(Japan 1988 94m) DVD1/2
Aka. Hotaru no haka
The little red tin
p Tohru Hara d/w Isao Takahata novel Akiyuki Nosaka ed Takeshi Seyama m Yoshio Mamiya art Ryoichi Sato
VOICES BY:- Rhoda Chrosite (Setsuko), J.Robert Spencer (Seito), Amy Jones (aunt), Veronica Taylor (mother), Shannon Conley, Crispin Freeman, Dan Green,
For those who do not know Takahata’s masterpiece, my exclaiming it to be one of the most emotional films in the entire list would seem like a statement bordering on lunacy, when you consider some of the material herein. Yet it is not lunacy, but rather a profound response to a truly profound movie. And before you say it, yes, it is an animated film. But to merely call this an animated film doesn’t just insult the film, it insults the reader. Studio Ghibli has, in recent times, meant simply the work of Hayao Mizayaki to most westerners, but Takahata’s film equals anything Miyazaki has ever achieved and may come to be regarded as the greatest Japanese anime film of them all.
Sometime in 1945 in a Japanese town, an air raid calls the townsfolk to the shelter to escape the fire-bombing of the American bombers. One family, a mother and her two children, young son Seito and girl toddler Setsuko, hear the call. She heads on ahead to the shelter while they grab a few things, but in searching for Setsuko’s doll, they take too long and are left in the house when the bombers rain down their fiery cargo on the town. They eventually make it to safety but learn that there is nothing left of the shelter or virtually the entire town, save for a school. There Seito finds his mother, who is so badly burned as to be unrecognisable, and realises the situation is hopeless. He determines not to tell his little sister of their mother’s death when she dies a day or so later, and they head off to stay with their aunt in a nearby town. Unfortunately, the aunt couldn’t really care less, thinking only of the food they can bring in from their father being in the navy and from selling off their dead mother’s kimonos for more rice.
If that tale sounds a depressing one, it’s meant to. It’s fair to say that, apart from a brief sojourn on a beach, the children’s tale is a downward spiral to their eventual, inevitable – from both the mood of the film and the opening sequence from which the story flashed back – demise. Yet what is so remarkable is that it would have been so easy to take the simpler, manipulative route. Takahata’s film, like the truly tragic kids, doesn’t ask for pity. It rather seems to act as an accusation against war – hardly an original mission statement, but remarkably effective. Indeed, it’s a film that would, as the often too easily impressed Roger Ebert said, “belong on any list of the greatest war films ever made.” It’s a tale with its feet definitely anchored in reality, based as it was on Nosaka’s guilt trip of a semi-autobiographical novel (he, too, lost a little sister in the same circumstances). It also has the added touch of seeing the war through the eyes of children, which makes it in a way a descendant of Clément’s Jeux Interdits.
Mind you, without being contradictory, it’s rather to Japanese films past that it seems closer linked. There’s an almost Ozu-like feel about the understatement of much of what takes place – and indeed of the selfish relatives who fail in their duty – a sort of serenity exemplified by the eponymous fireflies and the innocence of the tragic pair. Not to mention the haunting use of ‘There’s No Place Like Home’ in the moments after Setsuko’s death from malnutrition (which perhaps also recalls the singing of the prisoners in another classic Japanese war film, The Burmese Harp, which also dealt with a protagonist dehumanised by the atrocities around him). Whatever you take from it, it would take the hardest of hearts not to cry through the last act, as the misery and desolation envelops the viewer like the black rain accompanying the fire bombs. A film summed up when Setsuko asks “why do fireflies have to die so soon?” while, behind them, two fireflies dance in the air before dying out, indicative of the children’s death before their time. If you have to see one Japanese animated film in your lifetime, you could do no better.
Just out of curiosity– why list the English voices but not the original Japanese cast, as you did for “Akira”?
Bob, we’ll see what Allan says to that when he wakes up.
As far as this very great animated anti-war film, it’s simply shattering, and a deserved choice for the countdown. I was deeply moved by this unforgettable film.
It was more down to the fact that Akira and the darker mangas are generally eeen more often with their Japanese dialogue, while the Ghiblis are prepared specifically for English dubbing and were generally seen that way first. Valid point, though.
Now just look forward to the vitriol which will come from my no 30 choice, which I know will come from Bob and others.
Don’t tell me: “Give My Regards to Broadstreet”, right?
“Lethal Weapon: 2” ?
