Grave of the Fireflies

Template:Nihongo foot is a 1988 Japanese animated war film written and directed by Isao Takahata, and produced by Studio Ghibli. It is based on the 1967 semi-autobiographical short story of the same name by Akiyuki Nosaka. Set in the city of Kobe, Japan, it tells the story of siblings and war orphans Seita and Setsuko, and their desperate struggle to survive during the final months of the Pacific War.

Production of Grave of the Fireflies began after Akiyuki Nosaka became interested in an animated adaptation of his book.<ref name="Animerica8" /> The film was Takahata's first with Studio Ghibli.<ref name=":0" /> Several critics consider Grave of the Fireflies an anti-war film, but Takahata has disputed this claim.<ref name=":7" /> The film stars Tsutomu Tatsumi, Template:Ill, Template:Ill and Template:Ill. It was theatrically released on April 16, 1988.<ref name="Animerica8" />

Upon release, the film was universally acclaimed by critics, with particular praise toward its emotional weight.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> It was also modestly successful at the Japanese box office, grossing ¥1.7 billion.<ref name="ghibli" /> Grave of the Fireflies has been considered to be Isao Takahata's magnum opus as well as one of the greatest animated films ever made,<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref>Template:Cite AV media</ref><ref>Template:Cite web</ref> and is recognized as a major work of Japanese animation.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>

Plot

In March 1945, American bombers destroy most of Kobe during the waning days of the Pacific War. Children of an Imperial Japanese Navy captain, Seita and his sister Setsuko, survive, but their mother dies. Seita conceals their mother's death from Setsuko. The siblings move in with a distant aunt, and Seita retrieves supplies he buried before the bombing and gives everything to his aunt, save for a tin of Sakuma drops, which he gives to Setsuko. The aunt convinces Seita to sell his mother's silk kimonos for rice, which devastates Setsuko.

As rations shrink, the aunt becomes resentful of the children as Seita does nothing to earn the food she prepares for them. At her suggestion, Seita withdraws some money from his mother's bank account to buy a charcoal stove and other supplies. Following an air raid, the siblings move into an abandoned bomb shelter. They capture fireflies from the marshes and release them into the refuge for light. The following morning the fireflies have died. Setsuko buries them and reveals their aunt told her their mother died, then tearfully asks why the fireflies had to die so soon.

The situation becomes grim when they run out of rice and a friendly farmer insists that Seita swallow his pride and return to their aunt as they cannot survive alone. Seita steals crops from farms and breaks into homes during air raids. A farmer catches and beats him, but a police officer sympathizes with Seita as he is only stealing to feed Setsuko.

Setsuko falls ill, and a doctor explains she is suffering malnutrition. Seita withdraws the last of the money from their mother's bank account. He is distraught to learn that Japan has surrendered and that his father is most likely dead, as most of Japan's naval fleet have been sunk. Seita returns to Setsuko with food and finds her hallucinating. She dies as Seita finishes preparing the food. Seita cremates Setsuko's body and her doll in a straw casket. He carries her ashes in the candy tin along with his father's photograph.

Seita dies of starvation a few weeks later at a Sannomiya train station surrounded by other malnourished people. A janitor, tasked with removing the bodies before the Americans' arrival, sorts through Seita's possessions. He finds the candy tin and throws it into a field. Setsuko's ashes spread out, and her spirit springs from the container and is joined by Seita's spirit and a cloud of fireflies. The two board a ghostly train and, throughout the journey, look back at the events leading to Seita's death as silent, passive observers.Template:Efn Their spirits arrive at their destination: a hilltop bench overlooking present-day Kobe, surrounded by fireflies, healthy and content.

