Anime: Byousoku 5 Centimeter

Critic’s Log - Earthdate: November 19, 2013. Review #68: 5 Centimeters Per Second

Let’s countdown! 1…2...3...4…5 Centimeters Per Second.

This is a tale of two people, Takaki Tono and Akari Shinohara, who were close friends but gradually grow farther and farther apart as time moves on. They become separated because of their families yet continue to exchange contact in the form of letters. Yet as time continues to go on, their contact with one another begins to diminish. Years pass and the rift between them grows ever larger. However, Takaki remembers the times they have shared together, but as life continues to unfold for him, he wonders if he would be given the opportunity to meet Akari again as the tale embarks on Takaki's realization of the world and people around him.

To be technical, this is a CoMix Wave Inc. production and there is a high chance you have never heard of this studio before, just maybe. I can say that CoMix Wave is a studio that can potentially rival Studio Madhouse. Why? Because the animation in this film is unbelievable. The backgrounds, the movements, the visuals, and the designs are astounding and very appealing to look at. This is a movie that can be animated beautifully without throwing in action scenes of any level. I will say that the character designs can be seen as hit and miss, but this is not something I think is worth being picky about I guess. I actually was okay with the character designs. Regardless of the design of characters, The movie still looks amazing.

The music by Tenmon compliments the movie very well. The piano pieces fit with the soothing imagery in the movie, even though the story isn’t as “soothing” as the visuals and music, but none the less it does compliment the movie. Tenmon might be known for his involvement in Ef: A Tale of Memories, and Ef: a Tale of Melodies (for those that have seen it) Tenmon is usually picked by Makoto Shinkai when it comes to his movies, so I can see why he was picked. The soundtrack may sound generic, but it fits. The ending theme song “One More Time, One More Chance” by Masayoshi Yamazaki is a nice song but might not be memorable for some. Take it or leave it on that particular song I guess. The music is pretty good if you want it to fit in with the movie, as far as outside of it. It’s not too listenable to some people.

When voice acting is concerned, The Japanese cast sounds natural. This is something to be expected with this kind of film. I am totally fine if there are no big name seiyus in an anime. I do like to hear some new talent from time to time. However, the casting isn’t phenomenal on their part, but I still think it’s fitting. As with the dub, well… There are two dubs to this movie. First was the ADV dub and then the Bang Zoom! dub (which I’ll call it the “Bandai Version”). I’ll start with the ADV dub… It’s Terrible! David Matranga sounds off, Hilary Haag has had better roles, and Serena Varghese is… gee, I don’t know… maybe not worth noting about!!! This is not a good dub and I think there could be a potential reason as to why. It turns out the ADR director for this dub is Steven Foster. When I reviewed Highschool of the Dead and thought the dub was terrible not only because of the casting but because of how irrationally different it is to the original Japanese script in terms of adapting it to the English Version. Surprisingly, the dub stays true to the original Japanese script, but the major problem is the casting. This dub is terrible and sometimes English Dubs tend to get mixed for me whenever ADV was involved in it. Princess Tutu was one of the ADV dubs I thought was a good dub. For some reason, ADV Films’ license of this movie expired and Bandai rescued it at that time. They decided to re-dub the movie, probably because ADV’s dub was a total FAIL! and the Bang Zoom! dub is a hit and miss. Johnny Yong Bosch plays Takaki Tono and is a much more better choice than David Matranga, but he could have been better in this one. Don’t get me wrong, I think Johnny Yong Bosch is a wonderful voice actor, but I think there are a few roles where I think he really shines at. Kira Buckland is decent in this movie and that’s pretty much it. Alex Von David does do a decent job for ADR direction and he does give a far more tolerable dub than the ADV dub. But if you want better casting, stick with the Subtitled Version on this one if that’s the case.

If there is one thing I should point out about the movie, It is that there isn’t too much going on with the characters, but there was a reason for it. This movie is actually has 3 parts and they all feel like short films, but it still has a linear narrative. These 3 segments are actually showing the specific stages of the main characters’ lives. The first segment during their elementary school days, the second in their high school days, the third in their adult life. There isn’t much character development except that you will have to fill in the blanks. The characters aren’t really the weakest factor in this movie, This is actually acceptable because even though the characters are generic and normal. The characters are relatable and a viewer could find that they’ve been in a similar scenario before. The characters aren’t really interesting, but they are portrayed realistically in a sense, which leads me to the story...

