You haven't forgotten my name have you Sup Forums?
You haven't forgotten my name have you Sup Forums?
I WILL NEVER FORGET YOU
hard to remember her name, I always remember her saying Taki-kun though
Of course not, what do you take me for?
OPEN WIDE, HERE COMES THE CHOO CHOO TRAIN
MI TSU BI SHI
Kimi no na ha?
So it was this week finally released in Germany, and the most prestigious newspaper in the country released a glowing review of it.
Part of the fame of said newspaper is exactly its arts section for its very wordy, verbose and often over-the-top emphatic reviews of art and cultural events.
I figured it would be a crime if Sup Forums didn't get to read it, so here is a translation attempt:
The fine line of the girlish profile merges into the window morning light when Mitsuha turns on her back when she wakes up. She would rather sleep on, dream on.
The schoolgirl lives in a hick town where the train only comes by every two hours and the only supermarket closes at nine in the evening. There is no bookstore, no dentist, but above all: there is no chance of a life with any surprises.
Old dialects and ancient rituals have survived the modern times in this place, but one has to walk far to the holy places, where one offers the special rice wine to the old deities as a sacrifice, because the nearby cult furnishings were burnt in a fire, of which the living know only from vague stories of long ago deceased people, who themselves had not seen it anymore. Mitsuha does not want to get stuck in this timeless province. If anything could be done, she would like to be free not only of this environment, but also of herself - a rebirth is her heart's desire, perhaps as a boy in Tokyo.
Just such a boy is Taki, a teenager like Mitsuha. When he stands in the middle of his metropolis, he does not see the colourful autumn leaves, the deep blue sparkling lake and the green forests that limit Mitsuha's world, but instead he sees more varieties of reflections on glass and metal than there are tones on all colour palettes - a million-mirror of human destinies, a space extended to the virtual infinite, where every soul can become what it dreams of.
Of course not Musubi!
Mitsuha and Taki get to know each other long before their first meeting, long before the first conversation. They are quite a while, half a film long, an enormously abstract couple of lovers - not even a small dialogue or an exchange of glances are allowed to them in this work of art "Kimi no Na wa". However, more people in the cinema than ever before were anxious about this abstract couple of lovers, who are far too vague according to all known rules of genre-conformist cinema sentimentality, than about any other cartoon characters before: With its world record result of around 350 million dollars, the film is the most commercially successful anime production to date - and this is true even on the Chinese market, which is not too open to Japanese audiences - and is also a well-deserved success at the critics.
"Kimi no Na wa" seems primarily a story of body exchange (or the other way round, as it were, symmetrically revolving: of soul exchange), but in reality it revolves around a very demanding concept of identity. What and who someone is, is portrayed here as an indissoluble web of longings, opinions, thoughts, deeds and finally suggestions as well as reactions of other people. The backdrop medium in which this takes place, like the traditional knotting in which Mitsuha's grandmother explains to her the religious cosmology of her ancestors, is the idea of a continuous self-penetration of space-time and at the same time the fact that memory enables both preview and retrospection.
That really sounds like quite the melodramatic expression of just the premise to the beginning. Not even sure if the Japanese talk like that in newspaper reviews. I know that the Chinese reviews tend to not speak too much that they believe is obvious and go straight to just the themes or what they liked about the film in small, simple details.
>character development in form of haircut
As melodramatic as the writing sounds, I do appreciate this writer's awareness for simple core themes.
Is "Your Name" magical realism, fantasy, is it slipstream or science fiction? A schoolmate of Mitsuha's suggests a whole bouquet of possibilities, not aesthetic, but metaphysical interpretations of the narrative, from Buddhist reincarnation theory to the multi-world theory of the Everett interpretation of modern quantum mechanics. In this small footnote, one can recognize a kind of self-quotation of the director, who in his previous work from science fiction parable "The Place Promised in Our Early Days" (2004) to the urban emotional realism of "The Garden of Words" (2013) has appropriated all the gene registers he has acquired for the conquest of the now achieved work-biographical peak. In any case, Mitsuha doesn't bite on the wild speculations of her school friend, because she doesn't follow her adventure as one follows an argument, but rather as one makes and listens to music.
What she is interested in, says a passage in a song on the soundtrack of this also musically immaculately instrumented film poem, the ballad "Sparkle" by Japanese pop band Radwimps:"We want to meet at the place that is furthest from each farewell". Most of the connections between that place and this world are perceived and thought, not material. For them is the secret roadmap that Mitsuha's grandmother means when she says that time and what connects people are one and the same thing, a secret.
During the first twenty minutes of "Kimi no Na wa", Shinkai first of all tells us about how Mitsuha and Taki find out what's going on with them. Taki's new feminine experiences make him unexpectedly interesting for an elderly colleague in the restaurant where he improves his pocket money; Mitsuha leaves him the message, among other things, that he works too much, which in turn deflected that he has to earn more money now, because she spends so much of it on things he would not buy himself.
