The Wind Rises (Kaze tachinu)


Jiro dreams of airplanes.

Jiro dreams of airplanes.

(2013) Animated Feature (Touchstone/Studio Ghibli) Starring the voices of Joseph Gordon-Levitt, John Krasinski, Emily Blunt, Martin Short, Stanley Tucci, Mandy Patinkin, Mae Whitman, Werner Hertzog, Jennifer Grey, William H. Macy, Zach Callison, Madeleine Rose Yen, Eva Bella, Edie Mirman, Elijah Wood, Darren Criss. Directed by Hayao Miyazaki

The French poet Paul Valery wrote in 1922 “The wind is rising, we must try to live.” As with most symbolist poems, the concept can be taken in a lot of different ways.

Jiro Horikoshi (Gordon-Levitt) is a young man who has dreamed of airplanes ever since he was a schoolboy (Callison). He had dreams in which his idol, Italian aeronautical engineer Count Giovanni Caproni (Tucci) shows him fantastic creations filled with family and friends, floating above endless sunlit grassy plains and meadows. In this dream kingdom shared by Caproni and Jiro, the wind blows ceaselessly. In fact, that wind blows through Jiro’s life events both tragic and wonderful.

As Jiro is travelling to university in Tokyo from a visit back home, the train he is riding in is stopped short when the Kanto earthquake of 1923 devastates Tokyo. He meets a young girl named Naoko (Blunt) who is travelling with her maid. Her maid breaks her leg in the incident and Jiro carries her back to Naoko’s home, along with Naoko. He leaves without giving the grateful family his name. When he goes back to inquire about the two girls, he discovers their home has burned to the ground in the fiery aftermath of the earthquake.

After graduating, Jiro gets a job at Mitsubishi along with his close friend Honjo (Krasinski). They work on a design for a plane commissioned by the Japanese Navy. The project is overseen by Kurokawa (Short), an unpleasant and energetic height-challenged person who turns out to be a pretty decent guy. Overseeing Kurokawa is the more kindly-natured Hattori (Patinkin).

The project ends up in failure but his superiors recognize that Jiro is a budding innovator and sends him to Germany to study their impressive efforts. Jiro, accompanied by Honjo, is disturbed by the increasing militarism of Germany and frustrated by their unwillingness to share anything but the most basic information. Jiro recognizes some of the same militarism emerging in his own country.

Once back Jiro is given another Navy plane project but on its test flight the plane crashes. Disheartened and exhausted, Jiro is sent by his concerned employers to recover at a mountain resort. In a bit of serendipity, it turns out  that the hotel is owned by Satomi (Macy), the father of Naoko who Jiro falls deeply in love with. However, she has contracted tuberculosis, a disease that also killed her mother. The outlook for Naoko looks bleak but in an effort to fight off the disease and get healthy, she agrees to go to an alpine clinic to get better.

In the meantime Jiro has resumed working on a radical new design that will make his planes lighter, more maneuverable and faster. However, his conversations with a German pacifist (Herzog) at the resort have attracted the attention of Japan’s secret police who want to take Jiro away – so Mitsubishi hides him at the home of Kurokawa and his wife (Grey). Naoko realizes she’s not getting any better so she decides to go to Jiro and marry him, spending whatever time she has left with the man she loves. While Jiro is realizing his dream to create beautiful aircraft, he is troubled by the eventual use of his planes, knowing that this militarism will eventually destroy his own country. However, he labors on, trying to get the most of his time with Naoko who encourages him even as she weakens.

First of all, this is a gorgeous movie with beautiful curved lines nearly everywhere. The aircraft portrayed in the movie are largely fantastic. Adding a bit of whimsy to the proceedings, nearly all of the mechanical sounds are made by humans, from the roar of the earthquake to the sputter of engines turning over. It’s a marvelous touch that is delightful to both young and old.

Unlike Ponyo which was aimed squarely at the very young, this is most certainly a movie for older audiences. It moves at a stately, majestic pace which the younger crowd will be far too restless to tolerate. In fact, some older audiences may have the same problem – the middle third of the movie is almost glacial as it moves from the terrifying earthquake/fire sequence to the love story.

There are those who are criticizing Miyazaki and the film because Jiro is designing a fighter plane that would be used to take lives (I thought mistakenly that it was the Zero that he was working on and while he did eventually design that plane, the one shown in the film is its predecessor the A5M. The movie does to an extent gloss over the carnage Jiro’s creations unleashed on the Allied forces in World War II. Left-leaners have tended to opine that Miyazaki should have at least criticized the militaristic nationalist leanings of Japan and questioned whether someone who designed weapons should be glorified with a feature film. Ironically, conservatives in Japan have labeled the movie “anti-Japanese.” What’s a venerable animator to do?

I find the criticism to be invalid. Miyazaki damns the militarism by showing its affects on Japanese society without making comment on it. He allows people to draw their own conclusion – the success of which can be inferred by the many differing opinions about the movie’s message. I have to admit that as an American I was very aware that the “beautiful machines” that Jiro was designing would be used to take American lives and that felt a little strange to me. I also found myself able to put that part of me aside and take the movie as a whole without allowing my prejudices to influence my ultimate opinion. War is a terrible thing, as some of the images near the end of the movie show – but Miyazaki recognizes that it is also the catalyst for technological advance.

