User Reviews

Gorō Miyazaki returns after his 'not so impressive' Tales from Earthsea in 2006, with a wonderful adaptation of Tetsuo Sayama and Chizuru Takahashi's 1980s manga. After gaining negative reaction, including winning the 'Worst Movie' and 'Worst Director' awards in the 2006 Japan's Bunshun Raspberry Award, many have been apprehensive towards Gorō's next project. This criticism has certainly hurt Gorō reputation, but it all seems too critical. Many seem to forget that Tales from Earthsea was his directorial debut, and with his father being the great Hayao Miyazaki, it was always going to be tough for Gorō to make a spectacular first impression. However From Kokuriko Hill is a fantastic addition to Studio Ghibli's strong filmography and certainly proves Gorō Miyazaki has enough cinematic and animation knowledge to work under the prestigious banner. It's charming, funny and refreshing after the constant magical and fantasy approach of the studio, and Japanese animation in general.

The story takes place in Yokohama in 1963, where we follow High-School student, Umi Komatsuzaki. She looks after her grandmother, younger brother and sister, whilst completing the housework. Each morning she raises her 'Safe Voyage' flag, and heads to school. After witnessing a stunt by the 'Culture Club', Umi meets Shu, a fellow student who is 'second-in- command' of the club, and Shirou, the President of the Student Council. It is this new found friendship and relationship between Shu and Umi which builds and matures revealing an intertwining background and charming romance. Alongside this character-driven story is the struggle occurring between the high-school and the various students of the 'Culture Club'. The dilapidated building filled with history and memories is being threatened to be demolished. It's up to the students to convince the 'adults' that their creation and interests are preserved.

Written by Hayao Miyazaki and Keiko Niwa, the story is realistic and historic in theme. Gone are the cutesy, magical monsters and characters, as well as the environmental commentaries Studio Ghibli is best known for. Instead From Kokuriko Hill deals with the 'Rise of Post-War Japan' and the incoming Tokyo Olympics. The film certainly creates a fitting atmosphere. Shots of Japan's growing exporting and importing industries, office businesses and the hustle and bustle of Tokyo, clearly indicate the modern transformation of the country. We also experience the tragic nature of the Korean War and the impact on families and friends. The story also focuses on the widening gap/ split between traditional Japanese culture and the modern, business age. It was during this 'miracle' period where Japan looked forward, rather than back, and the contest between the 'school' and the 'students' dramatise this theme. The contrast between the old buildings and industries of Yokohama, and the trains, cars of Tokyo symbolise the changing ideologies and philosophies of the nation.

While it may sound very mature when compared to previous Studio Ghibli's films, it still deals with adolescents in a adult world, like Nausicaa and Laputa. However whilst magical characters and mysticism connect with the imaginations of children, From Kokuriko Hill uses its high-school environment and the sincere, pure nature of childhood relations to connect with younger audiences. It's the characters that help with the portrayal of the story and the bring these environments and themes to the screen. And they are fantastic. While not as memorable when compared to the likes of Chihiro (Spirited Away) and Totoro (My Neighbour Totoro), they still possess enough personality and charm for the audience to care for them. We are introduced to various different students, all whom have different personalities. However the film focuses on the main characters of Umi and Shu and therefore unfortunately leads to other characters not being fully explored or developed to the same extent. Umi is beautifully portrayed and developed. Her calm, mature exterior hides her damaged background. We experience the loss of her father, and the growing pressure and responsibility she has gained with her mother studying abroad. Meanwhile, the strong-willed, charming personality of Shu, also obscures an uncertain background that becomes clearer with the relationship with Umi. Gorō and the writers have carefully constructed the characters and story, achieving a steady pace that allows for a deeper exploration into From Kokuriko Hill's world.

The film looks amazing. After the spectacular animation of the previous Studio Ghibli production Arrietty The Borrower, it would seem impossible to top the artistic achievement of that film. However From Kokuriko Hill manages to. With its detailed interiors and sublime visual portrayal of Yokohama and the coast, its simply jaw-dropping to see the painstaking animation, artistic competence and talent that was involved in creating such an beautiful film. Clever sequences of animation liven up dull scenes like climbing stairs, as the 'camera' constantly follows the characters rather than having still 'shots'. Alongside the fantastic animation is the soundtrack which is brilliant as always. Satoshi Takebe mixes long-flowing orchestral pieces with lively, jazz-like tunes like those of Kiki's Delivery Service. It all adds personality to each scene without over-powering or distracting from the visual nature of the picture. Aoi Teshima 'Summer of Farewells' is a fantastic theme song, that remains in the memory well after the end of the film.