Stefannia Günther Voccatia?
The character growth is there, the hair cut is more like a physical reaction to it.
These are all standard variations of Blake Edward's toggle switch idea known from films like "Switch" (1991), but then the switch suddenly gets stuck, and "Kimi no Na wa" becomes a completely different film that has nothing more to do with comedy clichés and more to do with Lars von Trier's "Melancholia" (2011) or Mamoru Hosodas "the girl that lept through time"(2006).
Embedding a smartphone display in an animation is probably no easier than it was for Futurism to paint the modern industrial tempo, but the combination of medial and metaphysical viewpoints and levels of meaning is so successful in "Kimi no Na wa" that the old and popular Hollywood effect phrase "state of the art" can just this once be translated with Adorno's expression of the "objective state of aesthetics".
Like chalk writing on a blackboard or pencil on paper, like a mirror fogging up, like shadows under the knee darkening the shinbone while walking, like tears flowing, like the sun setting, like the twilight time rising up, which is called "kataware doki" in the local dialect of the main scene of the plot: One has seen such things so translucent and yet so firm, so dense and breathing never before; one feels how cold the wind is at night, one stands in the middle of the destroyed road and believes to be able to touch the train that was broken in the catastrophe.
As unreal as the film looks, as polyphonic it sounds: songs accompany the action, wordless music, piano tones, orchestral sounds flow through the moments of pausing, inwardness, contemplation and abandonment.
Sometimes people talk that you don't see: Mitsuha, for example, says tenderly "Taki-kun" to Taki from offstage, but it's not just a nickname, it's prelude to the moment when the two of them can finally ask each other the question from which this film has its title: What's your name?
This question works as a compass in "Your Name".
Because the unattainable edge of the world in this film is paradoxically its centre, to which one habitually says "I" - everything else leads in every direction as an endless expanse of opportunities to open oneself up to someone, to receive something different than what is expected, an unknown counterpart. Like his main characters, this film has a secret name, an old and perhaps eternal one: Duet.
Thanks for the translation, user. Really glad to read this review.
>Like chalk writing on a blackboard or pencil on paper, like a mirror fogging up, like shadows under the knee darkening the shinbone while walking, like tears flowing, like the sun setting, like the twilight time rising up, which is called "kataware doki" in the local dialect of the main scene of the plot: One has seen such things so translucent and yet so firm, so dense and breathing never before; one feels how cold the wind is at night, one stands in the middle of the destroyed road and believes to be able to touch the train that was broken in the catastrophe.
>ywn plant your seed deep inside Mitsuha, impregnating her
>ywn stay by her side and hold her hand while she gives birth to your beautiful baby boy/girl
>ywn marry her in the hospital, vowing to stay by her side forever
>ywn carve out a comfy life in Tokyo together
>ywn raise a happy family together
It hurts so fucking much...
Disgusting, user. Mitsuha is Taki-only.
pregnancy is scary and gross
>marry her in hospital
>sex outside of wedlock
He doesn't deserve her.
There's literally nothing wrong with sex out of wedlock so long as you take responsibility if you get the girl pregnant.
I love her and that's all there is to it.
was she a virgin?
During the epilogue? I doubt it.
She's probably been living her life to the fullest, trying her hardest to fill the hole where Taki belonged.
Unfortunately for Taki, he's probably still an angsty virgin that has just been a wandering soul for all those years. Not all those who wander are lost though, right? I'm sure he won't mind that Mitsuha has had several boyfriends and isn't a virgin anymore. I mean he could have been experiencing all that and more, but for some reason he chose not to.
>He doesn't deserve her.
He's the entire reason why she and everyone else from Itomori are still alive.
Thanks. Kino indeed.
>Mitsuha doesn't bite on the wild speculations of her school friend, because she doesn't follow her adventure as one follows an argument, but rather as one makes and listens to music.
This line is especially sharp since Shinkai did indeed aim to write Mitsuha's thought process as if she was listening to music, as explained in the novel.
Judt because a guy does something nice for someone doesn't mean that he's entitled to a relationship with them.
>>He doesn't deserve her.
Ah fuck, you got me. I need sleep. Goodnight, user.
I CLAPPED WHEN I GOT THIS REFERENCE
Nice read. Thanks.
Even the fan art is high quality. I'm impressed.
Thanks for the translation user. That’s cool that the movie got such attention.
oh man I saw this today and man it was a beautiful man I been thinking about it for hours
everyone is cute and japan was like top quality heaven
I dunno y'all this movie was like visiting japan man!
I think this film rose my dweeb-amine level
It's one of those movies that spurs people to go on anime pilgrimages, i.e. go to Japan to visit the places they see in anime. Shinkai movies are a good source of that because they tend to focus a lot on the environments.