The imagery is gorgeous, flowing and sweeping across the screen. The early scenes of early 20th century Japan are bucolic and lovely, the earthquake sequence terrifying and beautiful and the scenes at the resort pastoral and also lovely. The colors are bright and harmonize beautifully together and the score enhances the movie subtly. It is not Miyazaki’s best – I still think The Princess Mononoke is and Spirited Away and Kiki’s Delivery Service are both superior to this, but it is definitely up in their category. While I did like Frozen when I saw it late last year, this should have won the Oscar for Best Animated Feature. Period.

REASONS TO GO: Gorgeously rendered. Innovative and clever. Wonderful love story at the center of the film; Jiro is an amazing character.

REASONS TO STAY: Runs a little bit too long. Drags in the middle third a bit. Somewhat low-key.

FAMILY VALUES:  There are some disturbing images of fantasy and war.

TRIVIAL PURSUIT: The 72-year-old Miyazaki initially announced that this would be his final animated feature but on December 31, 2013 he withdrew his retirement during an interview on a Japanese radio program. It is said he is considering a sequel to Ponyo as his next project.

CRITICAL MASS: As of 3/8/14: Rotten Tomatoes: 88% positive reviews. Metacritic: 83/100.

COMPARISON SHOPPING: The Aviator

FINAL RATING: 8.5/10

NEXT: 3 Days to Kill

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Rio


Rio

Linda (foreground, in the blue) gets her inner samba on.

(2011) Animated Feature (20th Century Fox) Starring the voices of Anne Hathaway, Jesse Eisenberg, George Lopez, Leslie Mann, Rodrigo Santoro, will.i.am, Jamie Foxx, Tracy Morgan, Jermaine Clement, Carlos Ponce, Jane Lynch, Wanda Sykes, Thomas F. Wilson. Directed by Carlos Saldanha

The benchmarks for animated features have been Disney for traditional animations and Pixar for computer animations. While some recent entries into the field have shown some promise, for the most part the best animated features to come from places other than the Mouse have largely been those with their own style and subject matter.

Fox has had success with their Ice Age trilogy (a fourth entry makes its way into theaters next year) and the makers of those films have turned their eyes to more sultry climes, the Brazilian paradise of Rio de Janeiro. However, things start off initially in the Arctic-like environment of Moose Lake, Minnesota where lives Linda (Mann), who found a blue macaw that had been stolen from the rain forests of Brazil and sent to the United States for purchase (except it had fallen off the truck). Blu (Eisenberg) lives a very pampered life, warm and secure in Linda’s bookstore, wanting for nothing and being provided with every little need by the doting Linda. They have a wonderful life together.

Into their life walks Tulio (Santoro), a Brazilian ornithologist who informs Linda that Blu is one of only two blue macaws left in the world and that it is imperative that he be mated with the last female, who is in Rio. Because they have a controlled environment available in his bird research center, it is decided that it would be easier to bring Blu to the mountain rather than the mountain to Blu. Reluctantly, Linda agrees to it although she’s not too enthusiastic about leaving home – she has no desire to see the world, somewhat refreshing amongst spunky animated movie heroines.

Blu is flown down and shoved into a lovely environment with Jewel (Hathaway) who wants nothing more than to escape captivity. She is not really interested in mating, particularly with a pampered pet that can’t even fly. The two don’t get along at all which means of course they are going to get along GREAT by the end of the movie.

An amoral poacher named Marcel (Ponce) sends a couple of thugs and a nasty cockatoo named Nigel (Clements) to kidnap the two blues, knowing that as the last of their species they’ll fetch a hefty price. Together Blu and Jewel manage to escape and flee to the rain forest where they are aided by a crafty toucan named Rafael (Lopez), a couple of disreputable looking birds named Nico (Foxx) and Pedro (will.i.am) and a drooling doggie named Luis (Morgan). With Nigel and a barrelful of monkeys looking for them, Blu unable to fly and Linda and Tulio desperately searching for them, it will be a long walk back home. Oh, and did I mention it’s Carnival time in Rio?

In many ways this is the most Disney-like of all the Blue Sky/Fox films. From the score to the musical numbers, this looks and sounds very much like a traditional animated Disney film, from the bright colors to the cute, cuddly anthropomorphized parrots. This is going to appeal to the very young and the merchandising that’s sure to go on is going to drive the kiddies absolutely bonkers and their parents to the poorhouse.

The problem here is that all the color is on the screen – none of it went into the characters, who are all as bland as can be and could have been culled from dozens of animated movies and television shows. And for a movie set in Brazil there’s little to no spice and this movie could have used some. Brazil has some beautiful, exotic locations but one gets the feeling that the farthest the animators went to research their drawings was the Jungle River Cruise and Enchanted Tiki Room at Disneyland.

Sure, it’s a great looking movie but I for one am getting tired of animated features that extol kids to believe in themselves. Judging from surveys, self-belief and self-confidence isn’t something our children are lacking. Rio looks good but in the end it’s like cotton candy – colorful but lacking any substance.

REASONS TO GO: Lush and colorful, with some beautifully drawn images.

REASONS TO STAY: Stock characters and story; trying too hard to be Disney-esque and wind up without much of an identity.

FAMILY VALUES: This is absolutely fine for any family – nothing for parents to be concerned about for any ages.

TRIVIAL PURSUIT: The makers of the wildly popular Angry Birds game created a version of the game set in Rio as a tie-in with the movie.

HOME OR THEATER: It’s beautiful and the kids are gonna insist.

FINAL RATING: 5/10

TOMORROW: Hanna