“Now just look forward to the vitriol which will come from my no 30 choice, which I know will come from Bob and others.”
Ah ha! I can’t wait. I’d like to think it’s a Spielberg, but I think Sam has suggested only Schindler’s List would make a top 50 (then again, you have repeatedly said the 80s are a weak decade, and unexpected films would make the list, so…). The Untouchables? Can’t recall if that made your nearlies. I enjoy that one, but it doesn’t hold a candle to Scarface. Boy, you should know how to stoke anticipation, don’t you, Fish?
Maybe a John Hughes film – now THAT would be surprising…
And of course Grave of Fireflies is an excellent choice, almost a no-brainer. Extremely sad, wonderfully animated, and actually – thanks in part to Ebert’s inclusion in his Great Movies canon no doubt, and also to the general popularity of anime in the U.S. – fairly well-known here. I recall running into at least a few non-film buffs who were familiar with it.
Allan already called “Scarface” De Palma’s best film, so I doubt we’re likely to see “The Untouchables”, even though I personally enjoy that one quite a bit. Connery, Mamet, Morricone– good stuff. Not list material, but good stuff.
I know what it is as it’s posted in wordpress already, but although I personally am not a fan of the film, WHY would Allan expect vitrol since it has received spectacular reviews across the board? I don’t get it. Frankly, I expected Allan to place it even higher. But we’ll wait for tomorrow to get into this one.
And before you say it, yes, it is an animated film. But to merely call this an animated film doesn’t just insult the film, it insults the reader.
I’m curious: why is calling it an “animated film” an insult? I should think that’s merely descriptive and accurate, no? The implication is that, ordinarily, an “animated film” simply *cannot* be truly great or profound. Which would be pretty silly, of course.
You could take it that way, Ed, but I was suggesting rather that it doesn’t need to be compared to just animated films, it’s a great film full stop.
One of the most profound movies of the decade for me was an animated film called ‘When the Wind Blows’, about an elderly couple trying to come to terms with a post-nuclear bomb scenario, living by the Government brochure, finding their hair falling out, ect, ect. In fact, it was probably the last great SF film for a decade.
I was never a fan of the Raymond Briggs animated style. Sam would probably love it as he loves The Snowman. I loathe it with a fiery vengeance, want to vomit when Aled Jones or Peter Auty starts singing ‘Walking Through the Air’ and laugh when the snowman melts.
Always taking shots at Briggs. I know about two dozen grammar and junior high school teachers who would debate you on that, and they come in with so much proven success.
well, ‘The Snowman’ is ok but in my estimation they tried too hard to make it a Christmas “classic” and institution.
As for animation styles – I have no prejudices. I remember the ‘Animated Shakesphare’ series in which every type of animation was used. I love UPA as much as any other, and ‘The Sandman’ from the early ’90s animated short done with stop motion animation is one of the most terrifying of all time.
What I loved about ‘When the Wind Blows’ was it’s maturity, a world away from most Disney and mangas, it’s satarical tone with the innocent couple trying to live by Government advice such as ‘duck and cover’, putting duct tape on the windows and it’s unremitting honesty about their situation.
Honestly I prefer Akira to Grave of the Fireflies, but its hard to argue that a masterpiece like this doesn’t deserve a spot on the countdown. As I said before in my comment on Akira, the 80s were a great time for anime and two of my favorite were released around the same year, Akira and Grave of the Fireflies. This film is still is one of the greatest films about war I’ve ever seen and I’m pretty sure there wasn’t even a battle sequence in it. I know there is the famous line from Truffaut saying its impossible to make an anti-war film, because films tend to make war look exciting, but that doesn’t apply to Grave of the Fireflies. It remains one of the great and most effective anti-war films because it doesn’t need to rely on showing the war itself. To show the war’s effect on innocent people is just as devastating. This really is a one of a kind animated feature and I really do wish American directors could take notes from other countries on creating more serious animated films.
Anu, I’ll admit I love GRAVE more than I do AKIRA, but it’s hard to take you to task for that position. As you note, the emotional current here is compelling, it’s one of the most poignant animated features of all-time, and while it wears it’s heart on it’s sleeve, it’s a consumate piece of animation art, intelligently crafted and imbued with some unforgettable imagery. As was broached earlier in the conversation, it’s a great anti-war film, ranking as it does with the best of teh live action films on the subject.
