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Review: Take some of the classic Hollywood air combat films, mix in some melodrama, romance, and fantasy, then add a heavy dose of slapstick and you'll get an idea of what
Porco Rosso delivers. Much like anime legend Miyazaki's previous features such as
Kiki's Delivery Service, the presented world is slightly different than our own, a place where an anthropomorphic pig isn't even a strange sight. Unlike his later, more mature films like
Princess Mononoke or his mesmerizing
Spirited Away, however, this one is much more of a straight-forward romantic adventure. Originally done as a short feature for Japan Airlines and later extended for full-length form, it's obvious that less care was taken to create any real plot. To get things clear: the animation isn't as fluid as his other films, the storyline is nowhere near as rich, nor are Miyazaki's usual themes alluded to here. But this being a Miyazaki film, even a minimal work is clearly above-average fare. What we do get is a grand adventure, filled with sleek-looking airplanes, dogfights, pirate scum, chases, honorable duels, and impossible love. Of note as well is a thoughtful, dramatic flashback retelling the day Rosso lost his squadron in WW1; it's a brief, beautiful sequence that lifts the film up a notch. Though not up to its creator's best efforts, with its sense of fun, easy comedy and engaging characters
Porco Rosso is fine, light entertainment.
Cinema and psychoanalysis were born around the same time. In 1895 the Grand Café of Paris hosted the first movie event of history, while at the same time Studies in Hysteria by Joseph Breuer and Sigmund Freud hit the shelves of bookshops in Vienna. It is hardly surprising that the histories of psychoanalysis and cinema ran parallel throughout the last century, despite the fact that the “father” of psychoanalysis, Sigmund Freud, developed a snobbish neglect of the new medium (as he did with most of the new inventions of his age, the radio and the telephone, for instance). Although his home city, Vienna, hosted around eighty cinemas, Freud visited the cinema for the first time in 1909 in New York. As Ernest Jones documents it, Freud was only “dimly amused by ‘one of the primitive films of those days,’ full of ‘wild chasings’” (Heath 25).