The story is told in 3 parts, Cherry Blossoms is a strong segment and in my opinion, it is the best segment of the entire movie. The visuals, and even the love story is pretty good. Cosmonaut is almost a mixed bag, but I can see where this one was going. I won’t go into detail much on this one, I think you should see it for yourself. As for 5 Centimeters Per Second which really is what the 3rd segment is called, It is a bit questionable but it has a fitting end for what it was going for. This film lasts only an hour and It is one of the finest modern achievements in animation. What I won’t understand is why people say that he is “The Next Miyazaki”. *Sigh* Do I even need to tell you about Miyazaki-san? Hayao Miyazaki is a beloved animator and he has made charming, magical, and even thought-provoking animated films. I am one of the many that loves his movies. He is a very special name when it comes to anime. Makoto Shinkai is a great visionary when it comes to his feature films. But I don’t think his storytelling is of the same caliber as Hayao Miyazaki, but I will say that this was a touching movie. If you want to see great modern animation, I strongly suggest you see this.

5 Centimeters Per Second was available by ADV Films, obviously that was out of print until Bandai Entertainment rescued it, and...it is out of print again. However, it is available on Crunchyroll with both the Subtitled Version and the English Dub. However, it only has the Bang Zoom! Dub. The Novel written by Makoto Shinkai never made it overseas, but the manga written by Makoto Shinkai and illustrated by Seike Yukiko is available by Vertical Inc.

With all that said, 5 Centimeters Per Second is a very astounding animated film. It has beautiful animation, complimentary soothing music, realistically portrayed characters, and a story that may have not sit well for some but with a movie about relationships (which I won’t go into detail for the sake of this review), at least it was portrayed on a realistic sense. This movie is a must-see. If the first 5 seconds of animation appeal to you, then the rest won’t disappoint.

I give 5 Centimeters Per Second a 9.2 out of 10, it is EXCELLENT!

Critical, In-Depth, Point-by-Point Film Analysis of Makoto Shinkai’s 5 Centimeters per Second

Important aniDB notice: this review/analysis targets viewers, interested in the specifics of this great movie. Because of that, it contains MAJOR SPOILERS which can ruin your viewing experience. Therefore it is NOT suitable for those, who want to watch the movie, free of any
subjective or objective expectations. Although published, feel free to refer to it as you please. Thank you for your attention.

Byōsoku Go Senchimētoru or 5 Centimeters Per Second is an animated feature film from the renowned for his experimental animation and scenic brilliance Japanese director Makoto Shinkai. Widely regarded as Romance/Tragedy, 5 Centimeters is an unorthodox, impressionistic flick, which relies heavily on scenery, atmosphere and monologs to build up the inner worlds of its highly 3-dementional characters. Similarly to all of Shinkai’s films, 5 Centimeters relies heavily on its outstanding visuals while leading the amazed viewer on a miracle trip of mutual and unrequited love, distance and dreams as its main protagonist slowly and painfully learns the ways of the grown-up world.

5 Centimeters consist of 3 very individual, yet connected, segments (Cherry Blossoms, Cosmonaut and 5 Centimeters per Second) which total about an hour runtime. Each of them is cinematographicly brilliant and beautifully sound-tracked by the outstanding piano of the composer Tenmon. Yet, in terms of thematic scope; even though the themes of distance and growing up are build upon throughout the film, until the last-second climax; the three segments offer surprising diversity.

Segment 1, Cherry Blossoms

Character(s):

The two main characters in this segment are Takaki Tono and Akari Shinohara. They are shown in their elementary-school years, where they befriend each-other and due to their similar interests, develop a very close relationship (addressing one-another without honorifics, like they do, is considered very intimate in Japan). Due to their families moving away, however, they are forced apart and we are informed of how their relationship progresses by Akari’s letters, read in monologues, and Takaki’s flashbacks, also narrated as monologues. Both share one last meeting and their first kiss, before drifting away from each-other.

