Maybe because I've seen all of Miyazaki's films and I've never reviewed a single one, just as happened in Kitano's films, seen them all and never reviewed. Perhaps the explanation for my absence is that Miyazaki's films are so incredible that every word written about them may just fade magic. But I would have to begin writing about these films and there is no better time than now, hot and a few hours from the exit of small and squalid room of arthouse cinema that has had the decency to buy a copy of this film and project it for several weeks, to the detriment of the painful delivery of Lucky Red, which somehow this time it is [almost] forgotten of Sardinia. We are in the late 20's. In an Italy imaginary (but not too much), a mysterious pilot seaplane fighter makes his living as a bounty hunter raging in the northern Adriatic. His name is Marco Pagot, Porco Rosso nicknamed "Pig" because it has the appearance of an anthropomorphic pig, "Red" because his plane is colored crimson. The so-called hijackers, where the pig hunting to continue trimming their sound blows unite in a league and hired an American pilot, that Donald Curtis, with excellent driving ability and a very agile and powerful aircraft to take him out. The flying pig, with the help of a young girl and an entire community of craftsmen aircraft, of a comely cabaret singer as well as the unsuspecting fellow wing fascists ingaggerà with the American struggle until the last shot.
Staples sunlight shining leaden fly between the cathedrals of steam up there in heaven, and there under the sea, an expanse where only friend seaplanes can land and giving the drivers the same in less than a few headaches in terms of planning fuel consumption, and in case you need to find a field emergency a crash landing. A blue expanse dotted with islands, bays and breathtaking landscapes. Are you ready to dive in yet Ghibli made in heaven? And who would not dream of identify with Mark Pagot, free like an eagle as a noble and fascinating Hollywood stars, though with that ugly pig face. But women from Dalmatia Istria do not care, he is the superstar of heaven, pirates and harvester of hearts. Who does not dream to dock with its own pier idrocaccia racing in an elegant island of the Dalmatian coast in mid-summer evening, just to go get a drink in a luxury hotel? Who does not dream of such an incredible adventure? Is it clear what
Miyazaki's ideas in terms of war: War sucks, and this feature is his umpteenth post on this frequency. "Better Fascist pig", Case Pagot talking in secret with his old comrade-in-wing, now a senior official of the "Royal Air Force," and that damned ridiculous epithet often used to give a less disgusting to taste a mouth that needs say "Fascist Air Force." The master has no scruples to paint a thief Fascism and stupidly self-sufficient in an era of uncertainty where a bottle of oil was a precious commodity. Miyazaki's ideas are clear in terms of non-violence: Pagot is a romantic hero who is not sure whether to leave his opponent perfectly unharmed non spara un colpo della sua letale mitragliatrice.
" Un maiale che non vola è solo un maiale ". " Un maiale che vola è pur sempre un maiale ". Il Pagot non si cruccia più di tanto del suo aspetto frutto di una misteriosa maledizione arrivata dopo essere scampato non si sa come da una carneficina aerea durante la grande guerra: sembra quasi che rifiuti l'umanità e la sua violenta e nauseante idiozia, ed è terribilmente bella e toccante quella sequenza in cui Miyazaki riesce a mostrare la vera spettrale insensatezza della guerra. Da triplo nodo alla gola e da antologia del cinema.
E anche in questo film c'è la completa rinuncia del maestro alla netta separazione tra bene e male, perchè nel mondo tutto ciò che vive è bene, e guardando gli occhi di una bella ragazzina di diciassette anni si scopre che questa schifosa umanità non è poi da buttare via, parole del maiale, mica scemo. I nemici nei film di Miyazaki hanno sempre un gran cuore, e dopo lo scontro finale scattano una foto con chi li ha battuti; i "cattivi" nei film di Miyazaki sono "così cattivi" che anche dopo anni dalla batosta presa dal buono di turno tengono con lui una corrispondenza epistolare. Quando ci si immerge in un paradiso creato dal maestro, si pensa sempre che ci si vorrebbe proprio stare, in quel posto, e si rimane a bocca aperta dall'inizio alla fine della storia, e con un magone in gola, perchè in qualsiasi modo vadano le cose, everything is always great.
dark side of the film? Maybe one. Again, as in other Miyazaki film one of the protagonists is a young girl: Fio, the nephew of the owner of the company Piccolo SpA The difference with other works of the director lies in the fact that in this case the attention and imagination of the characters supporting actors and secondary to the type of girl are often also not too covertly sexual. The charisma of Fio against the troops of the hijackers is driven less by his intelligence and determination, which are crystallized in the course of events, but as a consequence of pubertal attractiveness of its appearance, so as to make the girl in the final scenes even a trophy of battle. " I have seen more malicious then the fuselage dell'idrovolante removed and placed on the truck in the workshop so admired and examined with care by the same girl a giant phallic symbol, but if we can classify it as deviant finding petty psychology of the subliminal, c ' is to be careful about how many times the elderly owner of the workshop experience the Pagot to "keep hands off" from the girl, noticing a particular interest of man against him, an interest which lasts throughout the film even obscuring the the protagonist's attention to an important person like the woman of the same pilot, the singer Madame Gina, accounts more old girl. I can not reveal the hazy end of the film but I can say that the girl will be just as capable as anyone has ever done, to score a groove in the fate of Pagot. I think here more than in any other Miyazaki film reveals, perhaps unintentionally (but not) hysteria fetish for youth and underage girls in both the Japanese media that Japanese companies are filled with boring.
