Long before Your Name, and after The Place Promised in Our Early Days, comes an infamous Shinkai's work: 5 Centimeters Per Second. It was the first of his that I watched about two years ago, back when I was quite disinterested in animation. In this film, Makoto has clearly defined his directing style, unlike in Voices of a Distant Star & The Place Promised in Our Early Days where he was still struggling to find his identity. I admit that this is the first animation that made me ponder about how the wheel of life goes on. Sheer amount of imagery and deep philosophical thoughts exist and lurk beneath the shadow of this work. Just like a critic once said about this animation: "It's for adults even though it's an anime."

Details

• Directed by: Makoto Shinkai
• Produced by: Makoto Shinkai
• Written by: Makoto Shinkai
• Music by: Tenmon
• Studio: CoMix Wave Inc.
• Licensed by: Madman Entertainment, Manga Entertainment, Discotek Media
• Released: 3 March 2007
• Runtime: 63 minutes

Synopsis

From MyAnimeList.net:

Takaki Toono and Akari Shinohara, two very close friends and classmates, are torn apart when Akari's family is transferred to another region of Japan due to her family's job. Despite separation, they continue to keep in touch through mail. When Takaki finds out that his family is also moving, he decides to meet with Akari one last time.

As years pass by, they continue down their own paths, their distance slowly growing wider and their contact with one another fades. Yet, they keep remembering one another and the times they have shared together, wondering if they will have the chance to meet once again.

Story

5 Centimeters Per Second (which is the speed of a falling sakura flower, in case you are wondering) has been described by people to be "ridiculously boring", "filled with cliches", "incredibly slow", "anti-climatic", "powerfully moving", "hyper-realistic", and "contains tons of metaphors". To begin with, let's start with how it is starkly different and really constrasts with the majority of Shinkai's works in such an elegant way. Shinkai has this tendency to infuse his touch of magic to the real world. In Voices of a Distant Star & The Place Promised in Our Early Days you have science fiction, in Children Who Chase Lost Voices you have fantasy, and in Your Name you have both. However, in The Garden of Words and 5 cm/s you have none. Most of the time, his works can also be seen as the process of two lovers apart getting together, establishing a connection route one by one. In 5 cm/s, its about an existing relationship that is slowly picked apart, deconstructed thread by thread, until finally it broke. That's what makes it very different to other films of this genre.



The main attraction of this film for me is how Shinkai potrays the feeling of false hope and helplessness. In most of his works, the main characters are actively changing their fate and refusing to surrender to the concept of distance. They will certainly always prevail, although they don't necessarily get a "good" ending, rather the "best" ending. For example, in Your Name, the village fate is changed through the course of the main protagonists' actions. In Voices of a Distant Star, we can see in the end, Noboru decided to join to the army to rescue Mikako (in the manga serialization). The power of the male protagonist to alter the fate can also be seen strongly in The Place Promised in Our Early Days where the plotline is driven by that ambition.

All of that however doesn't exist in 5 cm/s. Right from the start, the aura and atmosphere make you feel depressed and gloomy. It can be all attributed to the time period where technology isn't as advanced as now. The main conflict could easily be solved by introducing the concept of long distance communication. The fact that even texting isn't really as mundane as now when and where the story takes place really makes it unique.

It is also interesting that what separates the main characters is not only this notion of "vast" distance, but the fate itself. This is why certain actions can be seen as the universe intervening on the behalf of destiny. Thinking back, the situations occured to the characters are realistic enough that we may experience a few of them ourselves in some time of our life. For example, back when I didn't have a cellphone, I was devastated because I lost contact with my childhood friends. I still wonder what happened to them after I continued my studies. In the end, I think how relatable the movie itself depends on the viewers. For young adults like me, some of the scenes may be considered to be purely fictional. For adults who have lots of regrets, this movie will hit every single memory in their mind.





I've been told many times that the movie itself was filled with many cliches alike. "Just like a Korean drama!" one of my friends told me, which is a girl who really, and I mean really, is a die-hard fan of Asian dramas. True, it has an abundant dosage of dramas and intrics, such as tearful short lived reunion and the third guy/girl, the formula of Makoto which you will find constantly in his works afterwards. It is also been labeled as esoteric. I blame the fact that Shinkai uses narration to convey his characters' feelings rather than speaking them out loud or even acting on them. This narration while contains many deep thoughts and meaningful words, can be quite cringey at certain times. Combined with somewhat "cliched" scenes, it can be rather awkward to watch the whole film with someone else.

