すずめの戸締り 感想

すずめの戸締り 感想

Suzume no Tojimari — A Review

個人的、新海誠監督の最高傑作。号泣した。ジブリ好きにお薦め、注意点は宮崎駿監督の映画を詳細に理解している事、ある程度の歴史と日本書記に興味がある事が前提になる映画かもしれない。かつ一回見ても全然分からなかった(笑)。構成が作り込まれすぎていて、暗喩の多用量がジブリと同等、10回以上は見ても毎回新しい発見がある映画なのだろうと思う。
感受性による推察を観客各々の解釈に任せている(正解はないし、恐らく何回見たかで個人の解釈も深まり解釈が変わる)ので、練り込まれたストーリーを小さな一言、一瞬のシーン（それこそ一秒の色の変化、0.5秒の台詞等）から推察する事になる。｢何故？｣を紐解く事でストーリーを楽しむ事が好きな人にお薦め。
このタイプの映画はジブリ同様、後世に評価されるのかもしれない。
※風の谷のナウシカは、公開当時全く大ヒットにははらなかったらしい
新海誠監督作品では、本作以前では言の葉の庭が一番好きだった。
映像の瑞々しさや緑の匂いの演出が素晴らしく（個人的に思い出したのは岩井俊二監督）、更に｢これなら次世代宮崎駿監督になれるかもしれない！｣と思って心底感動したのが本作すずめの戸締まり。
完全に好みの問題だが、あらゆるメッセージを全て説明しては、日本で映画を作る意味がない。
曖昧で抽象的な日本語、比喩、暗喩、和歌を詠み合いその叙情性を楽しめる民族、それが日本人の強み。
複雑で曖昧な心理や事象の抽象表現の上手さ巧みさ、その享受と解釈に慣れている。
常日頃から決して言葉を額面通りには受け取らない。
それが日本の表現のアドバンテージだと思う。
Yes！No！で答えないのが日本人の悪い所でもあり、一方もっと複雑で繊細で曖昧な人間心理をコミュニケーションとして伝えられる。
ある意味、｢絵でそう描いてるから｣｢表情で｣｢そういうトーンの声だから｣｢色で｣｢歌詞で｣｢音で｣と、伝えたい事を省略出来る、読み取る、察する事、表現する事に日本人は長けているとも言える。
ハウルのラストを「きみはあれを見て戦争が終わっていると思ったのか！？宮崎駿はきちんと描いているだろう！！」と、インタビューした記者の質問に激怒した鈴木プロデューサーが好きそうな映画だと思いました(分かりませんでした笑)
すずめの戸締まりはハウルの百倍は分かりやすいので、ジブリ好きは好きだと思う
しかし、このボリュームなら2～3時間はあって良い映画だった笑
短くしないと見てもらえないから仕方なかったのだろう、直接的な言語による説明という説明がない笑　そこが好きだが、人を選ぶ映画なのは分かる。
どうも「地震は防げない」「災害と人間は無関係」と考えている人もいるようだが、では何故被害が大きい地域と少ない地域があったのか？という話で、
簡単に言えば
・森林伐採しすぎなければ木の根で土壌の地盤が強い
https://www.rinya.maff.go.jp/kanto/iwaki/knowledge/saigaibousi.html
→だから埋め立て地は弱い、被害が甚大になる
・木の根が強く土砂崩れが起きなければ津波が来た時の逃げ場がまだ多い
森林には洪水の緩和機能もある
・耳が良い動物は災害発生感知が人間や緊急速報より早い
犬が分かりやすくて、人間が雷にきづく数時間前から怯えている
と、「人間が自然を怒らせると災害の被害が拡大する」というのは神話とも言い切れず、科学的にもそれは違うと言い切れるだろうか？
まあいずれにしても、地震が起きる事を直視してどうするか
https://note.com/noeldata/n/n2329bb9b4086
https://www.tfd.metro.tokyo.lg.jp/lfe/bou_topic/jisin/sonae10.htm
せめて家具は固定してあるか？家に消火器はあるか？身体を鍛えているか？
ちょっと3.11を忘れすぎてやしないだろうか？
宮崎駿監督の意志を現代日本でまだ引き継ぎ、本心から人間を信じごく普通の庶民の平凡な幸せを願う天才クリエイター新海誠が日本にいる事、それが嬉しくて号泣した。令和としての名作だと思う。
今の世の中は辛い。人生は辛い、頑張ってるのに苦しい、皆そうだろう。つい捻くれてしまいたくもなる。けれど、人々が変われば社会は良くなる、その通りだ。
皆が優しければ、追い詰められても強く前向きであれば、殺伐とした世の中ではなくなる、傷付く事も減る、人の良心を信じられたら暖かい気持ちで生きられる。そう、戦後はもっと貧しくもっと元気で暖かかったはずだ。取り返しのつかない世界の残酷さ、もう何も信じられない社会の中で、飲めば失明するアルコールすら流行し、それでもただ強く前を向き懸命に国を良くしようと必死に生きていた。それは第二次大戦を生き残ってしまった自分は、せめてそうあらねば、たった一人で、何の為なのか理由も分からず亡くなり、生き残れなかった人達へ顔向けが出来ないから、との想いもあったのだろう。
まるで今の少子高齢化していないアジア諸国のように。結局は人の心が社会を作る。

