In Praise of #9: Pom Poko

Spoilers kind of follow. See it first, then come back and read this. The list of the rest of the 'in Praise of Series' can be found here.

I made a fuss about not writing for a while, but someone spurred me into action. I was having an argument with a friend, and it turned personal and then bitter. We only made up in the last few days. As with most of my arguments, it was ridiculous The following review is basically the gist of my arguments which I used against her. The result is today's 'In Praise of,' which is Isao Takahata's 'Pom Poko,' an animated movie. My friend said that it was weird, and not very good, while I disagreed with a childish vehemence. Pom Poko follows the trials and exploits from the point of view of personified, cartoon Tanuki, a native Japanese raccoon-dog which enjoys a rich mythology in Japan. Takahata is one of the major figures of Studio Ghibli, reviews of movies by  Hayao Mayazaki can be found in these Two Links. Takahata himself is probably most famous for ' The Grave of the Fireflies' a harrowing tale following two starving children during the firebombing of Kobe at the end of WWII. Despite being animated, it has been singled out as one of the most powerful anti-war movies of all time, and is certainly one of the most harrowing animated movies I've seen. However, as good a movie as that is, Pom Poko is better. It's certainly more fun.

Real-life Tanuki. They're pretty cute, but I bet they're too crazy to keep as pets. [source]

As ever, a brief plot summary is difficult. We follow a group of Tanuki (Japanese Raccoon dogs), which are famous in Japanese mythology as mischievous, sentient tricksters who have the ability to shape-shift. They notice that the land where they live is being encroached upon by builders, and the various clans of Tanuki join together to try to prevent further human intervention, we follow their highs and lows over the next few years. We are told that they live in the area which became the Tama New town, on the outskirts of Tokyo, and which we know was built in the 1970s and 80s. As we are aware from the outset that their struggle will be in vain, it is a reflection of the characters and personalities of the Tanuki, and also their views on their opposition, humanity, with all its flaws.Once again, this synopsis not only misses the point of the movie, but also makes it seem utterly charmless: it isn't.

Tsurugame, the village elder, gives lessons on life to the youngsters.

As the Tanuki (or raccoons as the subtitles and dub both persist with) are dealing with an encroachment of their home by industrialisation and humans, one of the main themes of the movie is that of environmental concerns. However, this theme is not on quite such an epic scale as Miyazaki's 'Princess Mononoke' - the threat is more intimate: we see the Tanuki suffering, hungry, and struggling with the encroachment on their living space. It is not merely a movie about environmental concerns, as it offers a rich and complex fable which is at once fantastic and realistic (as far as it can be realistic to have talking raccoons). The Tanuki are  generally fun-loving, but are also flawed and far from benevolent; in the end the story isn't about a struggle between species, as a reflection that both are as flawed as each other, despite the Tanuki's indomitable spirit and character.

Tanuki in their 'excited' state, simply drawn and happy, and with prominent balls.

 However, this movie has been maligned by many in the west (including myself, I put it off for far too long). Why, you may ask? because of the movie's use of Tanuki scrotum. Japanese mythology has the Tanuki being able both shape-shift, and also to instantly increase the size of its scrotum. For example, one scene shows the aggressive Tanuki covering the windshield of a truck with his enlarged scrotum, causing it to crash. At the movie's climax, a group of militant Tanuki wage a kamikaze battle against the human police force, floating, kite-like with their scrotums before using their man-pouches as weapons in an ultimately futile and surprisingly touching scene. As it is an established part of the Tanuki mythology, and is used naturally for humour yet isn't overdone. It makes such an insignificant and vital part of the story that only the most narrow-minded people would worry that it ruins the entire movie.

This is a real life Tanuki Statue, note the bottle of booze in its hand, and its huge nuts. This image taken from Wikipedia: where you can't find any information you need, but big-testicled-raccoon-images are a dime a dozen. [source]

What it does help to show however, is that this kind of movie could NEVER be made in the West. It's animated, but deals with situations which adults would sympathise with, although it seems that Japanese children wouldn't be so timid as to be shocked by testicles as some American reviewers seem to be (the American dub merely refers to them as 'raccoon pouches,' and still every review you read makes ample mention of them. Aside from shape-shifting, hugely endowed raccoons, the movie is particularly Japanese- drawing heavily from Japanese mythology, history, and folklore, and I think that that should be applauded.

