Review of The Place Promised in Our Early Days (2004) by Ravi T — 05 Apr 2008

Unlike the majority of Animes centering around war-time narratives, this cryptically long titled sci-fantasy melodrama by Makoto Shinkai seems less concerned with the issues surrounding the war itself and more with the prospective predicuments of its protagonists.

Like the similarly toned Howl's Moving Castle, the shadow of a great war acts rather as a reflection of the conflicts within and between characters, particularly protagonist Hiroki and love interest Sayuri. In both instances there seems to be a major focus on alienation, both physically (Hiroki's detraction from the bussling urban sprawl of Tokyo) and psychologically (Sayuri's torment of being trapped in a perpetual coma).

Indeed, all indications suggest that The Place Promised in Our Early days is indeed a much darker narrative than the cutesy, uncomfortable animation style would suggest and this is exemplified most vividly through the sombre lament-like violin soundtrack which permeates almost every scene.

Thematically, Sinkai does still retain a few of the more common elements of post-80's anime; fear of a pending apocolypse as tradition and technology clash, aviation as the ultimate freedom and the need for human contact. All of which clash in the film's conclusion where, in what could easily be decribed as a desperate kamikaze manuveur, Hiroki flies his plane straight through the site of an arial battle to reach the mythical tower and fulfill his childhood promise to Sayuri.

When all is said and done, The Place Promised in Our early Days is a tale of devotion and togetherness, whilst the modern world is laden with its own fears and commitments, what really matters is people and the desire to have some one with you when staring death in the face, for to die alone is the worst death of all.