All sarcasm aside, it is a staple in many films – and not quite how real life works. We all (hopefully) have those support systems that are behind us, but it takes an inner response first to turn things around or it will usually never happen. However, it never hurts the inner self to be reminded, “You think you have had it rough? Let me tell you a story…” It is rarer for a film to serve that purpose.
ENTRY #18 – GRAVE OF THE FIREFLIES
A good way to describe Studio Ghibli is to say that they are Japan’s version of Pixar Studios, except they have been making top-quality animated films for twice as long and are in a country where animation is not considered second-class to live-action films. Most probably know them through their whimsical Asian counterpart to John Lasseter, Hayao Miyazaki (My Neighbor Totoro, Spirited Away, Kiki’s Delivery Service...each of them on the level of The Incredibles, and usually involving a young female protagonist). But Japan often demonstrates an unusual dichotomy with their utilization of young characters in film, using them not only as paradigms of the magical human spirit but also as an example of the cost when that spirit is corrupted in society. Grave of the Fireflies, directed by Isao Takahata, became one of the studio’s earliest major hits by using two infectiously decent children as a narrative means to target the enterprise of war.
Not World War II, not the US, not even the specific bombings at Hiroshima or Nagasaki…just war as a whole. Throughout the film, you never actually see the faces of those attacking the various cities and populations, and you honestly don’t need to. Japan, as has been pointed out by Ebert and other critics, approach war with a different attitude than Americans do. We tend to wave the figurative flag (or obnoxiously literal…thanks, Spiderman 3), while painting those who oppose us in some way as a collective way – distinctive bulls-eye targets for different groups at different ages in history. Usually, one target evolved into another naturally. Rather than saying “Soviets/Communists=enemy” or “Al Qaeda/Muslims=enemy”, Japan simply states that anyone who specifically attacks their people is their enemy, and they don’t see a difference between different enemies or feel a need to lump all people in a group with those who hurt them. To them, it is simply “enemy=enemy”.
I am not saying this is necessarily any better of an attitude, since it doesn’t seem to make savage instincts any more subdued or diminished either way. But looking at news coverage tonight, with American focus largely on Osama Bin Laden’s death and not so much on the bloodshed surrounding the corresponding conflicts, it does seem like that Takahata’s efforts to make war “faceless” and non-specific put more spotlight on the victims surrounding it. Under such a framework, we are introduced to Setsuko and his little sister Seita, two children who are caught in the middle of a region torn apart by air raids and the subsequent struggles to find enough food and shelter to survive the aftermath. Painful loss and helplessness force the pair to try finding help by any means necessary, be it through familial contacts or through any abandoned resources they can find. Although I can attest to how masterfully the story is told, in a way that makes us admire Setsuko’s selfless devotion and fall in love with Seita’s innocent outlook on the horrid life around her, it would be (no pun intended) criminal to spoil the series of events that occur in their struggle to survive. But make no mistake: this film does not hold back any punches, and fireflies are indeed involved. Oh, and unless you have tear ducts of concrete, you WILL cry at some point. The last 15 minutes, in particular, are devastating (as are other scenes if rewatched).
In an odd way, this film reminds me of Cloverfield, in its efforts to shift the default focus of a particular type of story. It was also a film that tried moving the story from what we already knew (namely, the “monster” being combated and those attacking it) and tries to make you wonder how you would react in a similar situation. And like Cloverfield, the pace of the film and setting take on a much more significant role. Takahata and his team of animators take their time in focusing on scenes of waste and disrepair, letting audiences soak in the same sort of magnifying desperation felt by all those already in the film. The use of darkness and light is expertly utilized to try preserving as much dignity to the wastelands portrayed as is humanly possible, while also using their artistic medium to present visions not otherwise possible in live-action settings (I will only say that if a tenth of these scenes were done with actual children, police would be brought on studio sets to investigate).
But in all honesty, as much as I can speak about the technical and atmospheric merits of Grave of the Fireflies, in all honesty, all I can think of right now is my own younger sister right now. She is 10 years old, almost twice as old as Seita, but is easily one of the most emotionally intelligent individuals I know. She has an innate warmth and tact for knowing when to interact with others and in what way, a trait that makes her endearing to just about everyone who’s ever met her. She is also very sensitive, with an empathy that makes her emotional to the point of tears when seeing another suffer. She also is learning how to play the saxophone and is the type who loves playing outdoors in the spring. I guess what I am saying is this: I could empathize with Setsuko’s inner need to protect his sister from the world’s cruelty however he could, but could not imagine how I would show such strength in scenes like the ones in this film. Humanity has a tendency to show great spirit and will in those moments of utter terror and despair, but they should never have to learn that about themselves in the first place.
For that realization alone, this film earns my highest respect for its director and the studio as a whole. It found a way to make me pull myself out of my own struggles, in a way that most “preaching” cinematic endeavors only dream of doing. But I never, ever, ever want to watch this film again.
[OVERALL RATING: 10/10….but for one viewing only]
No comments:
Post a Comment