The Girl Who Leapt Through Time

I'm used to high quality Japanese movies - this is the country of Kurasawa, after all - but it shouldn't have surprised me to discover that there are Japanese movies from the 1980s that look as cheaply and artlessly made as a teen-themed 1980s TV series. What surprises me is seeing other reviews that like the way this was filmed, and to discover through wikipedia that this was done by an experienced director who has been successful in his field. Because this is as pedestrian-looking as you can find, and lacks any sort of tension or interest or, in the subtitled version I saw, interesting dialog.

This was the sort of movie you can tell isn't going to be any good from the first instant, but I was interested in the story because I'd recently watched the terrific animated version of The Girl Who Leapt Through Time, which is a sequel, and I wanted to see a version of the original story. So I thoughtI'd just wait until the story kicks in. But the story doesn't so much kick in as slowly, slowly, slowly creep in.

At one point about a half hour in I gave up, but then I watched the sequel to this - Time Traveller, which is much better - and that made me even more curious, so I started half-watching while reading something (which is hard to do with subtitled movies, because you have to keep looking up). Even though I was entertaining myself in other ways, the movie still moved about as slowly as any movie could. It felt like they were trying to expand a 20 minute short into a full featured film entirely through long pauses, slow talking, and filler dialog.

Still, the movie does become slightly more entertaining as it gets into what there is of a story. Unfortunately, it also gets increasingly far- fetched, and a final big time jump is a senseless and bewildering hodgepodge that severely tried my patience.

The leads are so bland that their pseudo-romance fails to resonate; in fact, the only affecting scene in the movie is one near the end involving two minor characters. It's altogether irrelevant to the story, yet it was the only worthwhile moment in the entire film.

This is one of the worst Japanese films I've ever seen, poorly made in almost every way. It boggles my mind that other people here enjoyed it.

I have to admit upfront: I can't stand Yasutaka Tsutsui, the original author. His novels are dripping with cynicism and malice toward humanity, with betrayal lurking around every corner. He writes as if he himself were made of spite.

But-setting that aside-this film adaptation is the polar opposite. It's a refreshingly pure, youthful, heart-throbbing adventure. And yes, Tomoyo Harada is irresistibly cute here-truly a "moe" moment in the history of Japanese cinema.

There's a universal truth captured in this film: girls often act cold or stay silent around the boys they secretly like. Yet when that boy faces danger, her true feelings surface. The climax crystallizes that emotion perfectly-it's a romantic punch to the gut. This is how you write an otome-style adventure, full stop.

Harada herself became the prototype for the modern Japanese idol. And this debut remains her most charming and timeless work.

Culturally, the film's influence is enormous. Japan's obsession with time-loop narratives owes much to this movie. Countless anime and films followed in its wake. Even when compared to Mamoru Hosoda's internationally acclaimed 2006 anime adaptation, I still find myself torn-this 1983 version has a raw, delicate magic that can't be replicated.

Kazuko Yoshiyama (Tomoyo Harada) is just an average, though cute and perky, high school student in the picturesque old town of Onomichi. But one day while cleaning the science room she hears a noise. She investigates and becomes overcome by fumes that smell like lavender. After waking up in the nurse's room, she feels well enough to go home, walking with neighbor (Toshinori Omi) and passing by his grandparents (Ken Uehara and Takako Irie). The next day is Saturday, but being 1983 she still has to go to school. The day after that is Saturday, too, and she goes through the same routine. Then after that is Saturday, and she tries to find some way to break out of that. Unlike Bill Murray, she succeeds, but goes off into several other periods at a rapid pace. Somehow things get resolved between her and her neighbor and also the tall guy she likes (Takayanagi). This is a Junya Kadogawa production, showcasing new idol Harada (who grew up nicely to play the wife in Shiawase no Pan). He chose the popular fantasy novel written by Yasutaka Tsutsui, which had been filmed before and since. And he assembled some good talent, including old-time film stars Uehara and Irie, along with director Nobuhiko Obayashi (House). It's a quality production, but still the acting is a little off, as would be expected from a first-timer like Harada. She does have good screen presence, though. And with an intriguing story and director Obayashi's favorite backdrop of Onomichi, it's a better example of the Japanese idol teen flick.

Tomoyo Harada is an average student in high school. She has an old friend Toshinori Omi who goes to the same school, and Ryoichi Takayanagi who is also her classmate, but is not quite the old friend she thinks he is. One day after a routine cleaning of the school's chem lab, she starts to experience a time warp in her life where she experiences the same event multiple times. Quite by accident, she is getting drawn into the plan that came from the future. She soon discovers why she is experiencing the time warp. The story is set in the beautiful town of Onomichi which is also the birth place of the film's director Nobuhiko Obayashi. Obayashi made several movies in this town where the town becomes an integral part of the movie. The beautiful classic Japanese town scape of Onomichi makes this movie worth seeing along with the interesting twist in the story's plot.

I quite loved parts of The Girl Who Leapt Through Time, with the final act being the most engaging and also the most emotional. Nobuhiko Ôbayashi doesn't go quite as crazy as usual, outside a few sequences that really stand out all the more because the rest of the film's relatively normal. I quite like how with Ôbayashi, his style's always there, but you're never quite sure how dialed up or in your face it's going to be, and that balance of predictability and unpredictability makes seeing a film of his for the first time always exciting. On the topic of his films, I don't think The Little Girl Who Conquered Time is quite one of his best, but it is very good, and it's easy to recommend to anyone who's enjoyed something the filmmaker's made before.