The Girl Who Leapt Through Time

Watched with family.

It's wonderful to see the complete reverence that Fukamachi has for the diverse plant life of 20th century Onomichi.

Obviously, I still love this film. That it's a movie about memory is something I haven't really dissected in earlier reviews, and I'm not really about to do so, but it's funny to think that something happens which sets your entire path for the future, and you end up not remembering anything about it.

I think that the best moments in this movie are as good as any movie ever made.

"Why am I becoming like this?"

Watched with family.

It's wonderful to see the complete reverence that Fukamachi has for the diverse plant life of 20th century Onomichi.

Obviously, I still love this film. That it's a movie about memory is something I haven't really dissected in earlier reviews, and I'm not really about to do so, but it's funny to think that something happens which sets your entire path for the future, and you end up not remembering anything about it.

I think that the best moments in this movie are as good as any movie ever made.

"Why am I becoming like this?"

Watching with a friend, who, I think, was, like all thinking and feeling people, enchanted.

In some esoteric way, sort of a feminist film, since Kazuko's happiness consists precisely in rejecting the possibility of a domestic life with Goro, who is dead set on doing the thing that he hates rather than finding his own path in life by going to university, a life which wouldn't suit her, either. Instead, she embraces something impossible and undefined, rejecting social conventions, neglecting to seek out love, and emphasizing her own growth as a human being.

I think this film is a victim of expectation, since, like some other Obayashi films I could name, I believe a lot of people go into this movie expecting something zanier or more exciting, but what you get is usually very understated, contemplative, and very often saccharine. It's a mistake to assume that every Obayashi film is going to end up being like House, doubly so to assume that every Obayashi film would be better if it were more like House. That's my opinion, anyways.

i didn't double check this quote so it might be slightly wrong: "Goro, I..." "Can you be quiet for a moment? I don't want this to leak." "Sorry."

Watching with a friend, who, I think, was, like all thinking and feeling people, enchanted.

In some esoteric way, sort of a feminist film, since Kazuko's happiness consists precisely in rejecting the possibility of a domestic life with Goro, who is dead set on doing the thing that he hates rather than finding his own path in life by going to university, a life which wouldn't suit her, either. Instead, she embraces something impossible and undefined, rejecting social conventions, neglecting to seek out love, and emphasizing her own growth as a human being.

I think this film is a victim of expectation, since, like some other Obayashi films I could name, I believe a lot of people go into this movie expecting something zanier or more exciting, but what you get is usually very understated, contemplative, and very often saccharine. It's a mistake to assume that every Obayashi film is going to end up being like House, doubly so to assume that every Obayashi film would be better if it were more like House. That's my opinion, anyways.

i didn't double check this quote so it might be slightly wrong: "Goro, I..." "Can you be quiet for a moment? I don't want this to leak." "Sorry."

Eu entendi certo ou ela se apaixonou por alguém que roubou as memórias dela e forjou acontecimentos? Entendo que o amor pode surgir até do inimaginavel, mas acho que tudo tem limite kk. Fora essa conclusão tenebrosa, muito legal novamente ver como o Obayashi constroi o universo dos seus filmes, tudo é tão vivido e preenchido como se estivesse pulando pra fora da tela. Girl, so confusing.

Eu entendi certo ou ela se apaixonou por alguém que roubou as memórias dela e forjou acontecimentos? Entendo que o amor pode surgir até do inimaginavel, mas acho que tudo tem limite kk. Fora essa conclusão tenebrosa, muito legal novamente ver como o Obayashi constroi o universo dos seus filmes, tudo é tão vivido e preenchido como se estivesse pulando pra fora da tela. Girl, so confusing.

"When one discovers love that transcends reality, is that fortunate or not?"

this movie also has an anime adaptation based on the same book, but i watched the live action due to it being made by nobuhiko obayashi and it didn't disappoint whatsoever. i rlly enjoyed this movie, it feels really nostalgic and even melancholic at certain moments. never has a movie flowed so freely like this has. genuinely this movie was so unique when it came to pacing and structure in its storytelling and it was a joy to watch. this movie is so refreshingly beautiful, i haven't watched a nobuhiko obayashi movie in a while so watching this rlly refreshed and reminded my memory on how great this man was at visual storytelling and how he uses these surreal moments to explore the most random shit. that time travel sequence was actually so fucking beautiful and i could've watched that for years, the music playing in the background while these experimental like stop motion shots were in the background with these rlly silly edited clocks and blue screened characters floating around was so strange and visceral and i loved it. this movie has such a great impact on my thoughts on love, u never truly forget someone, despite if u forget their name or their personality u will always truly remember someone in ur heart. that's what this movie taught me, the romance in this was just fantastic. the themes of manipulation and time travel both worked so well and this being made by nobuhiko obayashi is just so genius, he's one of the most underrated film makers and even tho house/hausu is really popular i do wish the rest of his filmography got popular and more noticed because they're all really good and all (imo) have the same energy that hausu did, visual wise and energy wise.

good movie

"When one discovers love that transcends reality, is that fortunate or not?"

this movie also has an anime adaptation based on the same book, but i watched the live action due to it being made by nobuhiko obayashi and it didn't disappoint whatsoever. i rlly enjoyed this movie, it feels really nostalgic and even melancholic at certain moments. never has a movie flowed so freely like this has. genuinely this movie was so unique when it came to pacing and structure in its storytelling and it was a joy to watch. this movie is so refreshingly beautiful, i haven't watched a nobuhiko obayashi movie in a while so watching this rlly refreshed and reminded my memory on how great this man was at visual storytelling and how he uses these surreal moments to explore the most random shit. that time travel sequence was actually so fucking beautiful and i could've watched that for years, the music playing in the background while these experimental like stop motion shots were in the background with these rlly silly edited clocks and blue screened characters floating around was so strange and visceral and i loved it. this movie has such a great impact on my thoughts on love, u never truly forget someone, despite if u forget their name or their personality u will always truly remember someone in ur heart. that's what this movie taught me, the romance in this was just fantastic. the themes of manipulation and time travel both worked so well and this being made by nobuhiko obayashi is just so genius, he's one of the most underrated film makers and even tho house/hausu is really popular i do wish the rest of his filmography got popular and more noticed because they're all really good and all (imo) have the same energy that hausu did, visual wise and energy wise.

