IMG_8193
見てきました！
面白かったですね
一回目の戸締まりのシーンから冒険感がたまらなかったんですが、徐々に見えてきた過去との向き合うというテーマに心が揺れました
お約束の恋愛がちゃんと結論に結びついてるのは素晴らしい…
ということで、酒を入れながらその辺の感想を書いていきます
以下の目次の「震災とミミズ」くらいから考察にあたる部分になりますが
なにぶんキモオタのきしょい妄想でしかないのでその辺はあしからず
—追記—
3/12にやっと2回目を見たので追加しました
I went to see it! It was so good. From the very first door-closing scene, the sense of adventure was irresistible, and as the theme of confronting the past gradually emerged, my heart was deeply moved. It's wonderful how the promised romance properly connects to the conclusion... So, while sipping on some sake, I'll write down my thoughts on that. The parts from "Earthquake and the Worm" in the table of contents below are my interpretation, but please bear in mind that these are just the creepy ramblings of a total geek. —Addition— I finally watched it a second time on March 12th, so I've added to it.
目次
戸締まりの冒険
震災とミミズ
思い出さなくなった記憶
すずめとダイジンと戸締まり
今の肯定と過去の救済
細かい描写で気になったところ（追記あり）
Table of Contents: The Door-Closing Adventure, Earthquake and the Worm, Memories We No Longer Recall, Suzume, Daijin, and Door-Closing, Affirming the Present and Saving the Past, Points of Interest in the Fine Details (with additions)
Postscript
これは純粋にワクワクした
天気の子の時もそうでしたが、厨二心をくすぐる物語を作るのが何とうまいことか
これまた天気の子もそうでしたが（あれはあれで好きなんですが）最近は警察機構とかがちゃんと絡んでしまう対魔作品って割と多い気がして
そこから一線を引いて、ちゃんと一部の人しか知らない非日常だったのは久々ですごい良かった
序盤の戸締まりのシーンでもののけ姫感ちょっとあるなーと思って見てましたが、やはり現代ファンタジーなだけあって感覚はちょい違いますね
さらに天気の子を引き合いに出しますが、家出、ともすれば駆け落ちって形式がそもそも好き
あとやっぱ少年少女だけが知ってる世界の危機がええですわ
映像のパワーもあって（オープンカーでドライブのシーンはちょいCG感強くてあれだったけど）、脳死で見るだけでもちゃんと面白いしワクワクできる作品だなと思いました
This was genuinely exciting. Just like with Weathering with You, they're so good at creating stories that tickle your inner teenager. Weathering with You also did this (and I like it for what it is), but recently there seem to be quite a few anti-demon stories that properly involve police organizations, and it was refreshing to see this take a step back from that, and maintain a sense of the extraordinary known only to a select few. I thought the early door-closing scenes had a bit of a Princess Mononoke feel, but as expected, it's still modern fantasy, so the feeling is a bit different. Again, bringing up Weathering with You, I like the elopement aspect, and the world crisis being known only to young boys and girls. Thanks to the power of the visuals (the open-car driving scene felt a bit too CG-heavy, though), it's a work that's entertaining and exciting even if you watch it without thinking too hard.
地震を起こすミミズが現れる前、必ず緊急地震速報のアラートが鳴ります
これは劇中に「ミミズ」が現れるのと同時に、地震大国日本に住む我々視聴者の中にある大地震の記憶を呼び起こす合図でした
ミミズを恐怖の象徴たらしめているのは、その能力でも絵面の不気味さでもなく我々の記憶だったと思います
草太とすずめは世界の危機を救っているのではなく、被災者が過去に抱えた傷であり、そうでない大多数の人間が忘れた災害の記憶と闘っていたと思います
ミミズは負の記憶
それを封じるのは、あえていうならその土地で暮らした人たちの正の記憶
最終的に、正の記憶により日本を救うというこの物語の構造が、死ぬのなんて怖くないと言ってしまうすずめ個人をも救うことになるわけなのでよくできてるなと思います
Before the worm that causes earthquakes appears, an emergency earthquake warning alert always sounds. In the film, this was a signal to evoke the memory of major earthquakes in us viewers who live in Japan, an earthquake-prone country, at the same time as the "worm" appears. I think what makes the worm a symbol of terror is not its ability or its grotesque appearance, but our memories. Sota and Suzume are not saving the world, but fighting the wounds that victims have carried in the past, and the memories of disasters that the majority of people have forgotten. The worm is a negative memory. What seals it is, if I dare say, the positive memories of the people who lived in that land. Ultimately, the structure of this story, in which Japan is saved by positive memories, also saves Suzume personally, who says she is not afraid to die, so it's well done, I think.