Theme(s):

Fated Lovers – both Takaki and director Shinkai stress in monologues and in the multiple two-shots that Takaki and Akari were fated to meet and that their first love will have a profound influence on their future lives.
First Love – the most sweet-and-sour experience of one’s childhood and as painful as it is unforgettable. This is a key theme to the future development of the main male lead, as well as the foundation of two dominant themes – distance and dreams.
Distance – the most profound theme in all of Shinkai’s films. In segment one, the theme of distance is used to show how even the closest of hearts can drift apart when faced with a cumbrous, difficult and hard-to-bear long-distance relationship. Yet waiting and longing and going through many difficulties, Shinkai implies with his camera close-ups and vivid imagery of a turbulent nature and lone birds in flight, only makes some hearts grow fonder.

Plot

In terms of plot-developing devises, attention must be paid to:
Muting – unorthodox technique of muting some conversations, leaving them in subtitles. Used to draw attention to an important scenic tableau or to emphasize the BGM – extensive use throughout the entire movie.
Flashback/Retrospection – used to add more depth to the already highly 3-dementional characters, while also offers to insight to the inner world of the main protagonist through his remarks and commentaries.
Monologues – even by Japanese standards, 5 Centimeters is considered rather slow-developing. That is mainly due to the fact that it utilizes monologues over dialogs to deliver its messages. Also, as 5 Centimeters is a scenic, landscape-background feature, it relies on monologues as means to not interrupt the continuous flow of picturesque, background frames.

Style and Camera Techniques

In a nutshell, Shinkai is all about style. And intriguing blend of emotions and aesthetics, the entire movie utilizes the full capacity of camera one-shots, two-shots (always dulled, placed painting-like in front of outstanding backgrounds), the entire range of extra long-shots to impressive (sometimes full, sometimes cut or profile) close-ups. The camera makes full use of the innate capacity of animated movies to change angles rapidly and utilize every possible and impossible viewpoint there is. All these rapid changes would have become chaotic in any other hands but those of Shinkai. His careful, but brisk directing makes movements between angles, rapid changes between backgrounds and the all-important close-ups as fluid as the downstream of a great river.

Setting and Atmosphere

Setting is always important in any form of Japanese art. The first segment, Cherry Blossoms, makes no exception, as it follows the main characters through the spring of their youth and love under the blooming cherry trees into the winter and end of their relationship and hopes, when fear and uncertainty make them suppress whatever inner-feelings they possess.

Segment 2, Cosmonaut

Character(s):

This segment focuses on Takaki, now 3rd year in high school and on Kanae Sumida, a classmate of his, who had been in love with Takaki since she met him in middle school. This happens after he moved from Tokyo into Kagoshima Prefecture. Kanae is uncertain about most of the things in her life beside her unrequited love for Takaki, who treats her as a good friend. Through her painful love and anguish, however, she manages to grow as a person and, upon finally understanding there is no way to turn Takaki’s attention toward her, decides against telling him how she really feels. Takaki himself has grown into a somewhat secluded young man, not willing to let go of his past love and unable to escape from the dreams that haunt him, is oblivious of his present – his eyes forever set on the horizon and beyond.

Theme(s):

Unrequited Love – as this second segment is lead by the female character, we can easily see her anguish and uncertainty, her strong feelings shine through her acts and monologues, which offer commentary and flashbacks. Her love might not be destined to bloom, but through the process she grows as a person.
Stuck in The Past – at the same time Kanae grows up and learns how to give up, we see Takaki, who is still lost in the past, still painfully in love. His characterization is almost mute and emotionless, his character – nearly flat. Unable to give up or forget, he is still living in his past.
Seishun – Japanese term indicating the “springtime of youth”. Fully applicable to the entire work, this term shows that the characters come through all those pubescent vicissitudes that will eventually help them grow into fine individuals.
Dreams – the second all-present theme in the movie delivers its most important messages in this second extract in the form of mystical (Shinkai’s affinity towards the unknown, phantasmal worlds is well-known), surreal, backgrounds – tapestries of twisted colors, warped landscapes and space distortions, plus all-important two-shots of Takaki and, supposedly, Akari.

Plot

In terms of plot devices, segment two relies just as heavily on monologues as segment one did and also offers a few flashbacks. The difference lies in Takaki’s static and mute characterization. As, unlike segment one, his monologues are quite abstract and iffy round the edges, we rely on a few segmented dialogs and most importantly – on his surrealistic dreams, which offer a clear-cut glimpse into his inner thoughts and yearnings.

