2. Introduction
Grave of the Fireflies (Hotaru no Haka) is a 1988
Japanese animated film in the direction of Isao Takahata of the famous
Japanese animation Studio Ghibli (Princess Mononoke, Spirited Away,
Nausicaa of the Wind). The film is based on the semi-biographical novel
by Akiyuki Nosaka that takes from his childhood experiences during the
late parts of the Pacific War (Flanagan 6).
Just as the novel, Grave of the Fireflies takes place during
the last months of the Japanese Pacific Conflict after World War II. The
story tells the tragic tale on a pair of young siblings, Seita and Setsuko,
whom after becoming orphans as result of the war, try to survive by their
own means, only to find the catastrophic results of abandonment,
poverty, and starvation (7).
The movie has been often praised as one of the most
powerful anti-war films (live action or animated) by critics. However,
both the writer and director have challenged the interpretation of Grave
of the Fireflies of it being an anti-war film (Takahata), but actually a
reflection on the dangers of nationalism, and pride, as well as an
observance on family dynamics on Japan.
3. Context
On December 7
th
of 1941,
Japan, attacked the American Base of Pearl
Harbor, Guam and Wake Island, as well as
the British Crown colony of Hong Kong
and invaded the Philippines, Thailand, and
Malaya, thus pushing the US to become an
active participant in the World War II
scenario (Perkins 168-172).
Upon the attacks against the Allied Forces; Japan became a fearsome enemy on the Pacific stage
of the war. During the early stages of the Pacific War, Japan seemed to have the lead. However, the last stages
of the war, after much of Japan’s resources had been spent on military effort; Japanese civilians were paying
the gruesome consequences of war, not only by poverty and starvation, but also by mainland military attacks
such as the Firestorm raids, such as in Kobe (Hoyt 12), where Grave of the Fireflies takes place.
On August 6th of 1945, The United States deployed the first atomic bomb on Hiroshima, and on
August 9th a second bomb was deployed on Nagasaki, resulting in more than 240,000 casualties (Perkins 191193), thus attaining the unconditional surrender of the Japanese Imperial Forces and the end of the war (195).
4. Family
The novel, Hotaru no Haka, by Akiyuki Nosaka is based
on his own experiences of childhood during World War II,
and although the story differs greatly, it serves as a
spiritual semi-biography of the events during his
childhood. According to Nosaka, Hotaru no Haka was
written as an apology and redemption towards one of his
sisters who’s dead [during WWII] marked Nosaka’s life.
The film relied heavily on the themes of
family by portraying the kind and loving relationship
between the two siblings, Setsuko and Seita; but also by
portraying the darker side of pride in the Japanese society
and it’s effect on family (Kitaoji 1036-1037).
In the film, after Seita and Setsuko lose
their loving mother, they are left to the will of one aunt on
their mother’s side. However, quarrels soon arise between
the two families, and the siblings are, in a way, forced to
leave the safety of their family’s home to live by their own
means. While Seita could have apologized to his aunt and
follow the rules of her home, for the sake of his and
Setsuko’s safety, he is too proud to even try or consider it.
As for their aunt, she delegates the responsibility of her
own family to others, since according to her, are useless
towards the war efforts.
In the end, it is pride that kills them, not only
Seita’s personal pride towards his aunt; but also, by the
country’s pride to keep fighting much after there was any
realistic expectation to win the war (Powers), thus resulting
in the sacrifice of innocent civilians, especially the most
vulnerable, for only a matter of pride. This theme is
brought up allegorically several times through the film by
showing the prideful side to each character in its own
unique way.
5. The Dangers of Nationalism
While not entirely considered an anti-war film by
the director, the message can be easily readable in Grave of the
Fireflies. Isao Takahara is an ardent believer that the notion of
nationalism can result in terrible consequences, as it did for
Japan in the past (Takahara). The film depicts this message,
perhaps unintentionally, powerfully.
The ones affected the most by pride and
nationalism were the people of Japan during the war. The price
of the war not only included traditional military tactics, but the
use, for the first time, of atomic weapons on civilians. The
effects of the bombings were lasted for decades, and had terrible
environmental, social, and economic repercussions.
The message of the film in symbolism remains
true; the ones most affected, by the decisions of the most
powerful, will always be the most vulnerable. Both children die
by the end of the film, as many others did, by the incompetence
of others such as their family and their government as is usually
the case.
The film alerts to the powerful or in power that it
is in them the obligation to protect the most vulnerable,
especially during gripping times, since they are the most likely
to suffer the fatal consequences of other people’s choices.
6. Conclusion
The themes are powerful not
because of How it Ends, but because the
film gives its audience a powerful message
on the dynamics and responsibilities of
one’s role in proper society during hardship.
The ending is important, because it shows us the
real consequences of very common mistakes around the world,
not limited to Japan. Every individual is familiar with pride or
hierarchal privilege, either because of age, gender, race, physical
attributes, or mental skills; thus making its themes relatable to
everyone who watches.
The film asks the questions of
what true nobility means, and if heroism
really lies in those who fight on the
battlefield, or it may if instead be found in
those who bear the hardships imposed upon
them.
The message should not be interpreted as placing
shame or guilt on the audience, but for the audience to take
observance of its surroundings with patience, tolerance, and self
introspection.
From the very beginning, is
very explicit to be a tragedy. In fact, the
opening scene shows its audience the film
ends. The audience is never lead to a false
hope, and because of this not often
presented narrative, in which the ending is
revealed, the audience is encouraged to
watch the film not as wishful thinker, but as
a reflective and observant one.
8. Works Cited
Flanagan, Bill, ed. "Two Grave Voices in Animation." Trans. Takayuki
6-11. Print.
Karahashi. Animerica Nov. 1994:
Hoyt, Edwin Palmer. Inferno: The Firebombing of Japan, March 9-August 15, 1945.
Madison, 2000. Print.
Lanham, MD:
Kitaoji, Hironobu. "The Structure of the Japanese Family." JSTOR. JSTOR, Oct. 1971.
Web. 27 Nov. 2013. <http://www.jstor.org/stable/672818>.
Perkins, Dorothy. Japan Goes to War: A Chronology of Japanese Military Expansion from the
Era to the Attack on Pearl Harbor (1868-1941). Upland, PA: Diane Pub., 1997.
Print.
Meiji
Powers, David. "Japan: No Surrender in World War Two." BBC (2011): n. pag. 17 Jan.
2013.
2011. Web. 27 Nov.
Takahata, Isao. "A Personal Conversation with Studio Ghibli Director Isao Takahata."
VanderLugt. Ghibli World.com. N.p., 2006. Web. 26 Nov.
2013.
<http://www.ghibliworld.com/isaotakahatainterview.html>.
Interview by Peter
