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CAST

REVIEWS

• 

  DrowZgam3r

  48/100
  Grave of the Fireflies is a story that should not exist.

  Many anime fans hold studio Ghibli in revere. It would be no lie to say that Ghibli has played a large role in defining anime. But because of the massive success of studio Ghibli in becoming a household name, many fans view their films through rose tinted glasses of nostalgia and ignore fatal flaws. While Grave of the Fireflies may at first seem like a tragic story of a brother and sister struggling to survive during WWII, the tragedy could have been totally avoided by one simple decision.

  Story:(2/10)

  The story follows Seita and his sister Setsuko after they survive a air strike that destroys their town and leaves them orphaned. The rest of the story follows the pair as they struggle to survive in the harsh world of WWII Japan...is what I'd like to say but unfortunately there is a fatal flaw in this story that was too big for me to get over.

  After being orphaned, Seito and Setsuko are taken in by their aunt. Despite how she is portrayed she is actually a very kind woman. She takes in the pair when they have nowhere else to go, puts a roof over their head and food in their belly. But as time goes on and food becomes harder to come by she starts being a little harder on Seito as he shows no desire of finding a job and instead spends all his days playing with his sister. Eventually Seito gets tired of his aunts insults and decides to take his sister and move into a literal hole in the ground. And even as he and his sister slowly start starving to death he refuses to go back because of his hurt pride. If neither of them had a place to go to from the start this story might have been better, but the constant knowledge that this tragedy could have been avoided is what killed this film.

  Characters: (3/10)

  The story mainly focuses around Seito as he tries to care for his little sister, but for all they tried to portray a caring and loving brother it was a horrendous failure. Because of Seito's inability to overcome his hurt pride and return to his aunt, he killed his sister. No matter how you want to look at it, even though he seemed to love his sister, his selfishness lead to her demise.
  Setsuko on the other hand was a perfectly great character. Ghibli really knocked it out of the park in portraying a small child and saved this film from getting a lower score in characters.

  Visuals:(8/10)

  As expected of a Ghibli film the visuals were top notch. The attention to detail is stunning and there are some truly gorgeous scenes even by modern animation standards.

  Audio:(8/10)

  Also no surprise from Ghilbli the soundtrack was fantastic.There is no real standout song to be found in this movie but the back-round music/sound was well suited to enhancing the atmosphere.

  Enjoyment: (3/10)

  In the end I couldn't get over the story. Sure Grave of the Fireflies looks and sounds amazing, but because of the reasons listed when I reviewed the story and characters I honestly feel like this is a story that shouldn't exist.

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• 

  TheRealKyuubey

  100/100
  My review of the anime Hotaru no Haka

  It’s World War 2, the country of Japan is in peril, and siblings Setsuko and Seita have just been orphaned by an American air strike that mortally wounded their mother. With their father away in the Navy, they’ve been forced to rely on each other, and the valiant Seita will stoop to the lowest possible level to take care of his younger sister, who’s still a very small child, and who understandably doesn’t have the strength to deal with the cruel burden that’s been placed on their young shoulders. The only spark of hope they’ve been able to find lies within the home of their aunt, who takes them in under the assumption that she’s only holding them temporarily until their mother gets out of the hospital, but is dismayed to learn she’s just taken on two new mouths for the long-haul. When the two siblings decide they’re tired of her nagging and strike out on their own, will the bond between them be enough to sustain them, or will they find out that they’ve made a fatal mistake?

  For the conclusion of Studio Ghibli month, we’re back to Isao Takahata, whom I previously discussed in my review of Only Yesterday. I said in that review that his visual style is vastly different from Miyazaki’s, and Grave of the Fireflies takes that difference even further. The characters skew more towards realism than I’ve ever seen in an anime before, with almost all of the medium’s most pronounced visual tropes thrown right out the door. It’s long been speculated that the Japanese draw their characters to not look Japanese, and you’d honestly be surprised by the amount of Western influence that went into the medium ever since it began, but Fireflies is designed purely with the Japanese people in mind, which is good, because this movie is telling a story from Japanese history. The character’s eyes are slightly bigger than normal, but they’re a serious downgrade from what you’d normally see in an anime, and that even applies to the toddler character, who’d normally be the exception in any other title.