Voice cast

Template:Sronly

Character	Japanese voice actor	English voice actor
		Template:Small	Template:Small	Template:Small
Template:Nihongo	Tsutomu Tatsumi	J. Robert Spencer	Adam Gibbs	Lucas Jaye
Template:Nihongo	Template:Ill	Corinne Orr	Emily Neves	Luna Hamilton
Template:Nihongo	Template:Ill	Veronica Taylor	Shelley Calene-Black
Template:Nihongo	Template:Ill	Amy Jones	Marcy Bannor	Ren Hanami

Production

Development

File:American bombs falling on Kobe.jpg

Incendiary bombs being dropped onto Kobe, the setting of the film

Grave of the Fireflies author Akiyuki Nosaka said that many offers had been made to make a live-action film adaptation of his short story.<ref name="Animerica8">Template:Cite journal Translated by Animerica from: Template:Cite book Originally published in Animage, June 1987. This is a translation of a 1987 conversation between Takahata and Akiyuki Nosaka.</ref> Nosaka argued that "it was impossible to create the barren, scorched earth that's to be the backdrop of the story".<ref name="Animerica8"/> He also argued that contemporary children would not be able to convincingly play the characters. Nosaka expressed surprise when an animated version was offered.<ref name="Animerica8"/> After seeing the storyboards, Nosaka concluded that it was not possible for such a story to have been made in any method other than animation and expressed surprise in how accurately the rice paddies and townscape were depicted.<ref name="Animerica8"/>

Isao Takahata said that he was compelled to film the short story after seeing how the main character, Seita, "was a unique wartime ninth grader".<ref name="Animerica7">Template:Cite journal</ref> Takahata explained that any wartime story, whether animated or not animated, "tends to be moving and tear-jerking", and that young people develop an "inferiority complex" where they perceive people in wartime eras as being more noble and more able than they are, and therefore the audience believes that the story has nothing to do with them. Takahata argued that he wanted to dispel this mindset.<ref name="Animerica8"/> When Nosaka asked if the film characters were "having fun", Takahata answered that he clearly depicted Seita and Setsuko had "substantial" days and that they were "enjoying their days".<ref name="Animerica10">Template:Cite journal</ref> Takahata said that Setsuko was even more difficult to animate than Seita, and that he had never before depicted a girl younger than five.<ref name="Animerica8"/> Takahata said that "In that respect, when you make the book into a movie, Setsuko becomes a tangible person", and that four-year-olds often become more assertive and self-centered, and try to get their own ways during that age. He explained that while one could "have a scene where Seita can't stand that anymore", it is "difficult to incorporate into a story".<ref name="Animerica9"/> Takahata explained that the film is from Seita's point of view, "and even objective passages are filtered through his feelings".<ref name="Animerica10"/>

Takahata said that he had considered using non-traditional animation methods, but because "the schedule was planned and the movie's release date set, and the staff assembled, it was apparent there was no room for such a trial-and-error approach".<ref name="Animerica10"/> He further remarked that he had difficulty animating the scenery since, in Japanese animation, one is "not allowed" to depict Japan in a realistic manner.<ref name="Animerica8"/> Animators often traveled to foreign countries to do research on how to depict them, but such research had not been done before for a Japanese setting.<ref name="Animerica8"/> While animating the movie, Takahata also created several different cuts of the scene in which Seita cremates Setsuko's body. Takahata spent a lot of time on this scene, trying to create the perfect iteration of it. Each of these cuts remained unfinished and unused in the end.<ref>Template:Cite web</ref>

Most of the illustration outlines in the film are in brown, instead of the customary black. Black outlines were only used when it was absolutely necessary. Color coordinator Michiyo Yasuda said this was done to give the film a softer feel. Yasuda said that this technique had never been used in an anime before Grave of the Fireflies, "and it was done on a challenge".<ref name="Animerica8"/> Yasuda explained that brown is more difficult to use than black because it does not contrast as well as black.<ref name="Animerica8"/>

Grave of the Fireflies was Takahata's first animated film produced with Studio Ghibli.<ref name=":0">Template:Cite web</ref>

