1994 in Film: Pom Poko

Where generally when it comes to Studio Ghibli and anime film in general, the majority of the attention goes towards the works of Hayao Miyazaki. Next to him stands long time director Isao Takahata, who not only co-founded Studio Ghibli with Miyazaki, but had a stacked filmography himself. Starting with more childlike animation, such as Panda Kopanda, Takahata would eventually transition to much more adult content with devastatingly emotional films like Grave of the Fireflies and Only Yesterday.

There is one film in Takahata’s filmography that stands out as a unique yet effective blend of these two sides of the filmmaker. Pom Poko seems like it might just be another kids film, following a group of tanuki who try to combat the human developers turning their lush green forests into developed cities using their powers of shapeshifting. But quickly it becomes apparent that the film is designed for a more adult audience, with a rawness and brutality not seen in many animated films. These two sides of the film create an experience uniquely Isao Takahata that it might just be the best showcase out there of the director’s various talents.

Related Review: Becky (2020)

The conflict between man and nature might have its own automatic interest behind it with modern debates on the topic. Though the conversation in the film wouldn’t have been as engaging as it is if the film wasn’t able to make the audience connect with the tanukis as much as they do. On paper it seems like the mythology they include regarding these characters and the magical powers would be the biggest highlight of these beings. It was the smaller, more quiet and intimate moments that really made the audience feel for these characters on a deeper level.

The film takes the time to build these characters with depth and legitimate emotion. The audience sees them go through the universal ups and downs of life. Such as falling in love, having a family and reflecting on their youth with a longing nostalgia. These more human elements allow the audience to not view these characters as creatures, but rather as well rounded characters who are easy to empathize with on a deeper level. The majority of the conflict within Pom Poko feels complex and more emotionally impactful because of this.

These emotions are the reason that the film carries such a weight to it. Pulling from his experience with the haunting Grave of the Fireflies, Takahata again proves that he is a master at capturing desperation when faced with a seemingly impossible challenge. No matter what these tanukis do it feels like the dents they make against humanity are tiny and meaningless, causing them to feel powerless as they see their home destroyed.

Related Review: A Silent Voice (2016)

They have to heartbreakingly watch as the forests they grew up in – have cherished memories from – gets torn down tree by tree. More than nearly any other film trying to capture the downsides of human development, Pom Poko haunts long after the runtime ends as it focuses not just on the physical toll it has on the creatures but also the emotional.

It also helps that the animators are as talented as they are, which should come as no shock considering it is Studio Ghibli. The animation has to carry a unique balance to it, as it has to portray the main characters not just as realistic raccoon dogs but also as comedically drawn cartoon versions of themselves.

When mixed with the realistic world animation and colorful and fantastical transformation scenes, it is apparent that there is a lot the film is trying to accomplish visually – but it accomplishes everything masterfully. The animation flows as it bounces between realism and fantasy. And the amount of emotion they are able to capture through their character designs is impressive and is another important step in making the audience connect with the characters.

There are also times where the animators are clearly just having fun, which can be felt. Whenever there is a party or something fantastical, the film isn’t afraid to take a pause from the desperation and drama to allow for those scattered moments of happiness and childlike wonder. This breathes life into the film.

Related Review: Leave No Trace (2018)

The other technical element which made its impact felt was the music by Shang Shang Typhoon, which is some of the best Studio Ghibli has ever provided. Shang Shang Typhoon are known for their unique sound and the modern take on a more banjo heavy country score, and it perfectly encapsulates the tone the film is going for.

Pom Poko might fly under the radar for most when it comes to the works of Studio Ghibli, but really should be considered one of their best works. Not only does it serve as a great showcase for director Isao Takahata – giving him the chance to showcase both his talent in creating both childlike fun and heartbreaking emotion – but the film captures the more cliched message of nature dying at the hands of humans in one of the most effective and mature sentiments ever seen on film. It is far from an easy watch, but it is truly rewarding and is easily one of the most underrated films of 1994.