Pom Poko

Pom Poko (平成狸合戦ぽんぽこ, Heisei Tanuki Gassen Ponpoko?, lit. Heisei-era Raccoon Dog War Pom Poko, also known as The Raccoon War) is an animated comedy-drama film animated by Studio Ghibli for Tokuma Shoten, Nippon Television Network and Hakuhodo. It was distributed by Toho and released on July 16, 1994. This is the first feature film produced at Ghibli's new animation studio at, and is the first original work written and directed by Isao Takahata.

The phrase Pom Poko in the title refers to the sound of Bake-danuki (Japanese raccoon dogs) drumming their own bellies as a form of tanuki-bayashi. Specifically, the phrase started as a jocular explanation of meditative percussion at Shōjō-ji taken up in a 1919 poem by Ujō Noguchi, which became a popular nursery rhyme recorded in 1925.

The film was first conceptualized by Ghibli co-founders Hayao Miyazaki and Toshio Suzuki, who later decided to hand the project to Isao Takahata. Takahata initially tried to adapt the 12th century war epic  (平家物語, Heike Monogatari), but opted to instead write an original scenario using his co-founders' original story about raccoon dogs. The story is set in where racoon dogs form a resistance against the encroaching humans. This was the first Ghibli film to use CG effects.

Its poster's catchphrase is "Even raccoon dogs are doing their best." (タヌキだってがんばってるんだよォ), which was coined by Shigesato Itoi.

The film earned ¥2.6 billion in the Japanese box office in 1994. It won the 49th Mainichi Film Award for Best Animation Film and the Grand Prix of the Feature Film in 1995. The film was released as part of the Ghibli ga Ippai COLLECTION series and shipped 400,000 units in Japan.

It is broadcast once every few years on Nippon Television's Friday Road SHOW! programming block.

Life of a Tanuki
""In the autumn of 31st year of Pom Poko,... ...the final battle between the tanuki of Tamakyuro occurred at the construction site bordering Suzuka and Takaga Forest. The chief of the Red Army was Gonta,the great warrior of Takaga Forest. The elder leader of Suzuka Forest, Seizaemon, was chief of the White Army. Now it is a little-known fact that all tanuki stand upright and walk on two legs when humans aren't around. Even though both sides fought ferociously, the battle did not continue for long.""

- Narrator

The story begins in late 1960s Japan. A group of tanuki are threatened by a gigantic suburban development project called New Tama, in the Tama Hills on the outskirts of Tokyo. The development is cutting into their forest habitat and dividing their land. The story resumes in early 1990s Japan, during the early years of the Heisei era. With limited living space and food decreasing every year, the tanuki begin fighting among themselves for the diminishing resources, but at the urging of the matriarch Oroku, they decide to unify to stop the development.

Several tanuki lead the resistance, including the aggressive chief Gonta, the old guru Seizaemon, the wise-woman Oroku, and the young and resourceful Shoukichi. Using their illusion skills (which they must re-learn after having forgotten them), they stage a number of diversions including industrial sabotage. These attacks injure and even kill people, frightening construction workers into quitting, but more workers immediately replace them. In desperation, the tanuki send out messengers to seek help from various legendary elders from other regions.

Going into Battle
""32nd year of Pom Poko. Autumn. lt was a big game to decide who would be the messengers to bring back the great Masters of metamorphosis. Tamasaburo would go to Shikoku. And Bunta would go to Sado. At the next full moon, the two were sent off on their far mission. After the messengers left, the youngsters continued spooking. Whether or not it contributed to stopping the development, it was their favorite game.""

- Narrator

After several years, one of the messengers returns bringing a trio of elders from the distant island of Shikoku, where development is not a problem and the tanuki are still worshipped. In an effort at re-establishing respect for the supernatural, the group stages a massive "ghost parade" to make the humans think the town is haunted. The strain of the massive illusion kills one of the elders and his spirit is lifted up in a raigō, and the effort seems wasted when the owner of a nearby theme park takes credit for the parade, claiming it was a publicity stunt.