被災者に向けたストーリーから一度離れて
幸運にも被災したことのない僕のような人はこちらに目がいったのではないでしょうか
目を逸らしがたい思い出のない僕らへの問いかけは、11年の東北の震災も、神戸で起きた大震災も、さらに過去に起きた災害の凄惨出来事を思い出さなくなっていないか？ということかと思います
ミミズと戦う場所は、忘れ去られた廃墟
災害で忘れられた区画でした
序盤は、まあ廃墟とかそんな場所ってたくさんあるよね、と思うわけなんですが、見ていくにつれて災害の跡という共通点が見えてきて、楽しかった思い出とその日常が一瞬で崩れ去った過去が見えてくるのが印象的でした
…と言っても、そういう悪い記憶だけを説教くさく思い出させるだけなら後ろ戸は閉じないので、別の忘れていたことを思い出させる工夫があったなと思います
それが懐メロですね
ドラマ性が強すぎるすずめに変わって、芹澤は「観客の目を現実の過去に向ける」という役割を一身に担ってたなと思うのは、この懐メロと中古車の設定です
なんかやたらと古いもの好きですよねこいつ
そして、震災の記憶や懐メロに続いて日本人が忘れてしまったものは
神、つまりダイジンとサダイジンなのかなと思います
最後、要石になってミミズを止めようとした2人を救ったシーンも、「困った時の神頼み」って感じでしたね
無宗教国家の国民に困った時だけ思い出される神が、このテーマの作品に登場するのはまあ納得感があります
Leaving the story for the disaster victims, I wonder if people like me, who are lucky enough not to have been affected by the disaster, were drawn to this. The question for us, who have no memories to avoid, is whether we have stopped remembering the Great East Japan Earthquake of 2011, the Great Hanshin-Awaji Earthquake that occurred in Kobe, and the tragic events of disasters that occurred even further in the past? The places where they fight the worms are forgotten ruins, districts forgotten by disasters. In the beginning, I thought, well, there are a lot of ruins like that, but as I watched, I noticed the common thread of disaster traces, and I was impressed by the sight of happy memories and everyday life collapsing in an instant... But, if it was just a preachy reminder of those bad memories, the back door wouldn't close, so I think there was a device to remind us of something else that had been forgotten. That's nostalgic music. Instead of Suzume, who is too dramatic, Serizawa single-handedly played the role of "turning the audience's eyes to the reality of the past," with this nostalgic music and the used car setting. I wonder why he likes old things so much. And, following the memories of the earthquake and nostalgic music, I think what the Japanese people have forgotten is God, that is, Daijin and Sadaijin. The scene where they saved the two who were trying to stop the worm by becoming keystones at the end also felt like "relying on God in times of trouble." It's understandable that God, who is only remembered in times of trouble by the people of a non-religious country, appears in a work with this theme.
