Alternate title(s):
Foreign Title: Operetta tanuki goten
Date: January 01, 2005 to February 01, 2006
Dates Note: 2005
Country of Origin:
Japan
Place of Origin: Japan
Languages:
Japanese
Color: Color
Silent: No
Based On:
Additional Info:
It's hard to believe we've had the pleasure of watching Seijun Suzuki movies for almost fifty years. What's even more remarkable is that his films have remained as youthfully nutty as they were in the sixties. His new musical Princess Raccoon is a love story of sorts, between a man and an animal. But there's no bestiality here—this animal is played by the stunning Zhang Ziyi, who is a tanuki, a raccoon-like creature that can change shape and impersonate just about anything, including a human (if you saw Isao Takahata's Pom Poko at PFA last summer, you'll know all about tanukis). The object of her affection is Prince Amechiyo (Joe Odagiri, also starring in The House of Himiko, SFIFF 2006). It seems that Amechiyo's father, Lord of Castle Grace, is more than a little taken with his own handsomeness and banishes Amechiyo to the wilderness when his in-house witch informs him that Amechiyo is soon to be even better looking than his father. But banishment could be worse, since the comely Princess Raccoon discovers him and whisks him back to her castle. This being a Suzuki movie, don't go looking for much more plot—Japan's premier trickster would rather rescue us from such mundanities. Instead, glory in the spectacular production design and cheerful wackiness of this anything-goes pop opera, replete with singing frogs, a dancing ska band (skabuki?), a plethora of multi-mythical characters, and images ranging from the whimsical to the profound. It's all terrific fun, especially if you just pretend those subtitles are bouncing-ball sing-along lyrics and join in.
This “energetic, inventive and ever-so-slightly insane mishmash of music, magic and madness” (The Guardian) stars Joe Odagiri as a prince. After being exiled, he comes across a magical land of shape-shifting raccoons and falls in love with their princess (Zhang Ziyi). Rooted in Japanese folklore, studded with tunes that range from operetta to hip-hop, and set in a fantastical Edo period of the imagination, this film shows Suzuki at his most kindhearted and whimsical. Although he was pitching a project as late as 2008 (at the age of eighty-five!), this is most likely Suzuki’s final film, and it’s a fittingly friendly way to say goodbye.