Takahata insisted on working with well known animators Yoshifumi Kondō who was working for Nippon Animation at the time and Yoshiyuki Momose.<ref>Template:Cite web</ref> Both animators played a pivotal role in creating fluid, realistic animations of the characters in the animation.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>

Takahata drew from his personal experience to create a realistic depiction of the air raid on Okayama. In an interview, he criticized TV shows and movies that had recreated images of incendiary bombs, "They include no sparks or explosions, I was there and I experienced it, so I know what it was like."<ref name="Faith">Template:Cite web</ref><ref name="lwlies.com">Template:Cite web</ref>

The film features Niteko-ike pond (ニテコ池), which is described as the "birthplace" of the novel and where Nosaka conducted his daily routines of dishwashing and personal ablutions. Notably, during the final days of the Pacific War, Nosaka, then 14 years old, sought refuge with his younger sister-in-law in a relative's house and nearby bomb shelters near the pond.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>

The location and background in the film is based on a style created by 18th century Japanese artist Hiroshige and his follower Hergé, who created Tintin.<ref name=":4">Template:Cite web</ref> Film critic Roger Ebert examines the contrast of the style of the background in comparison to the cartoonish animation of the characters. He claims that there is an unusual amount of detail in the evocative landscape, while the characters are a take on the modern Japanese animation style, with childlike bodies and enormous eyes. Ebert believed that this deliberate animation style embodies the true purpose of animation, which is to recreate the raw emotion of human life by simplifying reality to emphasize ideas.<ref name="Grave of the Fireflies">Template:Cite web</ref> He concludes his analysis with saying, "Yes, it's a cartoon, and the kids have eyes like saucers, but it belongs on any list of the greatest war films ever made."<ref name=":4" /> According to Wendy Goldberg, Takahata's film also includes criticism of the emphasis on nationalism in Japan. In a particular scene, Seita's desire to join his father reflects a "national fantasy of war", which leads him to neglect his sister.<ref name=":3"/>

Music

The music for the film was composed by Michio Mamiya. The theme song, "Home Sweet Home", was performed by coloratura soprano Amelita Galli-Curci.<ref>Template:Cite web</ref> Dialogue of the film is part of the soundtrack as the music and dialogue are not separated in any way.<ref name="ost">Template:Cite web</ref> Mamiya is also a music specialist in baroque and classical music.

During an interview about his music, Mamiya stated that he creates his music to encourage peace.<ref name=":1">Template:Cite web</ref> The songs in Grave of the Fireflies as well as other pieces by Michio Mamiya, such as Serenade No. 3 "Germ", express this theme.<ref name=":1" />

The soundtrack album titled Template:Nihongo was first released on April 5, 1997, by Studio Ghilbi Records and Template:Ill<ref>Template:Cite web</ref> and later released on June 25, 1988, by Animage. The soundtrack does not contain standalone music and instead features both dialogue and music as they appear in the film.<ref>Template:Cite web</ref>

Another soundtrack album titled Template:Nihongo was first released on April 5, 1997, by Studio Ghilbi Records and Tokuma Japan Communications,<ref>Template:Cite web</ref> and later released on November 25, 1987, by Animage.<ref>Template:Cite web</ref>

Themes and analysis

In his book about the film, Alex Dudok de Wit called Grave of the Fireflies an "unusually personal adaptation" of Nosaka's short story as Takahata had similar experiences during the war, though noted it deviated significantly in its portrayal of the children as ghosts in its opening sequence whereas the short story began immediately with the children losing their mother during the air raid.<ref>Template:Cite book</ref>

Some critics in the West have viewed Grave of the Fireflies as an anti-war film due to the graphic and emotional depiction of the pernicious repercussions of war on a society, and the individuals therein. The film focuses its attention almost entirely on the personal tragedies that war gives rise to, rather than seeking to glamorize it as a heroic struggle between competing nations. It emphasizes that war is society's failure to perform its most important duty: to protect its own people.<ref name=":7">Template:Cite web</ref>