With this setback, the unity of the tanuki finally fails and they break up into smaller groups, each following a different strategy. One group led by Gonta takes the route of eco-terrorism, holding off workers until they are wiped out in a pitched battle with the police. Another group desperately attempts to gain media attention through television appearances to plead their case against the habitat's destruction. One of the elders becomes senile and starts a Buddhist dancing cult among the tanuki who are unable to transform, eventually sailing away with them in a ship that takes them to their deaths, while the other elder investigates joining the human world as the last of the transforming kitsune (foxes) have already done.

Elegy
""Raccoons have no future in Tama. Foxes there have already died." "They've perished already? The foxes?" "Yes. lt's a pity. And only a few transforming ones are surviving by living as humans." "As humans?" "lt's the only way to survive in a big city like Tokyo. l brought you here to persuade you raccoons to do the same." "Just a moment!" "l understand your shock. But in these pressing times, we must take drastic measures.""

- Ryutaro the Fox speaking with the Tanukis

When all else fails, in a last act of defiance, the remaining tanuki stage a grand illusion, temporarily transforming the urbanized land back into its pristine state to remind everyone of what has been lost. Finally, with their strength exhausted, the tanuki most trained in illusion follow the example of the kitsune: they blend into human society one by one, abandoning those who cannot transform. While the media appeal comes too late to stop the construction, the public responds sympathetically to the tanuki, pushing the developers to set aside some areas as parks. However, the parks are too small to accommodate all the non-transforming tanuki. Some try to survive there, dodging traffic to rummage through human scraps for food, while others disperse farther out to the countryside to compete with the tanuki who are already there.

The Tanukis Now...
""As the days went by, the new scene grew familiar. For humans, it was a nice place to live. Trendy new condominiums were built where the temple once was. It turned out to be a good decision that we revealed ourselves to the humans that time. The result was a community that made efforts to live in harmony with the raccoons. They also left the rest of our trees alone. And made several parks. But for us, it was too late. There wasn't room for us to live. Some of us went over the mountain to live in a town called Machida. But there were raccoons there too who suffered because of suburban development. Many were killed on the road. The days got harder and harder. Then, we made the fateful decision. That's right. Those of us who can transform are living as humans. Just like the foxes.""

- Shoukichi on the fate of the Tanukis

One day, Shoukichi, who also joined the human world, is coming home from work when he sees a non-transformed tanuki leaping into a gap in a wall. Shoukichi crawls into the gap and follows the path, which leads to a grassy clearing where some of his former companions are gathering. He joyfully transforms back into a tanuki to join them. Shoukichi's friend, Ponkichi addresses the viewer, asking humans to be more considerate of tanuki and other animals less endowed with transformation skills, and not to destroy their living space; as the view pulls out and away, their surroundings are revealed as a golf course within a suburban sprawl.

Japanese Cultural References
The film plays heavily upon Japanese folklore, and many references will be lost on people who are not familiar with the details. Here are some basic facts which may help you find the film less baffling.


 * Tanuki in Japanese folklore are mischievous, lazy, cheerful and gullible creatures who use their supernatural shape-shifting powers to trick humans. It is often said that a Tanuki would put a leaf on top of their head and chant in order to change its form into anything (for example, a monk). They are also said to try to con humans with leaves turned into banknotes, although Oroku prohibits them from doing Cthis in the film.


 * Statues of tanuki can be seen everywhere in Japan, especially in temples and shrines, and often holding a barrel of sake.

Consistent with Japanese folklore, the Tanuki (Japanese raccoon dogs, Nyctereutes procyonoides) are portrayed as a highly sociable, mischievous species, able to use "illusion science" to transform into almost anything, but too fun-loving and too fond of tasty treats to be a real threat (unlike the kitsune and other shapeshifters). Visually, the Tanuki in this film are depicted in three ways at various times: as realistic animals, as anthropomorphic animals which occasionally wear clothes, and as cartoony figures based on the manga of Shigeru Sugiura (of whom Takahata is a great fan). They tend to assume their realistic form when in view of humans, their cartoony form when they're doing something outlandish or whimsical, and their anthropomorphic form at all other times.