Overall, From Kokuriko Hill is a wonderful piece of animated cinema that certainly shows Gorō Miyazaki growing talent. Not only is it a beautiful work of art and song, but it's a triumph in story-telling and character development. While it isn't as memorable as the likes of My Neighbour Totoro and Spirited Away, and moves away from the magical essence of Studio Ghibli, it is still is impressively constructed and directed. And with the unfortunate inevitability that Hayao Miyazaki, Isao Takahata and Toshio Suzuki won't be around forever, it is reassuring that young artists and directors are successfully proving themselves as the future of Studio Ghibli.

8/10

From Up on Poppy Hill brings its two protagonists together in highly moving and romantic fashion, skilfully drawing upon the very pretty port and naval setting and emotionally charged historical backdrop to give their relationship a picture perfect start. Unfortunately for them, this doesn't last.

Umi and Shun have barely begun to develop feelings for each other before a plot twist puts the kibosh on their budding romance. This is tragic for them and disappointing for us, since we haven't had enough time to grow attached to their coupling before they are torn apart. We are further let down when the brief albeit beautifully treated scene portraying Umi's despair fades into a series of scenes showing her muted resignation as she defeatedly yet doggedly goes about her everyday life, managing to remain friends with Shun. Although this juxtaposition of scenes is aimed at creating a sense of pathos, the film does not explore her grief for long or deeply enough to maintain the pang of empathy one feels for her predicament. Following these weak bubbles of heartbreak, even the carefully designed climax did not evoke the sense of glorious relief that I wanted to feel when their plight was eventually resolved.

Meanwhile, the other main storyline (the restoration of the school clubhouse) proceeds a tad too smoothly and predictably to stir up tension and anticipation regarding its ultimate fate. The students coordinate harmoniously; the chairman of the school board ends up being sympathetic to their cause. They clear the obstacles in their way with ease and according to plan. It's still enjoyable to watch, but not as fulfilling as it would have been if the challenges had seemed more daunting.

If the question of Shun's parentage had been more deftly handled, this film could have had an emotional impact similar to Only Yesterday, which has a poignant if perhaps unrealistic ending. Unfortunately, issues with the timing and pacing of the main events and a rather emotionally timid and conservative storyline prevent From Up on Poppy Hill from achieving such an effect. It still has many things going for it: two determined, idealistic leads, humorous and/or beautifully animated scenes and a distinctive and nostalgic background, but they can't entirely make up for the shaky plotting. It's worth viewing, but tailor your expectations accordingly.

Compared to Miyazaki Goro's debut film, Tales of Earthsea (2006), Kokuriko-zaka kara is a film much better made, perhaps because the script is written for the film itself by Miyazaki Hayao (whereas Tales of Earthsea was adopted from a novel). The story revolves around adolescent romance between a strong, independent girl named Umi who takes care of her family's lodging business while her mother is away and her father having passed away from the war, and Umi's upperclassman. Umi falls in love with Shun, a boy admired by all the girls in school because of his audacity, but just as Shun and Umi's feelings are about to blossom into something more, Shun finds out a secret that prevents him from having any romantic feeling for Umi. As the "secret" seemed like it would turn the movie into a big melodramatic mess taken straight out of a Korean drama, I was slightly disappointed half way through the film. However, being Studio Ghibli, of course it wouldn't end on a tragic note, but also for that reason the ending felt rush and that something was "missing." I find the movie still enjoyable, though, despite its cheesy twist, because of all the period humor and the nostalgia it brings. The middle segment where everyone was involved in rebuilding the clubhouse was very enjoyable with a lot of humor and inspiration. Graphically, it was beautiful, and the soundtrack couldn't have been more appropriate. This is not one of Ghibli's best, but given time, Miyazaki Goro hopefully can continue in his father's footstep and bring us more great films to come.

In 1963 Yokohama, high school girl Umi puts out signal flags to passing ships, partly in remembrance of her captain father who died at sea. While getting involved with a project to save a local clubhouse, she meets and falls in love with fellow student Shun. But Shun's father was also lost at sea, and he carries the same photograph as Umi...

