Porco Rosso:Why Does Porco Choose to Be a Pig? -Hayao Miyazaki’s “A Man’s Sorrow” Series ①-

“Porco Rosso(Studio Ghibli Official)” is a feature-length animated film directed by Hayao Miyazaki, released in 1992. It came out during an era when I could have just barely seen it in theaters, but I believe the first time I watched it was during a Friday Roadshow broadcast when I was in elementary school. As you might expect, I didn’t find it particularly interesting as a child, but now it has become one of my most beloved films.

Well, this time, I want to delve into the greatest mystery of “Porco Rosso”: “the reason why the protagonist, Porco, is a pig.”

Of course, the reason could be anything, or there could be no reason at all. In fact, while I was once curious about it myself, I’m not that concerned about Porco being a pig anymore. Still, I have given it some thought, so I’ve decided to summarize my ideas here. However, what I will be summarizing this time is “what it means to be a pig,” not to unravel the “mystery of why he became a pig.” Please be aware of this distinction.

*This article is an English translation of the original Japanese article, “【紅の豚】ポルコは何故豚であろうとするのか？-宮崎駿男の悲哀シリーズ①-“

In “Porco Rosso,” Why Does Porco Choose to Be a Pig?

The Defiance of a Man Trying Not to Be Swallowed by the Tides of the Times

When thinking about “Porco Rosso,” it’s worth recalling director Hayao Miyazaki’s words: “a cartoon movie for tired middle-aged men whose brains have turned to tofu.”

While I doubt I can fully grasp the sentiment Miyazaki packed into the word “tofu,” the important thing is that the expression doesn’t sound positive at all. Moreover, it’s significant that it also doesn’t sound overly critical.

In other words, he likely said it with the nuance that “eventually, a time comes when a man’s brain turns to tofu.”

It’s difficult to articulate the precise nuance carried by the word “tofu,” but it might describe a state of losing one’s edge, of just living day by day, or of feeling like “I guess this is it.” From our perspective, it doesn’t seem like Hayao Miyazaki was ever in such a state, but perhaps there was something we couldn’t see.

Of course, he might have been reflecting on his time in the labor union at Toei, or on the situation where socialism had well and truly failed and was being ignored (or treated with hostility).

However, rather than something specific like that, I think the premise is a more abstract sense of resignation, a feeling of “Ah, nothing new is ever going to start again.”

So, what does it mean to “be a pig” in this context?

It is likely a symbol of rebellion against such a situation, and a declaration of a man’s pride, insisting he can still do it.

The world always rushes forward, leaving us behind. But many people will surely feel that “just because something rushes ahead doesn’t mean it’s right.” It’s not that we can’t catch up. But, we just can’t forget the value of our own “rightness.” And above all, we are the only ones who can hold on to that rightness.

Porco remaining a pig is a declaration of that kind of “personal rightness,” and a head-on, cynical challenge to the world.

To be seized by such feelings in one’s teens or twenties would be a malady, but perhaps a “moment” comes for everyone when they can only speak in cynicism. Maybe he created “Porco Rosso” as a representative for such cynics.

However, we know that Director Miyazaki continued to create works after this.

To end with cynicism isn’t even middle-aged; it’s just being a juvenile punk. In the end, “Porco Rosso” might have become a work that declared his “resolve to keep creating nonetheless.”

We, too, should follow Miyazaki’s example and keep doing something. Whether it aligns with the trends of the times is irrelevant. “A pig that doesn’t fly is just a pig.” We fly for our own sense of justice!

Though, I’ve been just a pig since the day I was born.

The Defiance and Sorrow of a Man Trying Not to Be Captured

While the previous points should have clarified the meaning of “being a pig,” we cannot ignore Gina.

And what we must pay attention to is Gina’s following line.

I’m gambling right now. Gamnbling somone will visit me here, and I’ll tel him I love him.

I thought nothing of it as a child, but there can hardly be a ruder thing to say. Ultimately, she’s saying, “All the good men are gone, so I guess I can finally bring myself to love that guy now.”

Of course, I doubt Gina ever said something so rude to Porco’s face, but it is Porco who is more aware of this sentiment than anyone.

He’s in love with Gina, who has never once paid him any mind, but he can’t simply think “Alright!” when she finally tries to capture him just as her third husband has died.

Still, considering her situation and loneliness that forces her to make such a bet, the honorable man Porco can’t just abandon her. Yet, surrendering to her is galling.

“Porco Rosso” is the story of Porco’s roundabout journey.

Porco kept flying around the sky, waiting for the moment to be captured by Gina. So what was it that determined Porco’s attitude?

Of course, it was Fio’s kiss.

With that kiss, Porco, the man who was loved by no one, became someone who had been loved (perhaps saying “by no one” is an overstatement).

At that moment, Porco might have thought, “This world isn’t so bad after all.” By doing so, Porco, who had been defiant as a pig, affirmed the very world that had left him behind. That’s why, for a moment, he stopped being a pig.

In any case, Porco finally went to Gina with his head held high.

It feels a little pathetic, but for a woman he fell for when he was young yet who never once looked his way, perhaps this is good enough.

So, did Porco stop being a pig in the end?

The answer can be found in the last shot after the ending credits.

He is still flying today. Even while being captured by Gina, he flies defiantly through the sky, as if to say, “No! I am still free!”

Perhaps, just like you.

The images used in this article are from “Studio Ghibli Works Still Images“.