis, “Father of the Bride” star Kimberly Williams-Paisley as Fio, and numerous stalwart voice actors, including Susan Egan (“Hercules”), David Ogden Stiers (“Beauty and the Beast”), Tom Kenny (“SpongeBob SquarePants”), and Pat Fraley (“Teenage Mutant Ninja Turtles”).

Like any film directed by the legendary Hayao Miyazaki and produced by Studio Ghibli, Porco Rosso has so many emotional layers that Shrek himself would be amazed by it. Beneath the adventurous and comedic moments of this film, Porco Rosso delves into themes of identity, alienation, and the search for purpose in a world that has passed him by. These are all themes that become especially raw when the world one knows is pulled violently from them, much in the same manner as Marco Rossolinni. His transformation into a pig serves as a metaphor for the scars of war and his self-imposed loss of real human interaction.

Many people wonder why he became a pig, and the truth is – he made himself turn into a beast because he felt he needed to. He saw everyone in his squadron die, and move on to the next realm with him being left behind. Feeling unworthy in pretty much every way, even on a spiritual level, Marco no longer wanted to live as a human. He was in so much pain, and did not see himself as eligible for real love or affection anymore. He turned to booze and cheap women to be more like the “pig” he felt like and it slowly consumed him, twisting him into a monster.

Leaning on this as a way to excuse his bad manners ex -“hey, I’m a pig!”, he moved through life all alone until he was forced to not be anymore. At one point, he is briefly transformed back into a human through a kiss from his assistant Fio, seemingly suggesting his curse form comes from his lack of human emotions such as love. His journey is a quest not only to defeat his adversaries but to reclaim his lost humanity and find solace in the skies he so adores. This introspective layer adds depth to the film, making it more than just a mere animated adventure.

The film’s characters contribute to Porco Rosso’s irresistible charm and enduring popularity. Fio, a talented young engineer, challenges gender norms and proves her mettle in a male-dominated world, offering a refreshing and empowering perspective without making the film into a ham-fisted #girlboss movie. Porco initially resists her help in just about the most misogynist way imaginable, but eventually relents, and the two become inseparable. Gina, the owner of the Hotel Adriano and an old flame of Porco’s (as well as the wife of his deceased best friend), adds a touch of nostalgia and bittersweetness to the story. The interactions between these characters are nuanced, adding emotional weight to the film.

As with all Studio Ghibli productions, the animation in Porco Rosso is a visual feast. The attention to detail in capturing the Italian landscapes, from picturesque seaside villages to serene Mediterranean vistas, is nothing short of spectacular. The aircraft designs are imaginative, and the flight sequences are exhilarating, capturing a sense of freedom and wonder as the characters soar through the sky.

Joe Hisaishi’s musical score complements the film perfectly, accentuating the emotions of each scene and enhancing the overall cinematic experience. If you like vaguely Italian or French folk music, he has captured that vibe very well. Hisaichi’s music has a timeless quality that transports the audience to the heart of the story, whether it’s a thrilling dogfight or a quiet moment of introspection.

In conclusion, Porco Rosso stands as another testament to Hayao Miyazaki’s storytelling prowess and Studio Ghibli’s commitment to crafting films that are of an unparalleled quality. Porco Rosso a captivating tale of self-discovery, resilience, and the beauty of flight, wrapped in a delightful blend of adventure, comedy, and introspection. Whether you’re an animation enthusiast or simply looking for a heartwarming and thought-provoking film, Porco Rosso is an absolute must-watch.

The day after I saw this, I took off from work to see another high-flying Miyazaki tale – The Wind Rises – keep a look out for that when I get a chance to finish the review up!