This film is beyond a doubt Takahata Isao’s masterpiece (although I may personally prefer Cero-hiki no Gauche), and amongst Studio Ghibli’s best films. Arguably it is their best.
The movie was released on a double bill with Totoro (at the time, Totoro was considered too hard to market to release on its own!), although the sole resemblances between the two films lie in character style, attention to detail and nostalgic childhood settings. They represent the opposite ways of approaching storytelling concerning childhood: the winsome idealism of a fantasy world or the brutal indifference of a cruel reality. In Hotaru no Haka, a teenaged Japanese boy and his tiny sister struggle to survive when the Second World War leaves them all alone in the world. Few films are more affecting; Hotaru no Haka is commonly spoken of (after the example of Roger Ebert) as one of the best war films ever made, regardless of being animated.
Indeed, the film would have worked well in live action – there has recently been such a version made that I’ll watch sometime in the coming weeks. Certain elements will have to be dealt with very carefully to be as effective as they were in animated form, such as the lights of fireflies cast over the children’s faces or the silent watching figure who reappears several times bathed in red light, whose presence is made more acceptable by the coherence of the art than it might be in live action. Besides, the character designs, beautiful period backdrops and the attention to detail in animation on which Studio Ghibli can pride itself make it an animated project of extremely high standing.
A simple but heartbreaking little story, Hotaru no Haka succeeds by allowing its characters some degree of happiness even in their destitution, moments that really make you smile before the seriousness of the situation is once again brought to the fore. The story develops at just the right pace to never be boring, despite the scarcity of actual events and the extremely melancholy atmosphere. Moving, beautiful, unforgettable and haunting, it is a purposefully small-scale and personal tragedy, and all the more powerful for it. I can find little to fault. The only kind of person I can envision not considering this a great, indeed a classic movie is the kind of person who only wants to be evanescently diverted and a little amused by their entertainment, never upset or made to think. If this is not you, I urge you to see this film, no matter whether or not you’re interested in animation. Unforgettable.
(originally written 17.10.06)
Additional: first impressions from July 3, 2004.
Grave of the Fireflies is an astonishingly powerful movie, a tragedy that exists simultaneously on the smallest and largest conceivable scales. I agree with Ebert when he declares it one of the best war films ever made – and yet despite being the catalyst for the events of the story, the war is almost incidental.
The characters are always children, always so real…and their flaws are understandable but paramount…it is Seita’s childish stubbornness and pride as much as tragic circumstance that brings about the final tragedy. Deeply sad, truly magical film–making with a fine voice acting cast. To have a five-year-old give that performance is nothing short of breathtaking, and the life given to the characters by the animators is inspirational. Seita is beautiful in his humanity, Setsuko so pure, showing the link between sweet behaviour and weakness.
One of the best films I’ve ever seen – and probably the saddest.
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