  Normally, even if the adult and teenage characters were drawn to some semblance of a realistic scale, the children would at least be made to look cuter and more moe-like than the adults, but no, Setsuko looks and moves like an actual little kid, with no attempts being made to make her more appealing to the audience, and considering the ways that she gets presented to us towards the end of the film, that’s all for the better. With older characters, at worst, I can say that their features look a bit exaggerated, in regards to their bone structures and skin tone, but they look more like subtle caricatures than actual anime characters. I saw shades of this in the Ogino family from Spirited Away and the present day portions of Only Yesterday, but this movie went entirely in that direction, and while Takahata isn’t really an animator himself, I can definitely see this being the direction he wanted to take it. This design choice was really the only way to present the more grizzly images in the film, which surely helped it to avoid looking as weird and off-putting as Barefoot Gen did while exploring similar subject matter.

  The animation is fluid and character movements are graceful, but perhaps a bit restrained, which was probably done so in the pursuit of further realism. That, or they didn’t want any moments of stunning visuals to distract viewers from the story, or to lighten it’s intentionally heavy and tragic tone. I can oddly respect this, as even though it feels like they were holding back a bit, it was done in a ‘less is more; kind of way. That’s not to say that there aren’t big moments where the animation shines… Seita fleeing from his village with Setsuko on his back during an air raid comes to mind… But the animation really isn’t what you remember from scenes like that, it just does it’s part to tell the story. Actually, you’re more likely to remember the slower animation used in moments of mundane life, like the characters eating, or all of Setsuko’s extra little childlike quirks. The actual artwork is gorgeous, even if the sky feels stiff and frozen at times, and the use of lighting and shading is just masterful, with the use of the color red in particular being noteworthy.

  The same goes for the music, which mostly hides in the background and stays safely out of the way, ll while supporting the story on an emotional and thematic level, but still deserves a ton of praise once you actually start listening to it. Well, most of it’s hard to notice, but the first one isn’t. Right off the bat, they dipped into what I assume was the public domain at the time(it definitely is now), pulling a 1920’s recording of Amelita Galli-Church, an Italian opera singer, singing There’s no Place Like Home, which is played over the main character keeling over and dying from starvation before getting disposed of by municipal workers as though dead children were as commonplace as dead bugs… Which they sadly were at the time. It’s a sad enough choice on the surface, as even though most viewers probably couldn’t identify the song due to it being sung in Italian(I know I couldn’t), but once you know the song, and once you know the lyrics, it just becomes the most soul crushing thing ever, and possibly even the most soul crushing opening song in movie history. Oh, and it also plays at the end, mirroring the bookend that was Setsuko and Seita’s fate..

  But like I said, the rest of the music is a little easy to miss. There are several tunes that sound a bit generic, like they came out of a child’s music box, but they’re used in the film to accentuate moments where the two siblings are bonding and trying to find joy in each others company, cheering each other up and supporting each other in times of hopelessness. For more obviously sad moments, we have tunes like the slow violin piece Two People, which is drawn out in just the right way, with every stroke of the bow, to underscore the scene. Rather than any of the usual Studio Ghibli music composers, Grave of the Fireflies used Michio Mamiya, a man who’s career strangely doesn’t seem to have any other titles in it that most Westerners would recognize, and this was also the last piece of media he ever composed for. I can’t say he’s the best composer I’ve ever heard in an anime, but he did a fantastic job here, and it would be nice to track down some of his other projects, two of which Isao Takahata also directed.

  So, I didn’t know this until I started writing this review, but there are two English dubs of this movie. That may not sound surprising, as several of the films in Ghibli’s library have been dubbed twice, but what makes this one stand out is probably the fact that neither dub was done by Disney. The original was a Central Park Media effort, and it was all right, but a little hit and miss. There are a few notable names like Crispin Freeman and Veronica Taylor thrown in, and they do great, and Amy Jones does a phenomenal job as the kids’ burdensome aunt. Seita was played by J Robert Spencer, a stage actor who only ever had this as his one voice role, and he did okay for the most part, but there are a few lines throughout where he sounds a bit too disingenuous with what he’s saying. There are even some exchanges he has with Satsuko that sound kind of condescending, which I know is the point when you’re talking to a little kid sometimes, but it just doesn’t always feel close or loving.