Style and Cam-Tech/Setting and Atmosphere

From the dead of winter, we are transferred into mid-summer. Rural landscapes make this segment feel like a fairy tale in the making. Surfing and archery offer exciting chances to use multi-angle camera shots, soft focus, fluid animation sequences and slow-motion, wind-to-water reflections (fluid camera movement, catches wind ruffling hair and grass; slow-motion shots catch droplets of water that glisten in the air before falling down). In a more profane way of expression, background and atmosphere are made ideal for catching “eye-candy” close-ups and long-shots.

Segment 3, 5 Centimeters per Second

The last of all segments, it is the thematic climax of the work and, unsurprisingly, defines its name. It fast-forwards into year 2008, when Takaki has graduated and is working as a computer programmer in Tokyo, while Akari is, separately and without him knowing, moving on with her life and preparing to get married.

Character(s):

Takaki, having become slave to his work due to his unresolved feelings is unable to give up and, as reprimanded by his ex-girlfriend – unable to form a sincere romantic relationship. Living his days without purpose, haunted by his past love, he finally decides that he had lost too much of his innocence and the pureness of his former feelings. Emotionally broken down, he decides to change his ways and quits his job. It is then when he has a dream of him and Akari in their younger days. Akari, however, has managed to move on and is about to get married, when a letter from before reminds her of her first love and she has the same dream as Takaki. Kanae is only briefly featured in this last segment.

Theme(s):

Obsession – Takaki’s strong, obsessive feelings for his past have a profound impact on his present, his romantic and work life, his emotional and mental state. Unable to shake these feelings, he tries to change his lifestyle in order to suppress them.
Distance – the most profound of all themes in 5 Centimeters, the theme of distance finds its climax in this last segment. Often seen as the guru of analyzing how distance affects human relations, Shinkai is at its best, showing us that physical distance not always leads to emotional separation, but even if doesn’t, the right way might be to suppress one’s feelings; as Takaki would much like to do; or to simply let go and move forward – like Akari, not without some regret (visible in some of the close-ups and the fast-reel flashback scenes), does.
Moving Forward – the emotional climax of the growing-up theme – adults must learn when persistence is no longer an option. A kid can afford to be obstinate, lost in dreams or unable to face reality; a grown man, however, must learn when to give up. It’s a lesson Takaki has to learn the hard way.

Plot

Monologues and flashbacks are still as dominant, yet here we find other devices as well. First, the segment’s first few seconds and last few seconds are supposedly a flash-forward (there is a number of ways to interpret this movie’s ending – of all, this is my personal favorite) into a moment in spring, when Takaki has almost settled his feelings, is over his emotionally-unstable days and needs just a little push to finally give up and move on. Second, we can sense a definite build-up, unnoticed till the last segment, further emphasized by the first few seconds of the last part and demanding some sort of a resolution. Third, instead of BGM, the last minutes of the movie, which consist of fast-reel flashback scenes are taken up by a song (One More Time, One More Chance), written and performed by Masayoshi Yamazaki. Untypical for the western-movie mindset, this little curtsy towards the anime fandom is duly appreciated.

Style and Cam-Tech/Setting and Atmosphere

Different angle-shots, zoom-ins on the character, ped-ups, where there were ped-downs in the second segment mark a tremendous diversity of camera techniques. All very fluid and non-puzzling to the viewer, too. Atmosphere is predominantly dark, with a creeping feeling of angst and unrest. Season is duly chosen to be winter, first snow-falling.

Ending

Due to its dubious nature, the ending deserves some elaborative remarks. First, although the movie lacks real resolution or conclusion, the ending as it stands is not purely open. From this point on, I embark on a little journey of self-asserting subjectivity. The flash-forward which frames the last segment, forming its few-seconds beginning and end consists of Takaki and Akari’s incident meeting on a train crossing in spring, when cherry-petals fall down (quite symbolically meaningful). After crossing, they both start to turn; having recognized each-other; but a passing train separates them. When the train passes, the only one looking is Takaki, Akari has already left. Then he smiles, at first sadly, then more confidently, turns around and walks on. There are two ways of interpreting that I find equally viable. First, this is a real even and the final push Takaki needs to finally make peace with his past. Although he is confident that they’d both turn around, he finds out he was wrong, Akari has moved on and so must he. Second, this is a symbolic retelling of their relationship, both of them standing on a crossing in their lives, the train of time and the distance between the level crossing gates, which cannot be breached. That fact that Akari chooses not to wait does not make her a bad person per se, it only makes her more grown-up and level-headed. As for the dreamer Takaki, his place is no longer in the past – he has his own life to live and his final smile indicates, that he is finally ready and willing to let go and to move on.