This is a popular image which inspires Gondo to use his nuts as weapons in the movie. This is taken from traditional Japanese art, where they would silhouette things (in this case a goldfish), and then on the next page subvert your guesses by drawing, for example, a Tanuki squashing a man with his balls. Insane, and awesome. [source]

The excellent animation work allows for scenes which would be impossible to pull off convincingly in a live-action movie, and at the same time makes it much more heart-warming and charming. Everyone I've talked to who likes this movie has used the word charming to describe it. It is, perhaps a little overlong, but it genuinely is charming enough to make you go along with it. The raccoons are animated in a number of ways, the first, as real-life raccoons, for when humans are around; secondly, in their preferred style, as rounded, cartoonish creatures, often with vests or other pieces of clothing; or finally, whenever their instincts take over, they appear as skinny, comically drawn beasts (influenced, I'm told, by a popular newspaper cartoon). Some of the Tanukis, and the majority of the ones we follow, can also use shape-shifting powers, and can become anything from inanimate objects and other animals to convincing humans. It's this shape-shifting which allows them to go into the city to gather food, information, and to plan tricks and attacks.

Shoukichi is among the first to learn how to shape-shift successfully.

What makes the movie though, is the juxtaposition of individual characters with that of the Tanuki community as a whole. Similarly, many scenes are at once funny and melancholy. It is at once the saddest and funniest movie you'll see. At some points, the jokes come so fast it's a struggle to keep up with them (particularly on subtitles), as well as this, there are copious sight jokes at many stages. However, the movie at times highlights sadness and melancholy; characters are killed, seriously injured, and suffer with hunger and depression as their homes and futures grow evermore into doubt. However, this seemingly bi-polar switch of moods doesn't seem unnatural or forced, rather it seems to reflect the lives of the Tanuki themselves, we really get a sense that we are following them through ups and downs.

'Realistically' drawn Tanuki gaze onto a construction site.

While we are aware that the Tanuki's struggle will be futile, their sheer spirit helps them to maintains a playful optimism and 'heart' even following setbacks. The juxtaposition of moods allows for some great scenes - the tensions of guerrilla attacks on construction trucks and workers is elevated by the tremendous party they have to celebrate (Tanuki's love to drink, as can be seen in the picture above). The tanuki start partying again because they can't help themselves from giggling when they are marking respectful silence for the humans who they have killed. The most emotionally impacting scenes show tanuki being killed by cars or trapped by humans, followed closely by romance and cubs, which not only suggests the changing of seasons and passing of time, but is a genuinely lovely, touching scene in its own right. We really get a sense that time is moving on, and it's both melancholy and wonderful.

Other great scenes include the shock on the faces of the male Tanuki when they realise that the carpet they are sitting on is actually the village patriarch's scrotum; this same patriarch in human-form cuddling a scared Tanuki who is struggling with shape-shifting while in town; the arrival of a Tanuki from a different area, who is equally worried about his loss of habitat, and the medley of learning how to shape-shift, then live as humans, and then, when the three masters of shape-shifting finally make their appearance, to use their skills to create enormous illusions, such as the 'no-face' attack, and culminating in the scene of the 'goblin parade,' which is excellent and will be referred to later. 

A nice scene, but no one seems to bat an eyelid at tired looking people hugging a raccoon dog.

What makes the movie come alive though, are the characters. The village elder, Tsurugame, is a sweet and benevolent leader, while his wife, Oroku, is more aggressive and intelligent. There is the aggressive Tanuki warrior chieftain in the red vest, named Gonta, who is crippled in a stampede caused when the Tanuki try to celebrate his victories against the humans.  He remains injured for an entire year, his frustration and isolation palpable, before his final, futile kamikaze attack, the desperate act of a species which doesn't like to be desperate. A couple of Tanuki leave Tama hills to try to locate master shape-shifters in other areas, they return years later, with three wonderful old characters, but their initial departure is a sad affair, as they walk into the distance and the rest of the community sing to them. It's an image which both acknowledges other Japanese movies and draws on it. Best of all, it leads to the introduction of these guys: 

The three shape-shift masters, in human form. They dress like an old neighbour of mine who had dementia.

As well as these characters, the moral heart of the movie is the resourceful Tanuki named Shoukichi, a young adult who wears light blue. His plans help to prevent further setbacks to the Tanuki, but he is reasonable enough to understand that their situation is beyond redemption, the conclusion of the movie shows him to be living a reluctant life as a human. However, before this, he and his girlfriend, and eventually 'wife' (I don't think Tanuki really get married), called Okiyo, embark on a surprisingly tender romance, in a series of scenes which convey a couple falling in love, time passing, and a new generation of cubs coming along, who are described by the anonymous narrator as 'charming.' They are, and the scenes of their love are in no way gratuitous or overdone, but perfectly pitched.