good movie

Within five minutes, I find myself thinking the same thing I do every time I watch one of Obayashi's films: was this man the greatest of all time? Maybe it's just that I connect with his films more than most. I guess I'm talking about most people and most films as well, since I both connect to his films more than most people, and I connect more to his films than most other films.

In the middle there's a really funny stretch where Kazuko hasn't yet realized she's moving through time and is just really surprised that everything that happened yesterday is happening again. The gloominess that creeps over the film with the slow realization that something's deeply wrong is kind of awesome, and it connects to the love story of the film, in the process expressing the anxiety of young love.

The ocean scene is so amazing I don't even know where I could possibly begin. This is a director who could do anything with nothing. More than any other director, he makes me believe in the power of film. Love, memories, poetry, science fiction. Fukahashi's betrayal cuts deep, an emotional wound represented by the scar on her hand which she tells Fukahashi is dear to her. In the end, she forgets him but that wound still forms her, and she becomes a pharmacist like him without ever marrying. Did I mention that this film has musical sequences? It's got every fucking thing. I'm rambling because the fullness of my feelings for this film are immense.

I felt almost like she should have settled for Goro. But, then again, is it really better to settle, or is it a better life to aim only for what you want most without any regrets? I think maybe the secret message of the film is that we can only make the future better by living without reservations like that.

Oh yeah, Tomoyo Harada starring in this one. I really loved her in it, and I'm watching through the TV adaptation of Sailor Suit and Machine Gun right now as well, where she's absolutely adorable. She inspires a sort of protective instinct which fits either role fabulously well.

"Fukamachi...I beg you." "Why do you say that all of a sudden?" "Don't think I'm a strange girl." "I don't think that." "Could I take a look at your pajamas?" "Pajamas?"

alt. quote: "Unbelievable." "What?" "It's winter on the mountain, but it's spring at the bottom. Finally I understand, time is going bit by bit, like this." "Yoshiyama, you're quite a poet." "She's reached the thinking age." "All she talks about is something surreal, of passing time."

alt. alt. quote: "Now it's time for us to part." "Already?" "Yes." "No! No! I don't understand this. My heart aches, why's that? I don't understand. Is this love? Do I love someone? Is this love?" "You'll understand some day." "But I'm running out of time. Why does time pass by?" "Time isn't the past, it's the future." "Will you come back?" "Maybe. Maybe one day." "Then answer me, will we see each other again?" "Yes, but you won't recognize me. You'd only see me as a stranger. And there's no way for me to look you up." "I'll know." "Goodbye." "Goodbye, I'll never forget you. Goodbye."

Within five minutes, I find myself thinking the same thing I do every time I watch one of Obayashi's films: was this man the greatest of all time? Maybe it's just that I connect with his films more than most. I guess I'm talking about most people and most films as well, since I both connect to his films more than most people, and I connect more to his films than most other films.

In the middle there's a really funny stretch where Kazuko hasn't yet realized she's moving through time and is just really surprised that everything that happened yesterday is happening again. The gloominess that creeps over the film with the slow realization that something's deeply wrong is kind of awesome, and it connects to the love story of the film, in the process expressing the anxiety of young love.

The ocean scene is so amazing I don't even know where I could possibly begin. This is a director who could do anything with nothing. More than any other director, he makes me believe in the power of film. Love, memories, poetry, science fiction. Fukahashi's betrayal cuts deep, an emotional wound represented by the scar on her hand which she tells Fukahashi is dear to her. In the end, she forgets him but that wound still forms her, and she becomes a pharmacist like him without ever marrying. Did I mention that this film has musical sequences? It's got every fucking thing. I'm rambling because the fullness of my feelings for this film are immense.

I felt almost like she should have settled for Goro. But, then again, is it really better to settle, or is it a better life to aim only for what you want most without any regrets? I think maybe the secret message of the film is that we can only make the future better by living without reservations like that.

Oh yeah, Tomoyo Harada starring in this one. I really loved her in it, and I'm watching through the TV adaptation of Sailor Suit and Machine Gun right now as well, where she's absolutely adorable. She inspires a sort of protective instinct which fits either role fabulously well.

"Fukamachi...I beg you." "Why do you say that all of a sudden?" "Don't think I'm a strange girl." "I don't think that." "Could I take a look at your pajamas?" "Pajamas?"

alt. quote: "Unbelievable." "What?" "It's winter on the mountain, but it's spring at the bottom. Finally I understand, time is going bit by bit, like this." "Yoshiyama, you're quite a poet." "She's reached the thinking age." "All she talks about is something surreal, of passing time."

alt. alt. quote: "Now it's time for us to part." "Already?" "Yes." "No! No! I don't understand this. My heart aches, why's that? I don't understand. Is this love? Do I love someone? Is this love?" "You'll understand some day." "But I'm running out of time. Why does time pass by?" "Time isn't the past, it's the future." "Will you come back?" "Maybe. Maybe one day." "Then answer me, will we see each other again?" "Yes, but you won't recognize me. You'd only see me as a stranger. And there's no way for me to look you up." "I'll know." "Goodbye." "Goodbye, I'll never forget you. Goodbye."