 * In Japanese folklore, foxes are also supernatural creatures (known as kitsune) with the ability to transform themselves into a human form. However, in contrast to the absent-minded tanuki, kitsune are usually portrayed as more witty, cunning and sometimes malicious. Kitsune are also messengers of (or sometimes a depiction of) Inari, the Shinto god of rice. In the film, a tanuki manages to terrify the humans planning to move a shrine by appearing as a white fox. Statues of kitsune mark the estimated 30,000 to 40,000 outdoor Inari shrines scattered throughout Japan.


 * The stone statues which the Tanukis turn into are those of Jizō, the protective deity of travelers, people condemned to Hell, and the souls of stillborn, miscarried, and aborted fetuses. The roadside statues are a common sight in Japan.


 * Most of the characters in the monster parade are Yōkai, creatures from Japanese folklore. However, some of the characters from other Ghibli films make cameos, including Kiki from Kiki's Delivery Service, Taeko Okajima from Only Yesterday, Porco Rosso from Porco Rosso, and Totoro from My Neighbor Totoro. Among the Yōkai references in the film include a retelling of a story called The Mujina of the Akasaka Road which features a noppera-bō, a woman with no face. There is also a tribute to the director Akira Kurosawa with a brief appearance of a foxes' wedding very similar to that which occurs in the Sunshine through Rain episode of his film Dreams.


 * The songs which appear in the film are Japanese children's songs, with some change in lyrics for effect. Some of them are repeated with different lyrics over the course of the film. Some of them are known as warabe uta, songs which are sung as part of traditional children's games, often with lyrics incomprehensible to modern Japanese. (The melancholic electronic melodies which many Japanese pedestrian crossings play, a short clip of which appears in the film, is a famous warabe-uta.) Among the songs which appear include:


 * Shojo-ji no tanuki-bayashi (The tanuki party at Shojo-ji temple), a popular song written in the 1920s based on a traditional Japanese fairytale.


 * Anta gata doko sa (Where is your home?) - a traditional warabe uta sung by children while bouncing a ball.


 * In keeping with Japanese folklore, the original Japanese version of Pom Poko made numerous references to raccoon testicles in song, conversation and in relation to transformation. All of these references were removed from the English dub, but are included in full on the English language subtitle track of the DVD.


 * "Pom Poko" is a word for the sound of tanuki tsutsumi (tanuki drum): According to Japanese legends, a tanuki would inflate its belly and beat upon it with its paws to scare wayfarers: pon poko pon poko pon.


 * Real tanuki are sighted in urban areas more often in recent years. This is blamed mainly on the destruction of their natural forest habitat by development projects like the one shown on this film.


 * Tama Hills is a vast area of gentle hills spanning two prefectures and many towns and cities on the southwestern flank of Tokyo. Most of it is a patchwork of modern suburbia and hilly forests. Tama New Town, where the film is set, is a real residential development project (Japan's largest) built in several phases starting in the 1960s, spanning the cities of Tama, Machida, Inagi and Hachiōji (which are all part of Tokyo.) Another Ghibli film, Whisper of the Heart, is set at the same location and shares some of the same environmentalist undertones (although environmentalism is not its main theme).


 * The train station which appears in the film is Seiseki-Sakuragaoka Station on the Keiō Line, in Tama City, Tokyo.

Development
According to French fan site Buta Connection, after the release of Porco Rosso, Hayao Miyazaki and Toshio Suzuki wondered what would be the studio's next animated project. The course of Miyazaki's thought was simple: "Buta, buta... Tanuki!" (Pig, pig... Racoon Dog!"). And so he decided that after a pig, the next film would feature tanuki (Japanese raccoon dog) and Isao Takahata would be the director.

In an interview in 1996, Takahata said that he would have liked to make a film whose story would have taken place in feudal Japan, at the time of the warring clans. But, referring to Princess Mononoke, he added: “The problem is that Miyazaki is already doing a very similar piece of work and I don't believe that Studio Ghibli is willing to produce something that we've seen before..."