Super-cute, a lovely scene. N.B. I'm not one to use 'lovely' or 'cute' without reason.

  Both the music and the animation are excellent, even for  a Ghibli movie. The music follows traditional Japanese songs about the Tanuki with some updated lyrics to fit the story better, as well as newly composed, upbeat tunes. The animation is also worthy of note: the Tanuki in their 'realistic' form are terrific, and as chubby, vest-wearing characters are full of colour and spirit. The background animation is also second to none: a scene of kingfishers flying next to each other and landing on a tree signifies Spring perfectly, and captures the majesty and perfection of even real life could bring. Furthermore, progressive animation techniques, such as telling a part of the Tanuki's story through a mock retro gaming console, or the use of and a giant leaf being eaten by bug-sized diggers, help to add flesh to the story and keep invention in the animation.

NES style animation which helps spur the plot along.

After the arrival of the 3 old guys, the skills involved in illusions and shape-shiftings are increased, but their ultimate effect remains limited. Combining all the Tanuki's power, they undergo a huge illusion, creating a parade of goblins through Tokyo, watched by a huge crowd of people. This ghost parade has been criticised as going on too long (it is on for at least 8 minutes) but that is besides the point, it introduces us to dozens of Japanese mythological creatures, and is at once interesting and wonderful. It is a last, brilliant effort of the Tanuki to try to convince humans to halt their construction. Thinking it successful, they celebrate, but are met with tricksters themselves: the owner of a funfair and a shape-shifting fox (because that's also well-established as Japanese mythology) who take the credit for it. These scenes are also important for showing the loss of belief in traditional religion of the Japanese people - it is not only the Tanuki who are losing their culture and history. 

One of the million screenshots I could have got to illustrate the frenzy of the goblin parade.

Devastated by the lack of progress being made, and realising the inevitability of their fate, some tanuki go to fight to the death, and the rest, in a last moving act of defiance, stage one last grand illusion, temporarily transforming the urbanised land back into its pristine state to remind everyone (including themselves) of exactly what has been lost. The illusion is only lost when the excited Tanuki run to see their lost ancestors, leaving them in the middle of a modern, built-up area. This movie offsets highs with lows, and optimism is continually met with realism. The film ends on a bittersweet note, with some of the Tanukis partying heartily in what used to be their home, but is now a golf-course. offset with the realisation that life is stopping for them, tinged with frustration and depression, but not to be met with their indomitable spirit

Auto-hangliding Tanuki soaring into battle. A scene which is far more affecting than it should be (genuinely).

In conclusion, I wasn't expecting much when I first saw this, but I was blown away by how good it is.I can't wait to watch it again. It is charming, beautifully drawn, lovely, funny, scary, and suggests the passage of time and morality more than any ostensibly 'childrens movie' should. If any other movie mirrors the highs and lows of life more this, I would be surprised. While I admit that this review may have over-analised the movie, the overriding feeling is that it is funny, sad, and charming. It might be the best Ghibli movie, and is certainly a better movie than 'Grave of the fireflies' by the same director. While this isn't the first Japanese movie you should ever watch, if you're familiar with the quirks of Japanese culture and society, then get the fuck on it. You won't regret it. Also, if the presence of testicles is enough to persuade you away from a movie, don't watch this, but instead, please lighten up.

One of a dozen or so party scenes, this one from the very end of the movie.

Thanks, as always, for reading.

[A note on the dub: the American dub, which is available on the DVD I watched this on, is actually pretty fair, much better than most Ghibli English dubs ('Princess Mononoke' and 'Porco Rosso' are the best examples of a bad dub hindering a good movie). However, a large portion of the cast of the dub is familiar from Futurama - while it is nice to hear all the voices of Futurama as raccoons (particularly Morbo the news alien, as one of the old guys) it's still worth going for the subtitled version if you can, mainly because that doesn't shirk the testicles issue (it refers to them as 'raccoon pouches') instead. Still, it's worth a go, and you certainly can't say that about all Ghibli movies].

Ghanian Movie Posters

Yeah, yeah, I told you I wouldn't be back for a while, but I've got a bonanza of Ghanian movie posters. So, without further stalling, here they all are. Full marks if you know all of them.

Also seen here

In conclusion, Good God these are terrifying.