But, beneath all of that you can reach something very different. Something that I think won't be found anywhere else. It's the way of each scene played out I guess. So smooth, no forced progression. It's great to see how the characters really play out their daily lives. It's like watching a documentary rather than watching a film. There is also this thick layer of faint presence, engulfing us constantly on the film. I don't get that feeling anywhere else, even in his critically acclaimed newborn Your Name, eldest child Voices of a Distant Star, or any other of his works. One reviewers noted that 5 cm/s has this dreamlike quality. I will talk about that later in the visual.











The overall pacing suffers a little bit with tardiness but do little harm to how the three acts roll out. Makoto really has matured in his directing and his works afterwards will subsequently reflect 5 Centimeters Per Second both visually and storywise, even if they appear to be unrelated. For example, in Your Name, you can see the visual motifs of clouds and fields. In Children Who Chase Lost Voices, the dream sequences play out similarly. In Garden of Words, the realistic approach to maturity and drifting relationship can be seen.

A very astute observation would reveal that 5 cm/s contains tons of symbolisms, hidden deep below the surface. I love the fact that Shinkai never really told us what they actually mean, so we can assign meaning to them according to our own interpretation. The ending itself can also be explained as a metaphor for something else entirely. The fact that most people interpret the ending literally and while for some, like me, interpret it as a symbolism is a genius way of showing how Makoto can create a closure where everyone can create their own meanings. You can interpret it literally or metaphorically, it's up to you. Either way, it still works as a grand closing. (Although I am strongly compelled to interpret it metaphorically because of the clues given along the way.) I was haunted by the strong and beautiful imagery as it replays the same scenes again-again in my mind for a long time.

The ending has been pinned down to my mind ever since watching it. A lot of people seemed to hate the fact that it has an open interpretation and doesn't really follow the typical formula that people expect to see in this kind of genre, or at least in their minds it's not the ending that they want. All my friends really hate it. I won't blame them though. Many people love good linear ending, even though I think it's kind of boring. I, however, love endings like this. It makes me think of all the "what-ifs?" and leaves me pondering for good. I would say the approach Shinkai took really surprise me, because I thought I had seen it coming from watching other romance anime.

I have to admit, this movie has one of the best presentation I've ever seen from watching other romance animations, and certainly from Shinkai's other works, because of its depth, complexity, maturity, and the targets that it wants to reach and the message it's trying to convey.

Visual

The visual in 5 cm/s is clearly an overall improvement to Voices of a Distant Star & The Place Promised in Our Early Days. A top notch talent from him. Makoto also has revealed his addicted use of scenery porn. Bear in mind that this is not necessarily a bad thing, though. I love his background and will always love it, but he can at least keep its usage to the minimum.

If compared to other animation films that was released in Japan, you can see that this is not a half-assed production, which is indicated by the budget. I've seen worse anime having more or less the same budget with 5 cm/s. The characters are well-drawn, with ample details and depth. As usual, Makoto's lighting and cinematography really struck me hard. It resonates deeply with me. His color and tone choice really mirror the state of the character's mind. His design of the characters really brings out their emotions. I can sense the sadness and longing of Takaki whenever he makes that face.

But, his brilliance shines when we look at seemingly flat scenes that we can relate to ourselves easily although they're not as simple as they should be. I remember there was a scene where a rocket is flying to the space. You can clearly see a color difference between the left and the right part of the sky, evoking a sense of wonder yet mysteriously filled with hidden meanings.

The dreamlike quality I have talked before is what I think the best thing 5 cm/s has to offer. Combined with the fleeting moments that seem to move at quite a speed, I wonder if in the end, Takaki or Akari will wake up and let the dreams end. I mean it is surprising that reality is cruel even though everyday everyone wakes up with one more problem that they can't solve by their own.

Sound

A gorgeous soundtrack composed by Tenmon, Makoto's frequent collaborator. Two thumbs up for this one! However, if you watch the movie you would hardly notice the score at all. That's because it's doing its job properly, blending with the atmosphere of the film.

The showstopper is the ending theme which is sung by Masayoshi Yamazaki. Without the lyrics, it can regarded as a rather generic somber song. But, when you read between the lines, it's clear that the song sums up the movie in a rather neat way.

Characters

I'm sure a lot of people will hate the main characters because they are not some special chosen people with supernatural powers, just ordinary people. Their flaws as human and their habits, way of thinking, and characteristics are their defining traits.

