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Porco Rosso

Porco Rosso

1929. Marco Pagot is disappointed by humanity, and an airman who lives by this bounty hunter to the detriment of the hijackers. His reputation is undisputed ace of the Adriatic Sea and the people call him "Porco Rosso" since a curse caused him to take form of pork. Porco spends his days between such adventures flying aboard his seaplane vermilion, and evenings at the Hotel Adriano, where she sings her friend Gina, secretly in love with him. The events take an unexpected turn when the hijackers recruited an ace of the skies, the American Curtis, to defeat him. Porco is, however, help young Fio, who helps him piece together his seaplane and accompanies the adventure end.

The arrival in theaters of a masterpiece as Porco Rosso importance manifold: firstly because finally allows you to have available in Italian the entire filmography of Hayao Miyazaki (not readily available because of the still surrounding a few titles as Laputa and Nausicaa ), and therefore it clarifies the route taken by the author before the rise to international fame with the success of Princess Mononoke Spirited Away and .

Porco Rosso, in fact, more than just a piece of poetry is a sublimation of the themes and figures of speech dear to Japanese director: his reputation as a film halfway between paradigm and highlights from the Miyazaki film collides with a lightness narrative far masterpieces from the most recent, which provides us with a solar Miyazaki and amused in staging of this compelling epic adventure of flying. The fascination for flying, always present in the films of the author, is thus not a simple issue to be transferred aseptically on the screen, but is the result of a dynamism and lightness that the film makes its figurative at all levels. Suffice it to note that the film does not provide figures substantially negative, because even the enemies are still dotted with an irony that brings everything to the matrix of the game. The same figures that hijackers are not afraid of who deals with them and even letting themselves be dominated by a troop of girls in the roaring sequence original (which seems to look to the innocence of Totoro).

In this sense (and the atmosphere between the two wars makes this clear) Porco Rosso is a film by Miyazaki which establishes its role as a student over a conception of cartooning based on the study and coloring on irony and character as the common thread of the narrative. Always associated with the name of Walt Disney, the Japanese, however, shows that you have especially loved the lesson of the Fleischer brothers, over the Pagot which is linked by personal friendship and that pays tribute here with the name of the protagonist. The most interesting aspect, however, is the time lag that we are witnessing, as those attending the Hog companies in 18 years of its completion. The figure of the aviator and disillusioned that this will withdraw his hermitage in establishing a contact with the world above the factions, is the exact opposite of that with its castle quell'Howl moves to establish its non-membership a place, but in his heart for a simmering war that feels like a threat against which present and close and unleashes his magic. The disenchantment of the hero and then establishes a dialectic at a distance with the more mature Miyazaki, who seems equally saddened by the event and proceed to process this his frustration with the aesthetics of the disaster (Think of the nature of violence against Princess Mononoke or the tsunami of Ponyo on the cliff).

Here on the contrary, we are still at the stage where disillusionment is accompanied by an intimate hope of re-foundation of the universe, where the look of the film is directed with an everlasting love. And it is interesting to note that their re-establishment takes place through one of those female characters that the director has always raised to the protagonists of his masterpieces. The small Fio represents the balance between the oblique perspective of a pig element that is "more" than the real and the most problematic women of recent works that seem rather to bear the frustrations of the hero and the audience (think of it Chihiro Spirited Away or, even more, Sophie in Howl's Moving Castle ). Not by chance is just to rebuild the plane of Fio Porco, allowing him to return to again be one with his character and maybe it will just kiss her to break the curse, uploading his mythical figure of a major scale.

Porco Rosso is a film so astonishing in its linearity, perhaps even dialectical theory for establishing the elements of staging, careful in its documentation of reality but able to surrender the momentum of fancy of an emotion like laughter of primary sensations and visions of a magical elsewhere. It 'a film so capable of swinging from the real to the fantastic without showing it. After all, once again is a coexistence of opposites, beautifully summarized by the snout of the pig, which is never too remarked otherness in relation to the world around him.

Porco Rosso (Kurenai no Buta)

Director and Screenplay: Hayao Miyazaki

Origin: Japan, 1992

Length: 94 '

online:

Journal of the Italian

Italian Trailer