「すずめの子にはなれなかったよ」は序盤ですずめがダイジンにかけた「うちの子になる？」という言葉へのアンサーですが
さらに環さんがすずめにかけた「うちの子になろうよ」ともかかってましたね
さて、ここからは妄想成分が一層濃くなります
ダイジンとは何者だったのか
要石になる条件とは何かについてです
ダイジンは、環さんがいなかった世界のすずめです
もちろん本人ではなく、似たように震災で親を亡くして、誰にも拾われなかった誰か、という意味です
そして要石になるのは、「帰る場所を失った人」です
理由は先ほど言った「うちの子に…」の対比ですが、他にもあります
ややこしいかもですが、この根拠となるものを列挙していきます
草太が要石になったのは、草太の身内は死にかけの祖父しかおらず、祖父が死ねば天涯孤独であり、帰る場所がないから（両親出てきてないけど、まあ死んでるんでしょ（なんか言われてたっけ？））
ダイジンが要石にならないと言っていた頃は、「すずめのうちの子になれる」と思っていた頃であること
ボロボロだった見た目に生気が宿ったのは帰る場所を得たから
また、サダイジンに比べ、ダイジンは小さい
「遊ぼう、遊ぼう」と言動も幼い
日本では死者は仏、つまり神様（めちゃ語弊のある言い方）になりますが、ダイジンが神になったのは幼い子供の頃だったのでしょう
それこそ、常世にいたすずめくらいに
と、こんなところじゃないでしょうか
ダイジンとすずめの命運を分けたのは環さんであり、帰るべき家があったことだと思います
そうなると、サダイジンが環さんに障って酷いことを言わせたのは、すずめをもう一つの要石にしたかったから、帰るべき場所を奪いたかったのではないでしょうか（今思うとここでダイジンのとった行動はサダイジンを制止していたようにも思えます。ダイジンはすずめを好きなので）
（ここまで書いて、すずめを失うと帰る場所を失うダイジンは？となりましたが
まあその時にはダイジンの代わりは草太が務めてたからセーフでしょう）
ここまで考えてようやくタイトルであり、話のキーになる戸締まりの意味がわかってきました
戸締まりは、再びその家に帰るためにするものです
この物語は帰る場所を失った人の話ではなく、旅に出て帰ってくるための話なのです
"I couldn't become Suzume's child" is Suzume's answer to Daijin's words "Will you be my child?" at the beginning, but it also applies to Tamaki's words to Suzume, "Let's be my child." Now, from here on, the delusional content becomes even denser. It's about what Daijin was and what the conditions are for becoming a keystone. Daijin is Suzume in a world where Tamaki wasn't there. Of course, not the person herself, but someone who similarly lost her parents in the earthquake and wasn't picked up by anyone, in that sense. And becoming a keystone is for "people who have lost their place to return to." The reason is the contrast of "be my child..." I mentioned earlier, but there are other reasons as well. It may be a bit complicated, but I will list the grounds for this. Sota became a keystone because Sota's only relative is his dying grandfather, and if his grandfather dies, he will be alone and have no place to return to (his parents don't appear, but well, they're dead, right? (Was anything said?)). Daijin wasn't going to become a keystone when he thought he could "become Suzume's child." The vitality that resided in his tattered appearance was because he had gained a place to return to. Also, compared to Sadaijin, Daijin is small and his words and actions are childish, saying "Let's play, let's play." In Japan, the dead become Buddhas, that is, gods (a very misleading way of saying it), but Daijin became a god when he was a young child. That's about as close as Suzume was in the Ever After, I guess. What separated Daijin and Suzume's fate was Tamaki, and the fact that she had a home to return to. In that case, isn't the reason why Sadaijin interfered with Tamaki and made her say terrible things was because he wanted to make Suzume another keystone, to take away her place to return to? (Now that I think about it, Daijin's actions here seem to have been restraining Sadaijin. Daijin likes Suzume.) (Having written this far, what about Daijin, who loses his place to return if he loses Suzume? Well, Sota would have taken Daijin's place at that time, so it's safe.) Having thought this far, I finally understand the meaning of the door-closing, which is the title and the key to the story. Door-closing is something you do to return to that house again. This story is not about people who have lost their place to return to, but about a journey to go out and come back.
さて、最後に常世のすずめを救ったのはすずめ本人でした
やっと始めに触れたすずめの救いの話です
この作品は辛い過去を忘れるための作品ではなく、むしろ思い出させる作品だったと思います
その辛い過去を癒すのは、過去を忘れることではなく
おばさんと12年過ごして、草太と恋をした今この瞬間を肯定することでした
すずめが「死ぬのは怖くない」と言っていたのは、震災で突如親を失った絶望からでした
生きるのも死ぬのなんて運でしかないなんて、理不尽に死んだ親の死を受け入れるための建前でしかなったのでしょう
その建前を取っ払えるほどすずめを変えたのが恋だったと思うと、エンタメとして用意されたラブロマンスにも意味が生まれて胸が熱くなります
もちろん、環の愛情もそうですが
一度要石になった草太が「おかえり」と言われて終わる話は流石に美しかった
Now, finally, it was Suzume herself who saved Suzume in the Ever After. This is finally the story of Suzume's salvation that I touched on at the beginning. This work is not a work for forgetting painful pasts, but rather a work for remembering them. What heals that painful past is not forgetting the past, but affirming this moment, having spent 12 years with her aunt and falling in love with Sota. The reason Suzume said she wasn't afraid to die was because of the despair of suddenly losing her parents in the earthquake. Living or dying is just a matter of luck, it was just a pretense to accept the death of her parents who died unfairly. It warms my heart to think that what changed Suzume so much that she could get rid of that pretense was love, and that even the romance prepared as entertainment has meaning. Of course, Tamaki's love too, but the story ends with Sota, who was once a keystone, being told "Welcome home" was beautiful after all.