I could certainly hear one of you shouting:"If I were Takaki, I would sacrifice everything I had to be with Akari, right?" or "Why the f*ck did Akari choose to leave with her parents? If I were her, I would gladly be with Takaki!" That's what a hopeless romantic would say. However, we live in a realistic world. Surely you need to figure out how to live without your parents support. Don't forget about the cost of living together, especially with the ever rising price of accommodation and transportation. Like I said, it's almost as real as it can get when it comes to portraying life.

The main antagonist in this film is not a thing or a person, but an abstract concept of space and time distance, because of which two lovers are forced to surrender their love. The gap that separates Akari and Takaki can't be traversed literally. Akari seems to have moved on from her life years ago while Takaki still clings to the chance of getting together with her again. (at least that how it was portrayed in the movie, the manga serialization shows the reversal)

It is rather odd for Takaki and Akari not to utilize the existing communication system properly. In the old days, my teachers told me that they have pen pals that wrote to each other for decades before they actually could meet in person. The mailing system in Japan was more advanced that day than my country, which was still struggling with economic issues left from the previous regime. It is also neither uncommon nor difficult for two people to send each other mails in those days daily. For example, it would take about 3 weeks for my mother to send letters to her friend who lived in America. Takaki and Akari still live in the same country, surely they can still continue their correspondence.

It is such a shame that Makoto couldn't give us a better explanation on how the two of them drift apart when the communications still allow them to talk, to converse with each other at ease. In the second part, we also see that Takaki has a cellphone, one that is equipped with the ability to send "text messages". But, in a way to justify his actions, Takaki feels so awkward greeting Akari for the first time in many years where it has been silent. If they were born in the future, they would certainly be able to connect with each other easily.

We can clearly see how the relationship is slowly crumbling until none is left. I used to hate Shinkai because of the way he makes Takaki and Akari subtly drift apart. My friends also really hate Akari for her decision. (one of them came to me and said "F**k you, Akari! I won't watch the film again!")

While anti-climatic is certainly a phrase that can be quite accurate to describe 5 Centimeters Per Second, it also proves that progression can be as subtle as it wants to be. If you watch carefully, you'll see something dies a little bit every time Takaki remembers Akari. Near the end, he is shown to be devastated because of his undying love for her. His current self is very different than what he appeared to be a long time ago. He used to have a staunch heart and would readily sacrifice all of his might just to spend one day with Akari. Now, he is just a mere shadow of his former self, gradually stepping out of reality, becoming callous and aloof in the process. Even his attempt to forget her by dating a co-worker fails miserably. So, instead of showing a positive progression, Shinkai creates this self-deprecating situation. While it is certainly quite terrible to watch Takaki deliberately becoming an empty shell, it also shows Shinkai's distinct take on reality. Some time you are getting washed ashore instead of riding the wave.

Kanae, the odd one out, can still be seen as an interesting character. In the second part, we see that she wants to be the girl that Takaki can fall in love with, changing her preferences to match his tastes. This is something that is very realistic. As a person with female acquaintances, I know that a girl will do whatever it takes to claim her prize.

Sadly, shallow characterization plagues upon this film because many of the characters can simply be discarded. Even my friends think Kanae is a nuisance and should not have been in the movie. The second act is also hated by a lot of people because allegedly it is pointless. But, I recommend you reading the manga serialization after finishing the film, because it was intended to be that way. In the serialization you can see that each character will play a larger & bigger part than you expect them to be, in a different way that they are portrayed in the film or the novel.

Conclusion

It does have its weakness and flaws in the characterization and pacing. But, that doesn't change the fact this film will always have a special place in my heart because of its aura of serenity. It has what I think one of the most interesting ending, not forgetting also his most mature to date.

Shinkai has a tendency to give you a linear ending, far different than what this film will offer. This is the only Shinkai's work that has made me sleepless for three straight nights, wondering about the existence of fate and how simple factors such as distance and technology could affect the lives of many.

This is a movie for people who like fresh look of realistic take on romance, not for the faint-hearted who love cheesy romance anime with an unrealistic happily ever after ending or lovers apart but reunited again through some unexplainable forces

P.S: If you are, no matter how loud you deny it like me, still a sucker for a good ending, try reading fan fictions of this work. They will hopefully quench your thirst for vengeance. A little bit of advice, though. I can't bear myself to watch this film from the start to finish again because it will haunt me for the months to come.  See you space cowboy. (wrong anime!)