However, Takahata repeatedly denied that the film was an anti-war film. In his own words, it "is not at all an anti-war anime and contains absolutely no such message". Instead, Takahata had intended to convey an image of the brother and sister living a failed life due to isolation from society and invoke sympathy particularly in people in their teens and twenties.<ref name = Interview>Interview published on May 1988 edition of Animage</ref><ref name = Things>Template:Cite book</ref> Takahata also describes Japan at that time as "repressive", a time when "totalitarianism at its lowest" was endorsed in social life. He said "Seita defies such totalitarianism and tries to build a 'pure family' with Setsuko alone. Is such a thing possible? No, it is not possible, so he lets Setsuko die.Template:Nbsp[...] But can we criticize him? The reason why we modern people can easily sympathize with Seita emotionally is because the times have reversed. If the times are reversed again someday, the time may come when many people have more opinions to denounce Seita than that widow. I find it frightening."<ref name="Interview"/>

Since the film gives little context to the war, Takahata feared a politician could just as easily claim fighting is needed to avoid such tragedies. In general, he was skeptical that depictions of suffering in similar works, such as Barefoot Gen, actually prevent aggression. The director was nevertheless an anti-war advocate, a staunch supporter of Article 9 of the Japanese Constitution, and has openly criticized Japan's penchant for conformity, allowing them to be rallied against other nations. He expressed despair and anxiety whenever the youth are told to fall in line, a reminder that the country at its core has not changed.<ref>Template:Cite web</ref>

Despite the public's emotional reaction, Takahata expressed that the purpose of the film was not to be a tragedy or make people cry.<ref name=":2">Animage, vol 151, January, 1991.</ref><ref>Template:Cite web</ref> Moreover, he regretted depicting Seita as a boy from that era because he wanted him to come off as a contemporary boy who acted like he had time-traveled to the period. He didn't intend for it to be retrospective or nostalgic. He wanted the Japanese audience to recognize Seita's misguided attempts to withdraw from society and family.<ref name=":2" /> Furthermore, he says that his decision to show the audience that Seita and Setsuko have died at the beginning of the movie is to protect the audience from heartbreak, "If an audience knows at the beginning of the film that the two will eventually die, they are more prepared to watch the film in the first place. I try to lessen an audience's pain by revealing everything at the beginning."<ref name="Faith"/><ref name="lwlies.com"/>

The fireflies in the film are portrayed as symbols of various themes such as the spirits of the lost children, the fires that burned the towns, Japanese soldiers, the machinery of war, and the regeneration of life through nature.<ref name=":3">Template:Cite journal</ref> Okypo Moon states in her essay "Marketing Nature in Rural Japan", that hundreds of fireflies were caught nightly in the 1920s and 1930s. In the 1960s and 1970s, there was a shift to reinstate this tradition and "there are now eighty five 'firefly villages' (hotaru no sato) registered at the Ministry of the Environment in Japan.<ref>Okpyo Moon, "Marking Nature in Rural Japan", in Japanese Images of Nature, ed. Pamela J. Asquith and Arne Kalland (Surrey, U.K.: Curzon Press, 1997), 224–25.</ref> The movie uses fireflies to visually represent both deadly and beautiful imagery, such as fire-bombs and kamikazes.<ref name=":3" /> Takahata chooses to use the kanji "fire" instead of the normal character for the word firefly in the title, which has been interpreted to represent the widespread burning of wooden houses in Japan. Critic Dennis H. Fukushima Jr. believes that this modification of the title is to emphasize parallels between beauty and devastation, citing the relationship between fireflies, M-69 incendiary bombs, naval vessels, city lights, and human spirits.<ref name=":3" /><ref name="Grave of the Fireflies"/>