  Speaking of Setsuko, they had an older woman named Corinne Orr, who was around sixty at the time, and she sounds like her performance was ripped out of the Higurashi dub. It’s pretty bad. Remember when I told you in my Spirited Away review that Chihiro had a better actor in Japanese, but sounded more believably childlike in English? Yeah, this version of Setsuko had neither of those advantages. I won’t say too much about the new Sentai dub, as I’ve only seen a few clips of it so far, but Emily Neves is one of the most talented voice actors in the field today, and she does a much better job playing the role, and the rest of the cast… Rounded out by Sentai house veterans Shelley Callene-black and Marcy Bannor, both of whom at least sound like they’d be the perfect choices… So if you’re going to watch this movie in English, the Sentai dub is probably the way to go, but I’d still have to recommend the Japanese, and not just because of historical authenticity. Believe it or not, Setsuko and Seita were played by actual children back then, and they did a beautiful job, despite the horrifying events they had to portray.

  And speaking of those horrifying events, this film comes with a bit of a reputation, doesn’t it? It’s not uncommon to hear Grave of the Fireflies brought up in discussions regarding not only the most depressing anime of all time, but the most depressing films in general. It’s reputation precedes it so badly that people often hesitate to watch it, weary of the emotional damage it might do to them, and even afterwards, calling it the best movie that they’ll never want to watch again. Now, you know how I feel about tear-jerkers. I’m about as cynical as a critic can get, and I’ve slammed popular ‘sad’ anime titles in the past, calling them manipulative tragedy porn, and arguing against the claims of power placed upon them by fans whom I strongly disagreed with. Having said that, I actually brought up Grave of the Fireflies as an example of what those titles did wrong, and I’m more than happy to defend it after having thrown those other titles under the bus, so what’s so different about this tear-jerker? Why does it get a pass?

  Well, to understand why I hold this film in such high regard, you have to first go through it’s many layers. The first layer is on the surface, where it is certainly a sad film, but it’s the way it’s executed that sets it apart. The tragic events aren’t just random occurrences where popular or beloved characters get thrown to the wolves for the sake of eliciting tears. There are reasons for the tragic things that happen, and they’re not sudden twists of fate. They’re rooted in the flaws of the characters in question, and reasons why they’d make the choices they make, and they’re the kinds of choices where you just have to scream “No! Don’t do it!” at the screen, even though you can’t guarantee that in the same situation, you wouldn’t make the same mistakes they do. They also straight up tell you right in the beginning of the movie that Setsuko and Seita will die by the end, which could have ruined everything by making their deaths predictable, but their fate was never meant to be a surprise… Rather, the whole movie is structured in such a way that knowing they die just makes the rest of the film an experience in finding out why, as every little detail building towards it just confirms what you already hoped wasn’t true.

  So the story, on it’s own merits, is written really well. The foreshadowing is heavy, but still subtle, and it’s use of fireflies as symbolism for the temporary nature of life is powerful, and at the very least, the characters are compelling in their struggle to survive… They even get their own arcs, some rather short(IE their mother and aunt), but Setsuko’s arc of her declining health and Seita’s arc of his refusal to surrender to the inevitable, both of which are very well written… Honestly, you might be surprised by the second layer, a fact that’s not too unknown, that this story is mostly autobiographical. Almost all of this story, obviously excluding Seita’s death, is based on Akiyuki Nosaka’s personal experiences, and how he blamed himself for the death of his sister during the final years of World War 2. He wrote the novel as an apology to his sister, and most likely as a way to deal with the survivor’s guilt that he suffered from, which is why Seita makes so many bad decisions throughout the story, and his attempts to care for his sister on his own result in her untimely passing, followed by his own, which could almost be seen as a metaphor for the caustic nature of Japan’s unwillingness to surrender to the US, but that’s not what Takahata saw in it.

