Pom Poko

平成狸合戦ぽんぽこ Isao Takahata, 1994

As I have touched on previously, the famous works of Hayao Miyazaki and Studio Ghibli seem to go hand in hand, to the point where they are almost synonymous. However, the lesser known director Isao Takahata is something of a best kept secret of Ghibli, quietly creating films that are often released without the kind of fanfare Miyazaki’s films recieve. Takahata’s most well known and acclaimed work, the harrowing war story Grave Of The Fireflies has drawn much praise from critics including Roger Ebert, however it is the film Pom Poko, which even know remains something of an oddity in the Ghibli catalogue, especially outside of Japan, which I think is his best work and perhaps even my favourite Ghibli film.

The Tanuki is a type of raccoon native to Japan, which according to Japanese folklore, are playful creatures that have the power to shape-shift. The film focuses on a forest of Tanuki who have long since abandoned their shape-shifting ways, as they never really had any use for them. But the bubble economy of the early 90s changes all that, and soon they find their woods being destroyed by human developers to create a Tokyo housing area of unprecedented scale, New Tama Town. And so begins the Tanukis’ re-learning of shape-shifting, as taught by their forest’s elders; Preparation for the imminent showdown between man and beast. The film’s simple storyline is established within about the first ten minutes of the film, Takahata wastes no time, employing a narrator and a host of colourful Tanuki personalities to propel the film along at a swift, at times dizzying pace. Some Tanuki want to attack the humans directly, while others want to hone their skills from legendary elders of other regions of Japan. Either way, we are soon presented with hilarious scenes of shape-shifting training, and an explanation of what will soon become a running gag throughout the film, the importance and many uses of the Tanuki’s testicles. 

Takahata uses this folkloric element to its absolute fullest potential, drawing on Japanese tradition and superstition to create a work that is very Japanese. Takahata is able to play by his own rules as he crafts this meeting of mythology and contemporary society, explaining away minor details such as the Tanukis’ use of energy drinks to keep up their human shape-shifting act. The Tanuki’s attacks on the humans are also a display of mind boggling creativity. In one scene, the Tanuki stand on each others shoulders and shape-shift into a tree that falls on the road, causing a truck to veer off a cliff. Over time, they begin to exploit the Japanese superstitions and catalogue of folkloric ghosts, which eventually culminates in their final attempt, “Operation Goblin” an otherworldly tour de force of apparitions, dragons and ghouls (Keep an eye out for the Totoro cameo) parading through the centre of town. Most people I know that have seen this film respond with a “That movie is so weird” or “I just didn’t get it”, most likely due to this huge amount of content that non-Japanese simply won’t understand. I can’t really comment objectively, as I never saw this film completely unaware of Japanese culture, and while I understood a lot of the references in the film, most of them are either explained or made obvious through characters responses in the film. Having some knowledge of Japanese culture may make it slightly more enjoyable or funny, but I really don’t think it’s necessary in order to enjoy this outrageous adventure. Think of it as The Animals of Farthing Wood, just with a smaller variety of animals, more shape-shifting and completely crazy humour.

Some of the more militant Tanuki bashing cops with their balls

Aside from the story, the film is a veritable free for all in terms of visual techniques. What quickly becomes apparent is Takahata’s visualisation of the Tanuki themselves, as he draws them in three distinct styles: A realistic on all fours style, an anthropomorphic cartoon style, and a super stylised comic strip style. Each visual is used in different situations to highlight different feelings, perceptions and interactions between characters. When the Tanuki borrow an old TV out of the trash, the cooking show they are watching appears briefly as live action, a short and jarring, but nonetheless brilliant inclusion. Takahata creates a perfect balance of realism and nature; the forest, the development site and the town, and the surreal; Buddha watching over the forest, construction diggers eating a leaf like insects and even a short 8-bit style section. Music also plays a major role in the film, with its opening moments greeting us with what I’m guessing is a traditional children’s song about Tanuki. Throughout the rest of the film, the Tanuki also sing a range of cute songs. Sometimes for rousing morale or in celebration, sometimes just to pass the time while bouncing a ball with a friend.

While the film is largely a comedy, Takahata’s environmental concerns really come to the fore towards the end. As the Tanuki realise they are no match for the humans, they make a reluctant appeal on a television program. This is one of the films most beaufitul scenes, as fireflies light up the night sky and the Tanuki’s sadness in the face of defeat is strangely human. Takahata succeeds with flying colours in making us side with the animals and seeing the humans as the antagonists. Of course, Miyazaki shares this same environmental yearning, but has yet to convey it in such a comical, off the wall way as Takahata does here. The film is just under two hours long, but it flies by perfectly paced, with its combination of humour and seriousness resulting in there never being a dull moment. This is the wild card of Studio Ghibli, the curveball, a uniquely Japanese breath of fresh air for animation and storytelling in general, and the perfect film to counter some of Ghibli’s more mature or heavy handed works.