In the book Imag(in)ing the war in Japan representing and responding to trauma in postwar literature and film, David Stahl and Mark Williams commend the film for not emphasizing Japanese victimhood to avoid responsibility for atrocities of the war they played a role in. They interpret that Seita's character embodies working towards healing historical trauma and victimization, because it is his nationalistic pride and selfishness which ultimately contributed to his sister's death.<ref>Stahl, David C., and Mark Williams. "Victimization and "Response-ability": Remembering, Representing, and Working Through Trauma in Grave of the Fireflies." Imag(in)ing the War in Japan: Representing and Responding to Trauma in Postwar Literature and Film. Leiden: Brill, 2010. N. pag. Print.</ref>

Release

Theatrical

The film was released on 16 April 1988, over 20 years from the publication of the short story.<ref name="Animerica9">Template:Cite journal</ref>

The initial Japanese theatrical release was accompanied by Hayao Miyazaki's light-hearted My Neighbor Totoro as a double feature. While the two films were marketed toward children and their parents, the starkly tragic nature of Grave of the Fireflies turned away many audiences. However, Totoro merchandise, particularly the stuffed animals of Totoro and Catbus, sold extremely well after the film and made overall profits for the company to the extent that it stabilized subsequent productions of Studio Ghibli.

Grave of the Fireflies is the only theatrical Studio Ghibli feature film prior to From Up on Poppy Hill to which Disney never had North American distribution rights, since it was not produced by Ghibli for parent company Tokuma Shoten but for Shinchosha, the publisher of the original short story (although Disney has the Japanese home video distribution rights themselves, thus replacing the film's original Japanese home video distributor, Bandai Visual).<ref>Template:Cite web</ref> It was one of the last Studio Ghibli films to get an English-language premiere by GKIDS.<ref>Template:Cite web</ref>

Home media and streaming

Grave of the Fireflies was released in Japan on VHS by Buena Vista Home Entertainment under the Ghibli ga Ippai Collection on 7 August 1998. On 29 July 2005, a DVD release was distributed through Warner Home Video. Walt Disney Studios Japan released the complete collector's edition DVD on 6 August 2008. WDSJ released the film on Blu-ray twice on 18 July 2012: one as a single release, and one in a two-film set with My Neighbor Totoro (even though Disney has never owned the North American rights, only the Japanese rights).

It was released on VHS in North America by Central Park Media in a subtitled form on 2 June 1993.<ref>Template:Cite journal</ref> They later released the film with an English dub on VHS on 1 September 1998 (the day Disney released Kiki's Delivery Service) and an all-Regions DVD (which also included the original Japanese with English subtitles) on 7 October 1998. On 8 October 2002, it was later released on a two-disc DVD set, which once again included both the English dub and the original Japanese with English subtitles as well as the film's storyboards with the second disc containing a retrospective on the author of the original book, an interview with the director, and an interview with critic Roger Ebert, who felt the film was one of the greatest of all time.<ref name="ebert"/> It was released by Central Park Media one last time on 7 December 2004. Following the May 2009 bankruptcy and liquidation of Central Park Media,<ref>Template:Cite web</ref> ADV Films acquired the rights and re-released it on DVD on 7 July 2009.<ref>Template:Cite web</ref> Following the 1 September 2009 shutdown and re-branding of ADV,<ref>Template:Cite web</ref> their successor, Sentai Filmworks, rescued the film and released a remastered DVD on 6 March 2012, and planned to release the film on digital outlets.<ref name="Martin">Template:Cite web</ref><ref>Template:Cite web</ref> A Blu-ray edition was released on 20 November 2012, featuring an all-new English dub produced by Seraphim Digital.<ref>Template:Cite web</ref>

StudioCanal released a Blu-ray in the United Kingdom on 1 July 2013, followed by Kiki's Delivery Service on the same format.<ref>Template:Cite web</ref> It was the UK's tenth annual best-selling foreign language film on home video in 2019 (below seven other Japanese films, including six Hayao Miyazaki anime films).<ref>Template:Cite book</ref> Madman Entertainment released the film in Australia and New Zealand.