  For the final layer, we’re going to have to dispel another popular hot take, that the film is intended to carry an anti-war message. Now, war is never mentioned as the cause of Seita or Setsuko’s deaths. Sure, there are some parallels between Seita and Japan at the time, and war definitely killed their mother, but the two main characters probably would have pulled through if they’d compromised, sucked it up, and stayed with their aunt, whose only real crime was not stopping them from leaving. On top of this, Isao Takahata had gone out of his way on multiple occasions to reiterate his stance that this film was never meant to be a condemnation of war, and yeah, I know, I’ve argued that the intent of a creator doesn’t negate the interpretation of the viewer… I once discussed this in a very clumsy post about WKUK’s The Grapist, long before I actually knew that The Death of the Author was an actual, existing concept… So you can read the film however you want, and your interpretation is valid, but Takahata actually had his own clear intention for the film.

  The final layer is Isao Takahata’s actual intention with the film, which is the reason he felt the life story of a World War 2 survivor needed to be told when it did. If you’re looking through IMDB trivia on this movie, you might find a little summary about his actual intention, which was to convey that Seita and Setsuko were living a failed life due to their isolation from society, and if you were to look a little deeper into his words, you’ll find that this message was specifically tailored to the youth of Japan during the late eighties, who were experiencing a rise in crime and juvenile delinquency like no other in the country’s history. The economy was booming, and the younger generation had no respect or willingness to understand what the older generation had to go through to create that bubble for them, and a lot of them were making the same kinds of choices that Seita had… Fuck those uptight geezers, we can make it on our own! And just like with Seita, this attitude didn’t really work out for anyone, as it led to crime, violence, gangs… This is the crime wave that inspired the movie Akira, if you can believe it.

  Takahata’s message to the youth of his generation was that periods like this don’t last forever. You don’t understand where the good times you’re living in came from, you don’t know what people had to live through to establish them, and if you take them for granted instead of working to preserve them, they’ll go away. This is why Seita and Setsuko, as spirits, look out over the horizon of the modern cityscape. This is why the symbolism of fireflies, and all of the decisions that Seita made, were so important. Because Takahata was right, and just a few short years later, the Japanese economy crashed, resulting in a depression that famously saw the nation’s GDP drop by nearly one trillion dollars. This movie is thus firmly a product of it’s times, but on the other hand, the story is told in such a way that it’s somehow still timeless, as the ideas it presents can be applied to any situation where one person, or a group of people, let their pride get the better of them and refuse to accept help.

  The saddest thing about this movie, to me, isn’t the death scenes, or the portrayal of war. The saddest thing about it is the fact that most people who watch it say they only ever want to watch it once. I mean, yeah, I get that the material might have been too intense, or that the characters might not have been all that relatable to some of you, but if there’s any movie that deserves to be viewed multiple times, it’s this one. It was important when it was released, and it’s just as important now, as it tells the kind of story that very few other titles would ever be willing to tell… The story where, no matter how hard you fight, no matter how much of your pride is on the line, sometimes it’s better to give in, to settle, and to eat shit and like the taste, for the sake of preserving what’s precious to you. I don’t normally see realism as a mark of quality, but this is realism done right, with no attempts to manipulate the audience beyond the simple message it tries to convey, and it used its themes and symbols so well that they’ve survived in the medium through homages ever since.

  Grave of the Fireflies was originally available from Central Park Media, but is now widely available on bluray and DVD by Sentai filmworks. I’m pretty sure it’s the only title from Ghibli to not be currently owned by Gkids, but don’t quote me on that. There’s also a 17-movie DVD collection floating around online that’s gained an absurd amount of popularity on Facebook, but trust me, it’s a Malaysian bootleg, your mileage of which may vary. The original short story by Akiyuki Nosaka is not available in English, nor is the live action remake from 2005. If you’re looking for an anime that specifically explores the famous atomic bombings, then check out Barefoot Gen.

  You may remember me stating in a previous review that I’m not a huge fan of Studio Ghibli, as the majority of their work doesn’t really speak to me. I mentioned that I only really loved four of them, and after Only Yesterday and My Neighbor Totoro, this is absolutely a member of that list. It’s not my personal favorite, but it’s one of the only two Ghibli films that I’d feel confidant in calling a masterpiece. Aside from it’s cultural relevance, timeless story, important social commentary and powerful emotional resonance, it’s just not like any other movie there is. It’s not the first movie to not have a true villain, nor is it the first movie to showcase the dangers of pride and hubris, but it’s easily the only movie I’ve ever seen that’s able to deconstruct the same values that would be noble or inspirational in any other movie and put a more realistic spin on them, with such a frank depiction of how they would turn out. I’ve heard people criticize it for being emotionally manipulative tragedy porn, but i’d have to respectfully disagree. I give Grave of the Fireflies a 10/10.