Watching a Shinkai’s movie is an experience, rivaled only by watching a Ghibli, Disney or Pixar flick, while the latter two might sometimes stand to question. Animation is slowly but certainly moving out of the shadows of its “labeled-for-kids” curse and moving right where it belongs – into the frontlines of the industry. Saying Shinkai’s 5 Centimeters per Second had a hand in this would be an overestimation, no doubt, but it did have a hand in slightly altering my own mindset and view of the world. For that alone, if not for all its undeniable qualities, it deserves praise, for a single man changed is a whole world conquered.

5 Centimeters per Second or Byousoku 5 Centimeter is one of the most beautiful movie(s) I have ever seen! How can you not love it? It proves that you can make a really good thing out of a really simple plot!

Animation: Watch the first minute. Do I even have to say anything else? No really, do I?! That one minutes says much more than what I could ever say. It's just as they say, a picture speaks more than a thousand words. I really can't explain how incredible this movie looks, it is like this "If you look up Beautiful Animation in the dictionary, 5 Centimeters per Second is the thing that's gonna show up".

Sound: Solid performance by a lesser known voice cast. None of the seiyuu's have performed in a lot of different animes ('cept for one) that makes them famous. But even so they all still manages to deliver their lines extremely well. Oh and need I even say that the ending song One More Time, One More Chance by Yamazaki Masayoshi is maybe the best japanese song I have ever heard, EVER? I mean... Just wow... How can you not love it? The fact that it's actually a song from 1997 makes it even better, because it's a classic!

Story: The story is pretty much a love story split into 3 parts. Each part is about one male character and his relationship with 2 different girls during 3 different time periods. Now, the basic story and premise is very simple, but they somehow made it work extremely well. Don't really know how they managed to pull it off, but as long as they did I'm happy.

Character: You got three main characters; The main male lead Toono Takaki, his crush Shinohara Akari, and the girls who's got a crush on Takaki, Sumita Kanae. They are all very well developed and I see no reason how you could even dislike even one of them. The only really main problem in this department is that there are too few characters in the movie's progression. But that's really just a minor complaint that doesn't bring down the enjoyment one bit.

Value: Despite it being slow at times, it still worth a rewatch any day. There are so many reasons to wanna rewatch this one again, wether it's the music, the animation, the characters or just for the story.

Enjoyment: Well, if you're finished reading this review, you should perfectly now know why this movie is just so goddamn entertaining and enjoying to watch. If not, then let me tell you it again: IT'S GODDAMN ENTERTAINING AND ENJOYING!

So all in all, if you want a really romantic anime with a simple yet deep plot, then this is the perfect anime to watch!

5CM per second is the speed at which a Cherry Blossom leaf falls to earth - and if you know Japanese Anime, Cherry Blossoms = Romance.

The series is excellent in its ability to capture the essence, thoughts and feelings a protagonist goes over after his first love. The magical memories, the last gasp attempts at seeing her for the last time are elegantly captured.

Relationships are a double-edged sword, they have the power to change a person for the better, or, in this case, tie a person down - stunting their interpersonal growth. The conclusion of the series does a superb job of highlighting the effects of that first love - how each person was either able to emotionally mature as a person, or remain stunted by their inability to find closure and carry forward.

This is by far a sad and bittersweet series, but very well written and executed. This show will resonate with those who went down the path of the Protagonist. Many will say that this series has a sad ending, but I view it in a different light. The true ending of the show is what it changes in the viewer AFTER they watch the show - and this truly made me appreciate my wife all the more because of it.

And that, in my opinion, is what a mark of a good show ought to be.

5 Centimetres Per Second is a beautifully animated film by director Makoto Shinkai. It takes its name from the rate at which cherry blossom petals fall – cleverly used as an allegory for the story, speaking to the slow pace of life and the way people start out together but eventually drift away on their own separate paths. It is told in 3 episodes over 62 captivating minutes of loneliness and longing during their childhood, adolescence and adulthood.