あんま中身がないですが、せっかくなので書きます
There's not much substance, but I'll write it anyway since I took the trouble to do so.
具体的には忘れちゃったんですが、書いてましたよね？
舞台が宮崎だとわかった時、「あれ？盛岡って俺の記憶と違う場所にあったのか？」と焦りました
盛岡だと、事前に告知されていた地震や津波のアラートに関する注意喚起と一致するから納得って感じで見てたんですが…
まあ最終的に回収されたのでよかったです
I've forgotten the specifics, but it was written, right? When I found out that the setting was Miyazaki, I panicked and thought, "Huh? Is Morioka in a different place than I remember?" I was watching it thinking that Morioka would be consistent with the warnings about earthquakes and tsunami alerts that had been announced in advance... Well, it was recovered in the end, so that's good.
宮崎のうしろどに行く時、一度目は飛び越えてたけど二度目はそもそも避けられてましたね
見てるとき気になったから覚えてたけど、単に颯太がきてるんやなーって前振りの描写でしたね
特筆することなし
When going to the back door in Miyazaki, she jumped over it the first time, but avoided it altogether the second time. I remembered it because I was curious when I was watching, but it was simply a foreshadowing that Sota was coming. Nothing special.
ちょっと面白かった
日常的に見てるあの画面を、戦記ものとかでよく見るキャラの移動経路を見せるシーンに使うのはちょっとなるほどなとなった
これ以外にも、日常の何気ないあるあるとか、そういう要素を拾って綺麗に見せてたなと思います
It was a little interesting to use that screen that I usually see in my daily life to show the characters' travel routes, which I often see in war chronicles. Besides this, I think they picked up on the everyday things and showed them beautifully.
宿もバーも荒れてましたね、元々は
それがすずめがきた途端繁盛
神様がおわしたから、ってことかな？
ダイジンが来たらなのかな？
すずめでもダイジンでもなく、要石になりかけてた草太のせいかも
The inn and the bar were deserted, but originally they prospered as soon as Suzume came. Is it because the god was there? Is it because Daijin came? It may not be Suzume or Daijin, but because of Sota, who was about to become a keystone.
常世の中に飛び込んだすずめの後ろには月が描かれてました
月は死の象徴として描かれたりもするものなので、この世界は死後の世界に通じてると強調する描写でしたね
後ろ戸を締めるのはそこで暮らした人たちの想い的なことは言ってたけど、歯に布着せずに言うなら災害で死んだ人のことだよってことですかね
The moon was drawn behind Suzume as she jumped into the Ever After. The moon is sometimes depicted as a symbol of death, so this was a depiction emphasizing that this world is connected to the afterlife. They said that closing the back door is about the feelings of the people who lived there, but if I were to say it without mincing words, it's about the people who died in the disaster, right?
なんで？
なんかありそうだけどこれマジでわかってない
知識量と推察力不足を痛感
あとどうでもいいけど、ダイジンって大地震と関係あるネーミングですか？
→追記
大事な役割を担う大臣であり、大神の意味も込めてダイジンらしいっすね
金ロー公式Xより
Why? It seems like there's something going on, but I really don't understand this. I painfully realize my lack of knowledge and deductive ability. And, this is just a side note, but is Daijin's name related to big earthquakes? →Addition: Daijin seems to be named after the Minister who plays an important role, and also includes the meaning of Great God. From the official Kinro X.