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• 

  Grassman

  95/100
  The Grave of the Fireflies is an emotional insight into the nature of war.

  "Only the dead see the end of the war"
  -Plato

  Throughout the movie we experience the every day lives of war victims, Seita and Setsuko, and their challenge to survive after losing their mom and home to an American bombardment. On a surface level the movie is a heartbreaking tale of civilians suffering because of the cruelty of man kind. However, through further inspection the movie reveals itself to be a detailed inspection of humanity's tendency to wage war on itself.

  

  Spoilers Ahead

  Story and Characters

  This movie is strictly emotional. it focuses just slightly on the events that shape the world the movie takes place in. Instead it expects the viewer to have some kind of reaction to the events and characters. This is the result of clever screenwriting. The reason the tear-jerking ending and cheerful scenes work so well is because the viewer is dragged into this situation and experiences the effects of war first hand.

  

  The merging of daily life and misfortune, as portrayed in the beach scene were Setsuko finds a dead body after going swimming, is what makes this movie one of the most realistic war dramas. It is not an action-packed movie that focuses on building tension like Dunkirk. Not that there is any problem with taking your movie in that direction, but sometimes it can give a false account of how war really is. At no point is war idolized nor glorified. This adds to the emotional impact of the movie as the viewer can easily imagine himself in a similar situation.

  The first act does a good job of creating a bond between the two children and the viewer. We never know who they were before the war, but it doesn't really matter. Their home and mother are taken away from them mercilessly during the very beginning of the movie. Because the viewer sees the main protagonists in their most vulnerable state, and the fact that they are children, the empathy the viewer feels for them is increased. Without this foundation the rest of the movie would fall apart, this sort of exposition is needed so the viewer can have some form of emotional response to the succeeding events.

  This lack of character development is often criticized. Although many characters in the movie are superficial and one dimensional, this doesn't decrease the quality of the writing. The fact that the movie doesn't focus on characterization as much as other war dramas helps it differentiate itself from the rest. Other movies like Full Metal Jacket and Saving Private Ryan have an approach similar to that of a character study. In The Grave of the Fireflies the writers focus on tackling broader concepts and emotions such as pride, grief, conflict, selfishness, and even the ethics of war. And it does this expertly through well thought character actions, even if these characters have little to no personality of their own. Even with very simple characters a metacontextual level of storytelling can be experienced in The Grave of the Fireflies.

  This can be best explained through the false sense of security that is created from the very beginning. The viewers expectations of a gritty war movie are quickly shattered during the first thirty minutes of the movie. This motive adds a dynamic element to the pace of the movie. A sort of parallelism between the characters experiencing war and the viewer experiencing the movie is created as our expectations are subverted as well as theirs. We expected explosives to crash into earth, but only a few torches fell down (this is in reference to one of the opening scenes). However, fire bombing is just as dangerous as a carpet bombing can be. Even though our characters/viewers survived the initial bombardment, they still suffered the psychological trauma of the city burning down. The viewer experiences this by watching a lighthearted (for a war drama) first and second act and then watching the death of Seita and Setsuko. We see the children play around, eat well, enjoy life with their aunt, and the death of their mother is avoided constantly. However, by the third act life turns into a daily struggle for these children. Ironically, war has already ended by now.

  

  Apart from the metacontextual and emotional value that the movie has to offer, it still is a detailed analysis work by Studio Ghibli regarding the essence of conflict and war. Seita and Setsuko are not only the vessels for which the viewer can project themselves, they also serve as the personification the belligerent nature of man. They are two sides of the same coin. Seita is representative of pride, and Setsuko of naivety. They are also representative of Imperial Japan during the 1940s.