I agree with everything you say about this one and do believe it deserves to be ranked with great anti-war films like Paths of Glory or even my personal favorite Das Boot (still annoyed with its spot on this list). I love both films and consider them to be maybe the greatest achievements in animation (if not then at least in the top 5) as far as cinema goes. But I choose Akira over it mainly because of mainly personal preferences. Growing up as an avid lover sci-fi and cyber-punk and Avant-garde film making and art, Akira hits the spot for me. Again, I’m not saying it light years ahead or anything, both are deserving to hold the title of greatest animated film of all time in my opinion. But if you were to ask me which film I’ve seen more often or discussed more in great lengths with people, I’d have to say Akira.
Never heard of this title. However, considering some of the other “unseen-by-me” films that Allan has popped out (and I have, subsequently, seen since his listings), I’ll take his word (and Sam’s above) on this one. I am glad, particularly, that Allan hasn’t fallen into this cliche most narrow minded critics have taken in leaning the theory that animated films are less worthy of praise than live action movies. If the film is good, then it makes no difference in how its presented. I dare say that there were few films in 1991 that could best Disney’s amazing BEAUTY AND THE BEAST (although, for me, I thought SILENCE OF THE LAMBS was a hair better) and I have always championed animation as the ultimate form of perfected art on film. Animation is just as viable in telling a dramatic story as any other visual medium and I’m so glad its getting its due (matter of fact I named Pixars THE INCREDIBLES my fave of that year. Terrific essay Allan, thanks for bringing this one to our attention!
Your typically enthusiastic and informed comment here Dennis! I actually now rate BEAUTY AND THE BEAST ahead of SILENCE OF THE LAMBS, but both are on th eshort list of great filmsof 1991, for varying reasons of course.
The other 8 in my Top Ten for that year in no particular oder:
The Double Life of Veronique (Kieslowski)
La Belle Noiseuse (Rivette)
Black Robe (Beresford)
JFK (Stone)
Fried Green Tomatoes (Avnet)
Prospero’s Books (Greenaway)
Raise the Red Lantern (Yimou)
Man in the Moon (Mulligan)
Edward Yang’s ‘A Brighter Summer Day’ and Claude Sautet’s ‘Un Coeur en Hiver’ push close to the top 10.
List…list…oh list………yes, it’s a sickness of course.
I’m shocked to see some notable omissions on your list of best films of 1991. The biggest being My Own Private Idaho, Thelma & Louise, and my favorite from the year Naked Lunch.
Thanks, Dennis, but as for 1991 I’d put 5 films ahead of both those you named. I won’t say which 5 with the 90s poll not too far ahead.
Allan, check my post above!!!! LOL!!!!! At least we were both thinking, but you held back, I didn’t!
You relish the opportunity to list lists. Your top 10 favourite lists, your 10 favourite acronyms for sites that specialise in lists.
Ha! Well in this instance, Dennis’s proposition was a bit too tempting.
OK on to Duvivier, right now!
Yea, I mean the laying out of an animated film is just as, if not more complex as a live-action film. But, what I mean about perfected art in film is that with animation the desired look, texture, emotion and choreography of the film comes out of the hands of the artist. He is actor, writer, director and cinematographer all wrapped into one. You really don’t have too many chances of an outsider, like an actor fo example, not being on top of his game. Granted, any kind of filmmaking is not sans of a screw up, but I feel that animation has fewer chances of not living up to the directors vision as a live action one does. BEAUTY AND THE BEAST is a recent example that immediately comes to mind, but I think my theory takes on firmer base if we look back at a film like PINOCCHIO. A film like that just proves the point of perected art in film. PINOCCHIO is damn near flawless.
I too would have a lot of the same films listed Schmulee. AnuhavBist, makes some great selections as well as I would include, definately, MY OWN PRIVATE IDAHO as well for both artistic and personal reasons. But in the end I feel that year comes down to three films that left such an impression on as to make my list when the 90’s poll comes rolling around. BEAST is, in my opinion, not only a great animated film but THE SUPREME FILM MUSICAL in 30 years. SILENCE is guite unlike any horror film I have ever seen strewn with mythological metaphor and nailed by Anthony Hopkins legendarily hypnotic performance-one of the best of any decade. And LANTERN, well let’s just say few films have stirred me both visually and emotionally as this one did. I love it as well as the emmergance of a truly great filmmaker with Jhang Yimou, a visionary artist if ever.