UlasanAnime.com – “From Up on Poppy Hill” stands as a significant animated feature, notably being the first full-length production directed by a father-son duo. The Miyazakis have delivered a film that embodies the characteristic qualities expected from a typical Ghibli creation, even as an adaptation.
The English dub of the film is, by all accounts, competent. While it may not reach the pinnacle of truly exceptional dubbing, it certainly serves its purpose effectively.
Experiencing the movie during its debut weekend, coinciding with the New York International Children’s Film Festival (NYICFF), perhaps lessened its impact on box office figures, as these early screenings did not count towards official tallies. This is a peculiar arrangement, especially considering that festival pass holders, who might have paid a substantial amount for their passes, were eligible to attend. This might explain why these specific screenings were accounted for separately.
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A particularly striking aspect of “From Up on Poppy Hill” lies in the distinct cultural context that permeates its narrative. Upon finishing the film, the immediate thought was a desire to experience the Japanese version for a rewatch. Fortunately, it promises to be an enjoyable rewatch. The portrayal of subdued and awkward teenage interactions is as charming as “quaint” can possibly be. It’s almost as if “Hyouka” could capture just ten percent of this film’s adorableness. The narrative’s restraint prevents it from reaching the heights of “Whisper of the Heart,” yet this film might be the very first Ghibli production since that masterpiece to genuinely attempt to capture the essence of awkward, teenage laughter.
A compelling parallel is drawn between Umi’s residence at the Coquelicot Manor and the Quartier Latin, a connection that is explicitly revealed midway through the movie. It seems to be a common practice for films to offer such guidance to the audience.
In “Porco Rosso,” there was a scene, or perhaps a couple of scenes, depicting gleaming American bombers traversing the skies. One can only wonder if this evokes a similar feeling to how “From Up on Poppy Hill” presents its smoky, 1964 Yokohama landscapes. The film is enveloped in a figurative “flag language” that renders it doubly intriguing for those who understand its nuances.
A final thought to ponder is whether a fair comparison can be made between the films of Miyazaki Sr. and Jr., by drawing a parallel to the difference between the characters Shun and Oreki.
