Some of the best background-art to ever appear in animation lies in this movie. Much of the film’s appeal (beyond its story) is in its beauty. It’s not until he’s kissed by Fio at the end that he (possibly) reverts back to a human, finally ready to move on from his struggles and believe in humanity. His grudges and regrets manifest themselves in the curse that changed himself into a pig. He fails to connect to those around him as well as harbor a resentment to the changing times, between a changing government and being unable to ignore the women of his life. The character-driven force that pulls the film forward would be Porco’s apathy towards humanity, having never recovered seeing his friends die in World War One, as well as failing to reciprocate the love Gina feels for him. But instead, Miyazaki sees these as simply pieces that build a complex character and a climate to live in. If this were directed by any other person on the planet, they’d focus most of the screentime on the falling-out Porco has with the Fascist uprising in Italy, or how he makes his living by hunting pirates. Porco Rosso is much more character-driven. Like most of Miyazaki’s other films, conflict isn’t the driving force that propels the story forward. When his plane is destroyed and he is pursued by an American pilot, he hides from both his pirate pursuers and the Italian Secret Police in Milan as his plane is being repaired. The story is directly pulled from Miyazaki’s 15 page manga The Age of the Flying Boat ( which you can read in English by clicking right here!) Porco, a man turned into a pig by a curse, works as a flying bounty-hunter who hunts pirates. Even with the slow pace INTENDED to mildly entertain you while too tired to use your brain, Porco Rosso is a stellar film that is beautiful, contemplative, and charming, while also simple enough to appreciate at a very basic level. But what’s remarkable about Porco Rosso is that Miyazaki manages to avoid everything Kon fears. Kon’s motivations were his hatred of films that dazedly droll forward without caring about checking if their audience is even awake. It’s an approach to filmmaking that Satoshi Kon fought against he desired to make movies that kept you always at the edge of your seat through distortion of time, space, and reality itself. It’s slowly paced and the plot never becomes too complex or tense to agitate you.
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Rewatching the movie with his audience in mind, this approach he took is obvious. He can imagine people of all types finding this film entertaining, but he specifically wants to make something paced perfectly for someone looking to not stress his mind. I sadly cannot quote it since my copy of the book the pitch appears in is at college, but he describes his target audience as tired businessmen on long flights deprived of oxygen. One of my favorite pieces that Hayao Miyazaki has written is his pitch for his Porco Rosso film.
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