The master Hayao Miyazaki is a big fan of planes. Each of his film work includes numerous references to flight, aeronautics and aerospace technology and animations of flying machines he created and shown on the screen are sometimes real lessons of aerotechnics (beware For example, the ending theme 魔女 の 宅急便 (Majo no takkyūbin - Kiki's Delivery Service), 1989: qualdo pedal plane piloted by Tonbo likely to touch the ground because a set beat, the main character that follows astride a broom flying kicks down the back of the aircraft, in correspondence with the horizontal stabilizer, giving the plane a moment cabrante enough to make him take off again). And if all his films are an ongoing tribute to the flight, "Porco Rosso" is the apotheosis of the master of Japanese aviation passion.
And like all the Japanese fans of something, even Miyazaki proves to be mad about his passion. Have you ever heard of the Schneider Cup ? Certainly not: it was a competition for racing seaplanes that was established in 1911. The film is set at that time straddling the two wars, a golden age for the development of aviation: in fact the prototypes were entered in this competition, which introduced important innovations in aviation technology, such as liquid-cooled engines, the fuselage aerodynamic, and the famous Rolls Royce Merlin engine, installed on the prototype winners of the last two editions of the cup and then in the uncontested ruler of dogfights skies over Europe and the Pacific.
There are numerous references to the history of aviation are discussed in this feature film. I will mention a few (some of the following info comes from Wikipedia ):
- The first pilot of the two fighters belonging to the large cruise ship attacked by pirates of the air is Francesco Baracca, who really was a great Italian aviator in World War I flying club are dedicated and roads.
- The second is Adriano Visconti, ace of World War II with ten victories to his credit.
- One of the characters in the story is a buddy of former aviator named Ferrarin Porco Rosso. An airman named Arturo Ferrarin è realmente esistito e nel 1920 ha coperto per la prima volta il percorso aereo Roma-Tokyo assieme a Guido Masiero. Ferrarin ha effettivamente pilotato, nella Coppa Schneider del 1926, l' idrovolante da corsa Macchi MC39 con cui lo si vede in una scena affiancare il velivolo di Porco Rosso. Altri invece ritengono che il nome Ferrarin del personaggio sia un omaggio a Carlo Ferrarin, disegnatore e progettista della fabbrica di aeromobili Caproni , progettista del Caproni C-22J , un aeromobile a getto estremamente simile proprio al velivolo pilotato da Fio in una delle scene finali del film, durante un sorvolo in tempi moderni dell'isola dell'albergo più volte vista nel film.
- Uno dei compagni di stormo di Marco Pagot / Porco Rosso at the time of the Great War called Bellini: believed to be a tribute to Lieutenant Stanislao Bellini, test pilot of Macchi-Castoldi MC72 , died during a flight of development of this prototype.
- When Porco Rosso repair his plane takes him from the same manufacturer, the "Piccolo SpA, whose owner offered him a new engine (a FIAT AS2 , winner of the Schneider Cup 1926, won by Italy Mario De Bernardi ) on which appears " Ghibli ," nickname of the twin-engine multi-role of the second half of the thirties Caproni Ca.309 . The name of the film studio founded by director ( Studio Ghibli ) is in fact a tribute to the passion of Miyazaki for the history of aeronautics.
- While the iconography and identify the merchandise back to the film as SIAI S.21 (also referred to incorrectly as S.21 Savoia or Savoia-Marchetti S.21), a seaplane pilot Porco Rosso fantasy inspired by two aircraft actually exists: SIAI S.12 / S-13 seaplane biplane reconnaissance / fighter and Macchi M.33 monoplane flying boat racing. The SIAI S.21 is, contrary to the film's protagonist, a biplane.
- "Mama help", the name of a band of pirates, is a quote from Mammaiut , nickname dell'idrovolante CANNOT Z.501 , who became the cry of the department 15 º Stormo SAR.
Screened for the first time in 1992, this masterpiece by Hayao Miyazaki has been distributed to the big screen in Italy until November 2010. It was time.
紅 の 豚 ( Kurenai No Buta - Porco Rosso) Japan, 1992. Directed by Hayao Miyazaki
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