On 16 September 2024, the film started streaming exclusively on Netflix in over 190 countries, excluding Japan, as part of ongoing efforts to expand the platform's extensive lineup of anime from Japan.<ref>Template:Cite press release</ref>

Reception

Box office and home video

The film was modestly successful at the Japanese box office,<ref>Template:Cite web</ref> where it grossed Template:JPY.<ref name="ghibli">Template:Cite news</ref> As part of the Studio Ghibli Fest 2018, the film had a limited theatrical release in the United States, grossing $516,962.<ref name="bom">Template:Cite web</ref>

The Ghibli ga Ippai Collection home video release of Grave of the Fireflies sold 400,000 copies in Japan.<ref>日経BP社技術研究部 『進化するアニメ・ビジネス—世界に羽ばたく日本のアニメとキャラクター』日経BP社、2000年、47頁。Template:ISBN</ref> At a price of at least Template:JPY,<ref>Template:Cite web</ref> this is equivalent to at least Template:JPY in sales revenue.

Critical reception

The film received universal critical acclaim. The film review aggregator website Rotten Tomatoes reported a 100% approval rating based on 46 reviews with an average rating of 9.30/10. The website's critical consensus reads: "An achingly sad anti-war film, Grave of the Fireflies is one of Studio Ghibli's most profoundly beautiful, haunting works."<ref name=":6">Template:Cite web</ref> Metacritic assigned the film a score of 94 out of 100 based on 16 reviews, indicating "universal acclaim".<ref>Template:Cite web</ref>

Roger Ebert of the Chicago Sun-Times considered it to be one of the best and most powerful war films and, in 2000, included it on his list of great films.<ref name="ebert">Template:Cite web</ref>

Filmmaker Akira Kurosawa praised the film and considered it his favourite Ghibli production. He wrote a letter of praise to Hayao Miyazaki, mistakenly believing he directed Grave of the Fireflies. Miyazaki himself praised the film as Takahata's masterpiece, but criticized Seita for not behaving how he believes the son of a navy lieutenant should behave.<ref>Template:Cite book</ref>

The film ranked number 12 on Total FilmTemplate:'s 50 greatest animated films.<ref>Template:Cite web</ref> It was also ranked at number 10 in Time OutTemplate:'s "The 50 greatest World War II movies" list.<ref>Template:Cite web</ref> Empire magazine ranked the film at number 6 in its list of "The Top 10 Depressing Movies".<ref>Template:Cite web</ref> The film ranked number 19 on Wizard's Anime Magazine on their "Top 50 Anime released in North America".<ref>Template:Cite web</ref> The Daily Star, ranking the film 4th on its list of greatest short story adaptations, wrote that "There is both much and little to say about the film. It is simply an experience—a trip through the lonely boroughs of humanity that the world collectively looked, and still looks, away from".<ref>Template:Cite web</ref> Theron Martin of Anime News Network said that, in terms of the original U.S. Manga Corps dub, while the other voices were "perfectly acceptable", "Setsuko just doesn't sound quite convincing as a four-year-old in English. That, unfortunately, is a big negative, since a good chunk of the pathos the movie delivers is at least partly dependent on that performance".<ref name="Martin"/>

On 25 December 2016, Toei Company made a Twitter post that read Template:Nihongo in order to promote an episode of Kamen Rider Ex-Aid. The hashtag became popular, but Toei deleted the tweet after receiving complaints that referencing the Grave of the Fireflies line Template:Nihongo was in poor taste.<ref>Template:Cite web</ref> Before that, the ranking website Goo's readers voted the film's ending the number 1 most miserable of all anime films.<ref>Template:Cite news</ref>

In June 2018, USA Today ranked it 1st on the 100 best animated movies of all time.<ref>Template:Cite web</ref> In 2022, the film was ranked 225th on Sight & SoundTemplate:'s Greatest Films list (Critics + Directors' combined poll), being one of the only three animated films to make the top 250 (alongside My Neighbor Totoro and Spirited Away).<ref>Template:Cite web</ref>