The jidaigeki (period drama) that Takahata would have wanted to make was , an epic account of the war between the Taira clan and Minamoto clan for control of Japan at the end of the 12th century in the Genpei War (1180–1185). Instead, the conflict is only referenced in Pom Poko. Takahata sees a filiation between these epic tales and Pom Poko through its documentary-like aspects, thereby grounding it in reality. The film ends up with a narrator, who tells us a story of the tanuki's resistance against the humans over several years, sometimes with a few repetitions, as in the great tales of yesteryear.

The idea for a tanuki film came from Miyazaki, without being inspired by any particular novel or manga. With this in mind, the renowned satirical author Hisashi Inoue (who previously worked with Miyazaki on The Wonderful World of Puss 'n Boots (1969)) was contacted by Toshio Suzuki and Takahata following the release of Fukkoki (腹鼓記, The Record of Belly Drum), his novel on tanukis published by Shinchosha in 1985. The advertising phrase that appeared on local newspaper at the time for novel were, “The tanuki are human!”. Set in Shikoku (an area known for its deep connections with tanuki), the novel blurred the lines between tanuki and humans.

After a long discussion on the subject, the author offered several scenarios and ideas to which Takahata refused. Finally, the dramatic urbanization and the politico-ecological manifesto became the work of Takahata's thought and pen: “In Japan deforestation deprives the tanuki of their natural habitat and for these animals, it is a real problem. It is a tragedy. A Japanese poem from a century and a half ago says: “What entertainment! However, who knows how and who knows when, everything has become sad.”

In an interview with artist Nanafuku Tamagawa on Toshio Suzuki's radio program, he said that many of the cast in Pom Poko were based on Miyazaki and Takahata's personal history.

"It would be interesting if you could watch (Pom Poko)... As you know, Isao Takahata and Hayao Miyazaki both worked at an animation company called Toei Animation...

''That movie is about tanuki, but it's also about the history of Japanese people, and it's also about the history of Toei Animation. In other words, almost all of the characters that appear there are friends of Takahata and Miyazaki!''

''That's right. I will never forget it. When the movie is completed, Miyazaki will be next to me, and Gonta would come out. That's why Miyazaki immediately says that he's not like that, he's not like that.''

The main character, Shoukichi... That is Mr. Takahata.

Suzuki also added that Okiyo, who will later become Shoukichi's wife, is modeled after Takahata's wife (Kayoko Takahata, 高畑 かよ子), and Otama, who played Gonta's wife, is modeled after Hayao's wife Akemi Miyazaki. Miyazaki was reportedly crying throughout the film when he saw the preview screening, and Suzuki thought that the reason "He probably saw his youth in the movie."

The title Pom Poko came from ​​Takahata, the transcription of the sound emitted by their stomachs when the tanuki hit them. This idea has always displeased Miyazaki, who found it too vulgar and trivial. He even went so far as to talk about it to Inoue so that he would intercede on his behalf with Takahata. However the director, supported by Suzuki, would not give in. The choice of this title is actually indicative of Takahata's deep thinking about his films. Behind the apparent good-naturedness of the title hides a deep and complex work, which rejects the idea of ​​heroism by choosing a collective narrative, and which symbolizes nothing other than the struggle of the tanuki for their survival.

Production
In Pom Poko, most of the animation was done by the young team that previously worked on Only Yesterday. Miyazaki is once again a producer on the film and seemed to have found the formula to galvanize his tanuki production team.

The art direction provided by Kazuo Oga, similar in vein to Only Yesterday helped in realizing the lush greenery of Tama Hills. Yoshiyuki Momose was once again hired to work in the image boards and screen composition while Shinji Ôtsuka was in charge of animation director and character design. The animation seen during the metamorphosis of the tanuki provided inexhaustible comedic possibilities. The parade of Yôkai, supernatural creatures of Japanese folklore, is the perfect example to observe the meticulous fidelity of the representations of the fabulous bestiary of the country and the very great precision of cultural references in general. Several Ghibli characters make an appearance in this pivotal scene, including Kiki, Porco Rosso and even Totoro.