  Humanity often declares war on itself to achieve or prove something. However, the director proposes the question: is it worth it? Seita is an independent and strong willed young teenager. He is definitely someone worthy of recognition, as proven by his ability to take care of himself and his sister for so long. However, his pride and imperialistic view on life corrupted him and converted him into the cause of Setsuko's death. He could have asked his aunt for help, or gotten the money from the bank earlier, but he didn't. He instead decided to profit from the bombardments and steal from the local people. Some may propose these actions are justified since he was inexperienced and/or forced to do it due to the situation. These are the same reasons why humans go to war and kill each other. We are foolish and blinded by an idealism of "self-defense."

  It is here were naivety plays its role. Setsuko lived and died without ever understanding the war her country was involved in. In the same way we do not realize someone is on the receiving end of that artillery barrage. Everyone is a causality of war, there is no honor or good in it. And still we behave like children and raise our arms against each other. War did not bring glory nor fame to anyone, only suffering. Much like it happened to Setsuko and Seita, even if they never saw any real conflict. No one is able to escape the destructive power of war.

  It is through this dynamic between Setsuko and Seita that Studio Ghibli criticizes the decisions made by the Japanese army during World War II. Seita and his father, a navy general, are characterized as fanatics of the Great Japanese Army. Seita wishes to be like his father and often mentions how much he admires the navy. The director wants the viewer to see this type of behavior and challenge it. We should challenge the fanaticism that led Japan to join a nonsensical war, sacrifice its soldiers for the sake of honor, and for refusing to surrender after suffering several carpet bombings and even an atomic bomb.

  "War culture" as a whole is criticized in a similar way. Side characters are personifications of terrible behaviors we practice during times of adversity. The movie encourages us to challenge those who are too selfish to share their sugar canes. To challenges those who force others to support the army. To challenge those who hide in their mansions and turn a blind eye to the destruction just around the corner. To challenge those who disrespect the poor and make fun of their homes. (All of these can be seen represented by a side character in the movie).

  However, human behavior is not that black and white. The existence of good and evil is still uncertain. And the creators of the movie recognize this. In the same way we do not blame Seita for the death of Setsuko and instead blame the "enemy", whoever that my be, we shouldn't condemn the rest of the antagonists. We need to recognize that such a thing as grey morality exists. In reality none of the characters in the move are neither heroes nor villains. Seita is not a complete victim and he isn't perfect either; shouldn't he have helped in his aunt's house instead of relaxing and playing with his sister all the time? As well as the selfish aunt and townspeople aren't completely evil. The viewer should not blame either of them for Setsuko's death, since it would only be counterproductive. The Grave of the Fireflies doesn't propose a solution to this dilemma nor human conflict, but it presents a new point of view to the table.

  

  Animation and Sound

  The movie looks and sounds incredible. There is no denying that Studio Ghibli has excellent quality. Character animation and movement is fluid and dynamic. Shot compositions are beautiful and never fail to impress the viewer. Character design is stellar, although they might not look so unique, Setsuko and Seita are iconic characters from Studiio Ghibi thanks to their creative costume design.

  The sound design is astonishing and the music is always a pleasure to listen to. The songs (and shot composition) increment the emotional response in most of the scenes.“Home! Sweet Home!” from John Howard Payne’s 1823 opera was an excellent choice by the sound designer for the flashback scenes. It takes the scene from being good to captivating.

  However the most impressive work done in the animation department would be the use of imagery to further develop the underlying themes in the movie. Seita and Setsuko were made children to represent the childish behavior that humans participate in during times of conflict.

  

  The almost burned down school symbolizes the moment our protagonists are stripped away from their innocence. This concept is further explored when Setsuko had to bury the fireflies. She was just a child and still had to bear with the death of her mother and had no time to mourn her.

  

  The unjust effects war has on those affected by it.

  

  The fake sense of honor that arrives from fighting in war. Also, there is various mentions and visual representation of kamikaze pilots, adding to the critique of Japanese fanaticism towards fighting in a war.

  Even with often childish and playful scenes it still represents the crude reality and danger of war.

  Conclusion

  The Grave of the Fireflies is a strong emotional roller coaster that is sure to impress audiences. It is at its core a war drama that deals with grief and the cruel reality of war and the challenges civilians face during times of conflict. It accomplishes this through expert writing, well-thought screenwriting, beautiful sound design, and astonishing animation. However, it is also an in depth analysis of Imperial Japan and the nature of war.

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