Film director and critic Template:Ill reviewed Grave of the Fireflies on his popular TV series. He praised the film for the honorary image of the soldiers of Japan through the depiction of the fireflies, and the moving depiction of a heartbreaking experience many people of Japan had lived through.<ref>Template:Citation</ref>

After seeing the reactions of the audience after a screening of the film at Festival « Pour éveiller les regards », Jean-Jacques Varret, head of Les Films du Paradoxe, knew he had to distribute it in France.<ref name=":5">Template:Cite web</ref> It was released in two Parisian arthouses and the reaction was modest. Following the release however, Les Films du Paradoxe chose to release the film on video cassettes and on the streaming service Canal+.<ref name=":5" /><ref>Template:Citation</ref>

Public reaction

After the international release, it has been noted that different audiences have interpreted the film differently due to differences in culture. For instance, when the film was watched by a Japanese audience, Seita's decision to not come back to his aunt was seen as an understandable decision, because it was understood how Seita had been raised to value pride in himself and his country. Conversely, American and Australian audiences were more likely to perceive the decision as unwise.<ref>Template:Cite book</ref><ref>Template:Cite web</ref>

Accolades

Year	Award	Category	Recipient	Result
1989	Blue Ribbon Awards	Special Award	Isao Takahata	Template:Won
1994	Chicago International Children's Film Festival	Animation Jury Award		Template:Won
		Rights of the Child Award		Template:Won

Derivative works

Planned follow-up

Following the success of Grave of the Fireflies, Takahata drew up an outline for a follow-up film, based on similar themes but set in 1939 at the start of the Pacific War. This film was called Border 1939, based on the novel The Border by Shin Shikata, and would have told the story of a Japanese teenager from colonial Seoul joining an anti-Japanese resistance group in Mongolia. The film was intended as an indictment of Japanese imperialist sentiment, which is briefly touched upon in Grave of the Fireflies. Although Takahata finished a full outline (which is republished in his book Thoughts While Making Movies), the film was canceled before production could start due to the 1989 Tiananmen Square protests. Public opinion in Japan had turned against China, and Ghibli's distributor felt a film partly set there was too risky.<ref>Template:Cite web</ref>

2005 live-action version

Template:Main NTV in Japan produced a live-action TV drama of Grave of the Fireflies, in commemoration of the 60th anniversary of the end of the war. The drama aired on 1 November 2005. Like the anime, the live-action version of Grave of the Fireflies focuses on two siblings struggling to survive the final months of the war in Kobe, Japan. Unlike the animated version, it tells the story from the point of view of their cousin (the aunt's daughter) and deals with the issue of how the war-time environment could change a kind lady into a hard-hearted woman. The film stars Nanako Matsushima as the aunt and Mao Inoue as the cousin (who also portrays the cousin's granddaughter).

2008 live-action version

A different live-action version was released in Japan on 5 July 2008, Template:Ill as Seita, Template:Ill as Setsuko, Keiko Matsuzaka as the aunt, and Seiko Matsuda as the children's mother. Like the anime, this live-action version of Grave of the Fireflies focuses on two siblings struggling to survive the final months of the war in Kobe, Japan.

See also

• Air raids on Japan during the war
• Evacuations of civilians in Japan during World War II
• Barefoot Gen, a manga series set in the aftermath of the atomic bombing of Hiroshima.
• Fragile Dreams: Farewell Ruins of the Moon, a video game with similarities to the film.<ref>Template:Cite web</ref>
• List of films with a 100% rating on Rotten Tomatoes

Further reading

• Template:Cite journal
• Template:Cite book
• Template:Cite web

External links

• Grave of the Fireflies at Nausicaa.net
• Template:IMDb title
• Template:Rotten Tomatoes
• Template:Anime News Network
• Live-action version of Grave of the Fireflies Template:In lang