Isao Takahata was inspired by the work of a specialist in the field, the famous designer and mangaka Shigeru Mizuki, undisputed master of horror in Japan and author of GeGeGe no Kitarō, with more than 2,000 illustrations of monsters and others spirits. Takahata admits to never having met him, but nevertheless admires the work of this great designer, who, like the studio, has his own museum in Japan. Takahata, Miyazaki and Suzuki also took inspiration from Shigeru Sugiura's cartoony renditions of tanuki, as seen in his 1958 manga Sugiura Danuki (杉浦だぬき) published by Shueisha. Sugiura's work has influenced numerous artists, including Fujio Akatsuka, Hayao Miyazaki, Tadanori Yokoo, and Haruomi Hosono.

The film is notable for its casual depiction of death, particularly the first battle where the tanukis actions result in the death of three workers. According to Takahata, "People actually died in that accident. The interpretation is that it is quite possible to attribute it to the tanuki's handiwork, and at that time casual audience would not sympathize with the driver when watching the incident unfold in the news. That's right." Takahata wanted to show people's indifference to these incidences, and that despite the tanukis taking more and more desperate action to get rid of the humans, the urbanization of their land doesn't stop. Takahata even included scenes of the tanukis praying for the souls of the humans killed, but one ends up laughing in the middle of prayer. This is Takahata applying moral relativism towards humans and tanukis, with no side being truly evil or good.

The film ends similarly to Takahata's Grave of the Fireflies in that the camera pans upwards from the golf course where the tanukis have gathered to the night sky, contrasting the scenery of the past and a modern urban cityscape. This was intentional, as Takahata says, "I've wondered how ugly a golf course is. It's obvious from above the sky on a plane." In other words, the golf course where the tanukis were happily dancing is a place where humans arbitrarily remodeled nature for their convenience. This would be Takahata's painful reminder of the bitter reality.

Production period began on August 17, 1992 and wrapped up on June 13, 1994. After twenty months of production and 82,289 drawing sheets, the film was completed and released in Japan on July 16, 1994. It was a huge success, the biggest of Studio Ghibli at the time, and ranked No. 1 at the Japanese box office of that year. (next only to The Lion King).

Promotion
Building on this success and his qualities, Pom Poko was chosen to represent Japan at the Academy Awards in the Best Foreign Film category. His international career did not stop there as he won the following year the feature film prize at the Annecy Festival. Since that date, the work has been waiting to be distributed in France and elsewhere and has unfortunately only seen screenings at festivals. It was not until almost 11 years later, after the success of Miyazaki's films, that Buena Vista (Disney) released the film anonymously.

Release
The film screened in 237 cinemas in Japan on July 16, 1994 and was a smash hit, earning Toho a distribution revenue of ¥2.6 billion yen in the box office. It came out during the same period as the 1994 Spring Toei Anime Fair, which screened films from franchises such as Dragon Ball Z, Slam Dunk and Dr. Slump.

It was released on DVD on August 16, 2005 in North America by Walt Disney Studios Home Entertainment along with My Neighbors the Yamadas. Optimum Releasing released the film on DVD in the United Kingdom, a year later. Disney released a Blu-ray disc on February 3, 2015. GKIDS re-issued the film on Blu-ray and DVD on February 6, 2018 under a new deal with Studio Ghibli.

Music
Pom Poko Soundtrack (平成狸合戦ぽんぽこ サウンドトラック, Heisei Tanuki Gassen Pompoko Saundotorakku) was released on July 16, 1994 by Tokuma Japan Communications and cost ¥2,913. The album features compositions by Koryu, Manto Watanobe, Yoko Ino, Masaru Goto, Ryojiro Furusawa and was performed by Yakusa Gakudan and Shang Shang Typhoon. It was re-issued on April 21, 1997.

Pom Poko (Image Album) (平成狸合戦ぽんぽこ イメージアルバム, Heisei Tanuki Gassen Pompoko Imeeji Arubamu) is the image album of the film, which contained exploratory tracks of the film's musical themes, often based on early notes and images boards from the director. It was released on June 25, 1994 by Tokuma Japan Communications and cost ¥2,857.

Pom Poko Love Theme - In This Town of Asia ぽんぽこ愛のテーマ アジアのこの街で, Pompoko Ai no Teema Ajia no Kono Machi de) is the singles album that contained the film's theme song, including Itsudemo Dareka ga by Shang Shang Typhoon. It was released on Mini-CD format by Epic Sony Records.