Shinkai manages to convey emotions with crystal clarity, making it easy to relate to the central characters and reminisce over your own lost romances. The episodes are mainly accompanied by monologue, a simple piano score and lots of trivial but engrossing scenery. The sparse dialogue adds to the feeling of loneliness and lets the beautiful animation take centre stage. Scattered throughout are many transparent parallels cleverly used to show progression while in reality their love, over time, grows apart as they slowly lose touch.

The first episode introduces us to the central characters, Takaki and Akari, in their childhood. They’re portrayed as social outsiders who find security and comfort in each other. The bond they form is a strong one, unshaken by separation as one family relocates to a town far away. Shinkai paints a perfect picture using the cold lonely winter as contrast to the happy times they spent together in the springtime. The letters they wrote to each other over the summer sparingly talk of trivial things which brings these characters, and their growing love, to life.

They arrange to meet and as Takaki makes his way on the train, heavy snowfall causes constant delays. What started as a happy trip turned into a bitterly depressing journey that seems to be intent on keeping the young lovers apart. It is very easy to sympathise with Takaki, stopped dead in the middle of nothing with the biting cold and growing hunger adding to his sinking mood. With nothing to do but cycle through memories and add to his growing concern, he watches the clock almost stop ticking, each second a cruel one. It was such a joy to be moved by this scene, to find something so singularly perfect in an anime.

The second and third episodes only manage to decline in quality. It was always going to be hard to top the first episode which is perfect in every way. The second part takes us a few years ahead to their adolescence. We meet Kanae who is secretly in love with Takaki and is desperately trying to build her confidence to confess her love. Takaki, for his part, has lost touch with Akari although he writes her text messages which he never sends. If a bit slow, the scenery makes up for the pacing.

In the third part, now an adult, Takaki works in busy Tokyo. Some cherry blossom petals float in his room, drawing him back to a time when his romance was like spring, fresh and full of possibilities. He knows he has lost his way and everything seems to come back to a single point in his life. It was a bit disappointing to see the film end with a pop song montage which felt out of place, rushed and had little closure. On second though, when there is no closure for Takaki, what can the director offer us?

Despite the declining quality, this film is worth seeking out if only to stare at the beautiful animation full of unique detail you will never find in a clinical Pixar offering.

Comix Wave Film’s debut as an animation studio proved to be a tour de force, leaving scant room for criticism regarding its animation or the soundtrack. High budget, fitting with the overall mood of the story, and transmitting the proper emotions to the viewer. Despite the setting being a mundane city inhabited by ordinary people, living average lives, each facet was rendered with extreme detail and proper use of BGM. It’s like the real thing, only animated. Also lots of cloud scenes. SO MANY CLOUDS!

The plot is simple, as it’s just about two people gradually becoming distant as they grow up. The pacing can be a bit jarring since there are time skips that jump entire years of gradual character development. Years that the viewer does not get to see, thus making it hard to empathize with the gradual dissolution of the protagonists’ bond, occurring off-screen. This issue would be fixed only if the movie was 2 hours longer or a 24 episode series. In both cases the dramatic impact would have been watered down since it would demand from you to be emotionally invested for several hours in a row. Something which would be taxing for most people and thus a different issue altogether. Keep in mind that this is not a moe type of story, with cute girls, guitars, puns, cakes and slapstick. It is a story about average people doing average stuff. And it is about fleeting moments of emotional resonance, which never last much. Resorting to time skips in order to get to the point and showing only key events is a fine way to maintain that feeling. If you were watching a lengthier story you would end up not caring about them as much as they did for each other.

Another notable criticism is the reliance on narration to tell the entire story. Because as a rule of the thump, it is better to show something than to tell it. It can somewhat get away with it by being more about inner monologue than an infodump, but yes it can be an issue if you want the imagery to speak for itself.

The ending is sad since those two don’t failed to reconcile and rekindle their romantic entanglement, elicited mixed responses from fans accustomed to the trope of saccharine endings. Expecting a fairytale ending all the time is only self-sabotage and not a problem with the film.

As a whole, the film stands as a commendable slice-of-life drama that can easily trigger people who are predisposed to its thematic idiosyncrasies.