Year: 2006
Director: Hosoda Mamoru
Screenplay: Okudera Satoko
Trailer: http://www.youtube.com/watch?v=Xk9SAmD00Iw
Hosoda’s anime The Girl Who Leapt through Time (Toki o Kakeru Shōjo or short TokiKake) is a loose continuation of a 1967 novel by Tsutsui Yasutaka of the same title and tells the story of 17-year old tomboy schoolgirl Konno Makoto, who after an accident in the chemistry lab discovers that she is able to leap through time. In line with her initially somewhat immature and happy-go-lucky personality, Makoto uses her new ability to improve test grades and avoid her usual mishaps, but soon finds that it is not quite so easy to manipulate events and that self-serving choices have consequences for others. As a result, her close friendship with two classmates – the handsome, studious and kind Kousuke and the more nonchalant redhead Chiaki, who is portrayed as somewhat of a slacker – suddenly becomes more complicated.
Playing baseball together after school is no longer the only thing on the boys’ minds, something that Makoto, as the most clueless one of the trio, struggles to comprehend. “I thought maybe the three of us would always be together, Kousuke would tell us off for being late and you would tease me for not being able to catch the ball…” she says to Chiaki in a pivotal scene as Hosoda depicts her loss of carefreeness and disbelief very tangibly. In one moment she leans far back as she sits on Chiaki’s bike and stares at a lavender-tinted evening sky, the next she is gone, having scrambled back in time in teen angst of feelings.
Scenes like these make for rather uneven pacing in TokiKake. This is no criticism, but contributes to its wonderful unpredictability. The film opens languidly, with opening credits interrupting the spare visuals while instilling the torture of a hot and slow summer day. More quick-paced scenes soon follow as Makoto races down a fateful street and leaps to go back in time. However, the highlight of the film and its most lyrical moment come when time is frozen still – for a boldly unconventional, solid seven and a half minutes of actual screen time – as the medium of the moving image is turned into photographic stills, hauntingly underscored by Yoshida Kiyoshi’s piano music. TokiKake becomes a different film in that prolonged moment, much deeper, darker and more lonesome than Makoto’s guffawing, her ‘baka’ banter and klutzy tumbles would have had us expect. We realise that things can never quite be the same again – even if leaping back in time: Time waits for no one.
The film’s ending is left uncertain, in part because Hosoda never fully explains how time leaping actually works. The focus in TokiKake is on a single day, with fragments of it repeated again and again because of Makoto’s time-leaping. What is not clear is how the different versions of recurring time splinters coexist beyond the experience of the time-leaping individual, leaving the final scenes open to interpretation. This may frustrate viewers expecting a Hollywoodesque ending, but really makes the film much more satisfying: we are offered a carefully crafted and layered plot – as we have seen in many Western films from The Others to Inception – but it is not so fully polished that everything suddenly becomes meaningful and thus just a little bit too clever. Although connections are made between different sections of the film, they are often unexpected as there is little conclusive foreshadowing – only instances that might, just might, indirectly act as such. This unpretentiousness serves this gem of a film well.
Rating: 9.5/10
Approximately 101 minutes. Much recommended in Japanese with English subtitles.
Awards: Animation of the Year (Japan Academy Prize), Animation of the Year (Tokyo International Anime Fair), Animation Grand Award (Mainichi Film Awards), among others.
Indeed, a gem of a movie. Still ranked very high in my heart (alongside “耳をすませば” – Mimi wo Sumaseba).
You exactly pinpointed why I love this movie, and why it can be frustrating. I mean, deliciously frustrating. I usually hate open endings, but when it’s done as skillfully as it is in TokiKake, we just have to sit and eat our popcorns.
That said, I confess I wanted my Hollywoodesque ending (you know what I’m talking about, I’m sure. I won’t spoiler here, don’t worry ^^)
Years after watching it, the feeling of joy and hope still lingers inside me, and the words “Time waits for no one” still ring true.
As well as “変わらないもの” – Kawaranai mono, a song I’m still listening to today.
I didn’t see the live “adaptation”, starring Riisa Naka who voiced Makoto in the 2006 version. Did you see it?
I’m just discovering your blog, so maybe you even did a review ^^
I see we have a similar taste in movies – love 耳をすませば (Mimi wo Sumaseba) as well.
I did want my Hollywoodesque ending and yelled at the screen the first time round, but after rewatching TokiKake multiple times I made peace with it.
I haven’t properly seen the live adaptation – just sort of watched some scenes from it. It uses the original story (from the novel, not the anime), and my impression was that it’s one of those ‘overdone’/’overacted’ Japanese adaptations, which I personally don’t find very watchable….
I only started my blog recently, but will be adding more reviews soon! I’ll be watching a number of Japanese and Korean films at two film festivals over the next two weeks and plan to do a write-up of them all. First one will be for 管制塔 (Kanseito / Control Tower), which I saw on Saturday – and it was absolutely fabulous.