Pom Poko (Drama Version) (平成狸合戦ぽんぽこ ドラマ編, Heisei Tanuki Gassen Pompoko Dorama Hen) is a special drama album released on September 25, 1994 by Tokuma Japan Communications. It contains audio from the film and includes such tracks as The Study of Metamorphology, The Season of Love and Operation Spectre.

Additional Voices

 * English: Mark Moseley (Reporter, News Anchor)

Easter Eggs

 * During the scene where the tanuki are performing the first field test of their abilities, they pass by a bookstore: in the window of this bookstore is a poster for Ocean Waves, prominently displaying Rikako.
 * The Operation Specter sequence includes a number of cameos from other Ghibli characters:
 * Porco Rosso's red plane
 * Kiki on her broom
 * Totoro flying on his top while holding Mr. Kusakabe's umbrella
 * Taeko from Only Yesterday swimming through the air

Home Video

 * Heisei Tanuki Battle Pompoko VHS - Tokuma Shoten (January 1, 1995)
 * Heisei Tanuki Battle Pompoko LD --Tokuma Shoten (June 19, 1997)
 * Heisei Tanuki Battle Pompoko VHS -Buena Vista Home Entertainment (December 26, 1998)
 * Heisei Tanuki Battle Pompoko DVD --Buena Vista Home Entertainment (December 18, 2002)
 * Heisei Tanuki Battle Pompoko Blu-ray Disc -Walt Disney Studios Japan (November 6, 2013)

Publishing

 * Scenario Heisei Tanuki Battle Pompoko (Studio Ghibli / Tokuma Shoten, June 30, 1994) ISBN 4-19-860115-1
 * Bodai Mochiyama Manpukuji Main Hall Hane Itano Mischief-All Natural Color Cartoon Movie "Heisei Tanuki Battle Pom Poko" Image Board Collection (Studio Ghibli, Tokuma Shoten, July 31, 1994) ISBN 4-19-860144-5
 * Heisei Tanuki Battle Pom Poko (This is Animation) ( Shogakukan, September 1, 1994) ISBN 4-09-101540-9
 * Heisei Tanuki Battle Pompoko (Tokuma Anime Picture Book) (Tokuma Shoten, September 30, 1994) ISBN 4-19-860170-4
 * Heisei Tanuki Battle Pom Poko-Film Comic (1) (Tokuma Shoten , October 30, 1994) ISBN 4-19-770017-2
 * Heisei Tanuki Battle Pom Poko-Film Comic (2) (October 30, 1994) ISBN 4-19-770018-0
 * Heisei Tanuki Battle Pom Poko-Film Comic (3) (November 30, 1994) ISBN 4-19-770023-7
 * Heisei Tanuki Battle Pom Poko-Film Comic (4) (November 30, 1994) ISBN 4-19-770024-5
 * Collection of materials related to Studio Ghibli works V (Studio Ghibli Tokuma Shoten, February 28, 1997) ISBN 4-19-860660-9
 * Heisei Tanuki Battle Pompoko (Studio Ghibli Storyboard Complete Works 9) (Studio Ghibli Tokuma Shoten, November 30, 2001) ISBN 4-19-861451-2
 * Heisei Tanuki Battle Pompoko (Cinema Comic 8) ( Bungei Shunju < Bungei Ghibli Bunko >, January 2015) ISBN 4-16-812107-0
 * Heisei Tanuki Battle Pompoko (Ghibli Textbook 8) (Studio Ghibli Edition, Bungei Shunju , January 2015) ISBN 4-16-812007-4

Music

 * Heisei Tanuki Battle Pom Poko Image Album Tokuma Japan Communications ((Reissue CD / April 21, 1997) TKCA-71140 (Original Edition / June 25, 1994))
 * Heisei Tanuki Battle Pompoko Sound Track Tokuma Japan Communications ((Reissue CD / April 21, 1997) TKCA-71140 (Original Edition / July 16, 1994))
 * Heisei Tanuki Battle Pompoko Drama Edition Tokuma Japan Communications (September 25, 1994) TKCA-71140