This animated movie from Studio Ghibli has no fantasy elements: it is a simple drama with several intertwined threads. The animation is satisfactory without being dazzling, the backgrounds are lovely, and the film is, at times, very moving.

I enjoyed it a lot.

This was probably the most expected anime I've ever anticipated so far. After becoming addicted to Japanese animation and Ghibli production, "Kokuriko-zaka Kara" was a logical next choice. And so, after a whole year of waiting it arrived on to my doorstep. Impressions? Very positive.

I haven't read the original Manga on which the story was based, and thus I had no idea what to expect. This was actually a good thing since the surprise would eventually be that much bigger. My first impression was the classic, almost idealistic portrayal of past times which is often present in some Ghibli's movies. Though a bit exaggerated at times, it is very pleasant to see and feel. I personally like better the elder days, when people weren't obsessed with money, technology, when time and life had a different meaning. The same could be said for love - During the last three decades or so, cinematic expression of love has been equaled with pornography, with relationships becoming more and more rough sexual. It seems modern directors value big boos, tight booties and French kisses better than the very essence of love - that plain old emotion. This applies to all film genres including animation. Well, that emotion is what really matters when love between two people gets around. It's true, the Japanese have come up with the very concept of modern sexual bizarreness, but none the less, they know very well how to distinguish that from the idea of romance.

"Kokuriko-zaka Kara" tells a romantic story of two young people whose faiths become suddenly and unexpectedly intertwined. Umi, a kind girl from a small coastal Japanese town carries a constant memory of her departed father. She knows he is gone for good, but deep within her soul she hopes that one day he will send her a sing. The war has ended some 20 years a go, Japan is still trying to change and adapt to a new way of life while Tokyo prepares for it's first Olympics. Young people, the generation born after the war, are in the midst of all this turbulence and it looks as they might hold the key. Umi meets a pleasant and yet mysterious boy named Shun. Their lives and feelings become closer as the two start spending more time with each other. Soon they will both discover a strange connection between faiths.

You could call "From Up on Poppy Hill" a simple story. No big flashes and spectacles in this anime, and that's exactly what makes it so pleasant to experience. It's a slice of life poured into 90 minutes of enchanting Ghibli animation. Very refreshing both for the eyes and soul. Many say that "Kokuriko-zaka Kara" isn't a classic Hayao Miyazaki tale. Indeed it isn't, but I don't think that changes a thing. Old man Miyazaki has proved his talents so many times by now. This is Goro's second major accomplishment, and as it seems, he's gradually forming an artistic expression of his own. And yes, it feels that something is missing, a bit of that magic sparkle maybe, but excellence as we know doesn't come over night. There is still a long road in front of Miyazaki junior, and if "From Up on Poppy Hill" shows where such road might go, I'm more than confident that many great animated flicks are yet to arrive, bearing a Ghibli signature.

Okay. This is a weird one. Yes. I said it. Out of all the fantastical, over the top, fairytale-like magical Ghibli movies - this one, the one that doesn't have a single supernatural element to it, is by far the weirdest. What a bizarre plot line for a film. I didn't hate it. I really didn't love it. The movie can be summarized pretty much by:

"Girl likes boy likes girl. They're not related. Now they're siblings. And now they're not. Oh and they didn't tear down the house either."

I keep imagining how they pitched the script. What description of it they gave so someone said "that's a fantastic idea for a feature length animated film!". Pretty much nothing happens. I feel like I might be missing out, not being able to read between the lines from my lack of a Japanese heritage. Maybe it's one of those great stories that lies in "the untold". I don't know. From my point of view this would have made a nice Ghibli short film. I can appreciate a nice mellow film. Still, I'd really appreciate an interesting event or two. And those 30ish minutes where you're lead to believe that they're siblings, you just feel really icky and don't really now what to hope for. Well, except maybe for them not to be siblings. But then, what was the point? You're just to where you started at the beginning of the movie. Yay?

Animation was amazing and music was great although a little melodramatic at times. Story, characters and the world were just ok - nothing too bad nothing too amazing. Now main issue is with the story and about how boy and girl fall in love but the twist that they may actually be brothers. In the end turns out they're not brother since boy belonged to the friend but the girls dad did adopt him so maybe they're step siblings?? I don't understand this story decision at all and very weird angle for a children's movie. In end when they're going to the third friend to find out the truth it feels it's not to find out about the father and the relation there but rather to see if boy and girl can be boyfriend girlfriend or just siblings which is very tacky and anti climatic.