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The Place Promised in Our Early Days (2004)
"Kumo no mukô, yakusoku no basho" (original title)

7.3
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Ratings: 7.3/10 from 6,128 users  
Reviews: 26 user | 22 critic

In an alternate postwar timeline, Japan is divided into the Union-controlled North and the US-controlled South.

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Title: The Place Promised in Our Early Days (2004)

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Cast

Cast overview, first billed only:
Hidetaka Yoshioka ...
Hiroki Fujisawa (voice)
Masato Hagiwara ...
Takuya Shirakawa (voice)
Yuka Nanri ...
Sayuri Sawatari (voice) (as Yuuka Nanri)
Unshô Ishizuka ...
Okabe (voice)
Kazuhiko Inoue ...
Tomizawa (voice)
Risa Mizuno ...
Maki Kasahara (voice)
Hidenobu Kiuchi ...
Arisaka (voice)
Masami Iwasaki ...
Emishi Seisakujo Koin / Eki Shanai Announce / Byoin Incho (voice)
Eiji Takemoto ...
Emishi Seisakujo Koin / TV News (voice)
Takahiro Hirano ...
Emishi Seisakujo Koin / Daigakuinsei (voice)
Takeshi Maeda ...
Daigakuinsei / Radio Hoso (voice)
Rie Nakagawa ...
Joshi Seito / Josei Kangoshi (voice)
Yûki Nakao ...
Joshi Seito (voice)
Maki Saitou ...
Joshi Seito / Josei Kangoshi (voice)
Kousuke Kujirai ...
Danshi Seito (voice)
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Storyline

The story takes place in a alternate postwar period, in 1996, where Japan is divided. Hokkaido is ruled by the "Union" while Honshu and other southern islands are under US authority. A tall tower was built on Hokkaido, which could even be seen from Tokyo. In the summer of 1996, three middle-school students make a promise that they'll cross the border with a self-constructed plane and unravel the tower's secret, but their project was abandoned after the girl, Sayuri Sawatari, became mysteriously ill and transferred to Tokyo. Years later on the brink of another war Hiroki Fujisawa finds out that Sayuri had been in coma since then, and he asks Takuya Shirakawa to help him finding a way to wake her up. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

Against all odds, a promise will be kept.


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Details

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Release Date:

20 November 2004 (Japan)  »

Also Known As:

La tour au-delà des nuages  »

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Did You Know?

Quotes

Sayuri Sawatari: In the dream, I am alone in an empty universe. In that dream, my whole body... fingers, cheeks, fingernails, heels, and even the tips of my hair are painful with loneliness. Those warm days we spent together seem more like a dream. But as long as I don't lose those memories, I think I might be able to keep a grip on reality in the future.
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Soundtracks

Kimi no Koe
Music and Arrangement by Tenmon
Lyrics by Makoto Shinkai
Performed by Ai Kawashima
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User Reviews

 
Beautiful
8 June 2005 | by See all my reviews

This is an anime movie done by a relative newcomer to films: Makoto Shinkai, whose only previous directorial work was a half-hour short called "Voices of a Distant Star," in which he did all the animation himself on one laptop (even for Japan, a nation of workaholics, that was unheard of). It made him so famous that they gave him a full studio to work with for his next project, and when Makoto Shinkai doesn't have the constraints that a solo project would bring, look out.

The style of the film and its sci-fi and fantasy themes is equal parts steampunk and cyberpunk, with the film taking place in an alternate timeline of post-war Japan, only a few years from now. The main differences are the division between the North and South sides of Japan, and the research into parallel universes that has sprung up, resulting in the construction of a massive tower in Ezo (Hokkaido), which understandably captures the imagination and curiosity of the surrounding world.

Though the film is ostensibly a science fiction work, the plot involving a tower and alternate realities and so on plays second fiddle to the romantic drama, about three high school kids torn apart by war. The emotions blend with the fantasy elemts in a way that is handled with incredible elegance, care and sensitivity, and Makoto Shinkai's trademark poetic touch.

But what is more impressive is how the film shows that drama can be achieved through implausible situations. You see, too many directors think that in order to make a film "dramatic" and "touching," it must be about REALISTIC people in a REALISTIC setting having REALISTIC problems with REALISTIC resolutions, but Makoto Shinkai realizes a way around that, and uses a science fiction element not as a platform for action sequences, but rather as a way to achieve a kind of drama that you really couldn't get in a film that takes place in the "real world."

The film is aware that the sci-fi is playing second fiddle to the character drama, and doesn't waste any more time than it needs to trying to explain the film's bizarre sciences or justify the contrivances, rather leaving it up to the viewer to interpret and decipher what the fantasies of the film mean or symbolize. In other words, Shinkai wisely avoids the deathtrap of "Movie Science," and instead allows the audience to take things as they come and explain them ourselves.

The part about two teenagers building a plane that could get past a government-built radar system does seem a bit incredible, but this film does reflect on the incompetence of governments and how easy it is to get past them, so the required suspension of disbelief isn't really that big (I wish I found it hard to believe that a couple of teenagers could get past a bureaucratic governmental system in this day and age at all).

Also, the brief violence and "thrilling" assault on the tower are treated with perfect sincerity. The brief fight scenes are breathtaking in their realism and how they show that when someone gets punched, they get hurt. There are no legendary martial arts techniques or complex laser-rifle technology here, this film is about how people feel about each other and what they do when they are in trouble.

The ending is slightly abrupt and somewhat open-ended (although it is happy), but that is a theme in many anime. A lot is left up to the audience's interpretation and imagination, and the film only answers the questions that really matter.


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