要石になった草太に会いに行くすずめが、草太の部屋でシャワーを浴びてましたね
物語的には汚れた身体を洗うためですけど、要石（神様）に会いに行くために身を清める沐浴が必要だったんだなって気づきました
忘れられているモノとして描かれている神に対して礼を失してはいけないので、確かに必要なプロセスですね
Suzume, who goes to see Sota who has become a keystone, takes a shower in Sota's room. In terms of the story, it's to wash away the dirty body, but I realized that it was necessary to purify the body in ablutions in order to meet the keystone (god). It is a necessary process because you must not be disrespectful to the gods who are depicted as being forgotten.
すずめがダイジンを追って家から出ていくシーン
草太とすずめが東京のみみずを止めるために草太の家から出ていくシーン
どちらも鍵を閉める描写がなかったですね
それ以外のシーンでは鍵を閉める描写が必ずワンカット挟まっていたので、意識的だと思います
草太はまさにこの後要石となったので、”帰るべき家”をなくしたという意味合いは強そうです
The scene where Suzume leaves the house chasing Daijin, and the scene where Sota and Suzume leave Sota's house to stop the worm in Tokyo. There was no depiction of locking the door in either scene. In other scenes, the depiction of locking the door was always inserted in one cut, so I think it was intentional. Sota became a keystone right after this, so the meaning of losing the "house to return to" seems strong.
私の人生返してよの流れで口元が一度アップになるんですが、そこでは他のシーンでは描かれてないほうれい線が
見た目若く見えるけど、もうアラフォーだということを強調するシーンになってました
ドキッとするの演出だったな〜と改めて
In the flow of "Give me back my life," her mouth is once zoomed in on, and there, nasolabial folds that are not drawn in other scenes are visible, making it a scene that emphasizes that she looks young, but is already in her late thirties. I realized once again that it was a thrilling production.
蝶が飛んだらシーンがやたらと多かったですね
正直気に留めもしてなかったんですが…
蝶は死者の魂や先祖の象徴らしくて、ラストシーンでは2人のすずめの近くに2匹の蝶が飛んでいました
両親か？これと思うと余計泣けました
公式Xでも死者の魂であることに触れられてたのでここは間違いなさそう
There were a lot of scenes where butterflies were flying. To be honest, I didn't even pay attention to it... Butterflies seem to be symbols of the souls of the dead and ancestors, and in the last scene, two butterflies were flying near the two Suzumes. Is this her parents? I cried even more when I thought about this. It seems that the official X also mentioned that they are the souls of the dead, so this is definitely the case.
どんなにいい映画を見ようと、被災者の傷は癒えない
癒せるのは、震災から今まで生きてきた本人だけです
だから常世からすずめを助け出したのは、親でも環さんでも草太でもなく、すずめだったんだと思います
助け出した時のセリフだって、すずめ以外には絶対にかけられない言葉でした
震災をエンタメにして金を稼ぐこと自体どうなんだ、と思う人もいるでしょうが
監督は「お前たちをこの映画で救ってやる」という傲慢な偽善者ではなく、「自分にできることは震災を忘れないことと、被災してからの人生を肯定することだけだ」と、真摯な姿勢で3年間制作に取り組んだのではないかと感じずにはいられませんでした
とまあ、震災を経験してない僕が薄っぺらい感想言っても仕方ないので、後書きもそこそこにこの記事は終わります
久々に長々と感想を書きたくなるアニメでした
だいぶ勢いで書いたのでガバがあっても許してくださいと保険をかけつつ、また次の記事でお会いしましょう
ではまた
No matter how good a movie you watch, the wounds of the disaster victims will not heal. Only the person who has lived from the earthquake until now can heal them. That's why it was not her parents, Tamaki, or Sota who rescued Suzume from the Ever After, but Suzume herself. The words she said when she rescued her were words that only Suzume could say. Some people may think that it is wrong to make entertainment out of the earthquake and make money from it, but I feel that the director is not an arrogant hypocrite who says, "I will save you with this movie," but has been working on the production with a sincere attitude, thinking, "All I can do is not forget the earthquake and affirm the life after the disaster." Well, there's no point in me, who hasn't experienced the earthquake, giving shallow impressions, so I'll end this article with the postscript more or less. It's been a while since I've wanted to write a long review of an anime. I've written this in a hurry, so please forgive me if there are any flaws, and I'll see you in the next article. See you again.