Isao Takahata
Una Tomba Per Le Lucciole

The landscape of Japanese animation has always been a virtually unknown reality to most of the Western world. In the cinematic field, the masterpieces that appeared on the screens of the Land of the Rising Sun have never found here the proper distribution or rightful recognition. Only recently, we have witnessed a small change in this trend, which involved mainly the masterpieces published by the famous Studio Ghibli, born from the mind of the great Hayao Miyazaki. While the entire West reserves applause for the rediscovery of small great jewels that otakus had already enjoyed many years before, it is unpleasant to see that such openness is aimed at just one resounding name. Miyazaki certainly deserves all this success, but I believe it would be fair for distribution to also look towards other equally deserving productions, if not more so. Even more so if they come from the same animation studio.

This is indeed the case of the magnificent "Grave of the Fireflies" by Isao Takahata, coincidentally co-founder with Miyazaki of the same Studio Ghibli and also a famous Japanese director to whom we owe legendary series (which I personally have never enjoyed) like Heidi and Lupin. It's important to immediately clarify that the feature film in question has nothing that recalls the beautiful fairy tale atmospheres of Miyazaki, but instead, it is essential to highlight the realistic approach of the entire work, which makes its rawness and drama its strengths, and which definitely leads me to advise against it for a children's audience. If indeed the works of the director of "Spirited Away" can be interpreted on different levels, still involving the young viewers, Takahata's work does not take any detours, but goes straight to the heart without using any tricks.

 Japan, 1945: We are on the day after Japan's surrender to America during the Second World War, and at Kobe station, a 14-year-old boy dies of starvation on the street amidst the indifference of the people present there. In his hand, only a small box of candy, empty and battered. The name of that boy is Seita, and the reason why he met such a sad and tragic end will be the focus of the entire story. The film unfolds as a long flashback preceding the child's departure. While Japan is constantly falling prey to bombings and attacks by the American power, Seita finds himself having to take care of his sister Setsuko, a sweet 5-year-old girl, after the last attack caused the death of their mother. Not able to rely on their father, who is at the front, our young protagonists find temporary shelter with an aunt who initially welcomes them warmly. When relations start to get tense, Seita flees, taking his little sister with him, and together they find refuge in an old shelter. From there, their struggle for survival will begin, in a world that will have no pity for their innocence. To distract the two from the atmosphere of horror surrounding them, only a small box of candies, which, once emptied of its contents, becomes a container where Seita encloses some fireflies, to give a small distraction to sweet Setsuko.

But how comforting can such a game be when there is nothing to eat?

A question that in finding its answer will take us back to the tragic beginning, in a crescendo of horror and emotion. Grave of the Fireflies is indeed as wrenching as few other products, but unlike many of them, it is not so forcibly. The shades with which the plot development is outlined are always quite subtle, and the scenes do not proceed with overwhelming background music that pushes tears to flow. The music, in fact, is scarcely present, but what little we hear touches the chords of the soul in the right way, without sensationalism. The images that follow one another on the screen are nevertheless extremely raw... the corpses, the wounded, the devastated landscapes, the mass graves, are there, symbolizing the madness of the world. Even the color palette refers to browns and grays, thus making us breathe that sick air of violence.

The drawings, in the typical Ghibli style, only increase the contrast between the distressing atmosphere and the purity characterizing our young protagonists. Of the fairy tale, in fact, there is only the stroke that brings them to the screen, with the intense looks of little Setsuko providing the sweetest moments of the entire film. It is truly heartwrenching to see her enthusiasm for the little things, her smiles directed at her brother. The relationship between the little girl and Seita is so symbiotic that her end creates in the viewer an astonishment difficult to describe in words.

An astonishment and disgust that clings to us even after turning off the DVD player or leaving the theater...

A tangible horror like the smell of explosion smoke that penetrates the lungs.

Released in 1988 simultaneously with "My Neighbor Totoro" by the same Miyazaki, this little masterpiece was poorly mistreated and at the time overshadowed by its direct "antagonist". Now that Totoro has been released in Italian theaters, do yourself a favor and watch this anime too.

If it manages to touch your heart even half as much as it did mine, you can only give in to tears and be thankful that such horror is no longer part of our lives.

With a thought to those who, unfortunately, share it with each dawn and each sunset.