In my opinion, this is Makoto Shinkai's finest work. I wept uncontrollably.
I'd recommend it to Ghibli fans, though with a caveat: this film likely requires a solid understanding of Hayao Miyazaki's films, along with some interest in Japanese history and the Nihon Shoki (Chronicles of Japan). On top of that, I didn't grasp it at all after just one viewing (laughs). The structure is so intricately crafted, with metaphors rivalling Ghibli in both density and depth, that I suspect you'll discover something new on every rewatch — even after your tenth.
The film leaves interpretation to each viewer's sensitivity. There is no single correct reading, and personal understanding deepens and shifts with repeated viewings. You find yourself deciphering the story through small details — a one-second shift in colour, half a second of dialogue. If you enjoy unravelling the "why" behind a story, this film is for you.
Like many Ghibli films, this type of work may come to be more fully appreciated by future generations.
(Note: Nausicaä of the Valley of the Wind underperformed commercially upon its initial release.)
Among Shinkai's earlier works, The Garden of Words was my favourite. The freshness of the visuals and the evocation of the scent of greenery were superb — personally, it reminded me of director Shunji Iwai. But the work that truly moved me, making me think "He could become the next Miyazaki!" was Suzume.
This is entirely a matter of taste, but I believe that if every message were spelled out explicitly, there would be no point in making films in Japan.

The advantage of Japanese expression
Ambiguous, abstract Japanese. Metaphors. The tradition of exchanging waka poems and savouring their lyricism — these are Japanese strengths. We are adept at abstractly expressing complex, ambiguous psychology and phenomena, and we are accustomed to appreciating and interpreting them. We never take words at face value in everyday life. That, I believe, is the advantage of Japanese expression.
The Japanese tendency not to answer with a simple "Yes" or "No" is both a flaw and a strength. On one hand, it frustrates. On the other, it enables us to communicate more complex, delicate, and ambiguous aspects of human psychology.
In a sense, the Japanese excel at communicating through omission: "because it's drawn that way," "through facial expression," "through that tone of voice," "through colour," "through lyrics," "through sound." We are skilled at reading between the lines, discerning unspoken meaning, and expressing ideas indirectly.

I recall how Producer Toshio Suzuki once flew into a rage at a journalist who, after watching Howl's Moving Castle, asked whether the war had ended. "Did you watch the same film?! Miyazaki depicted it clearly!" Suzuki would have loved Suzume, I think. (Though I'll admit I didn't fully grasp Howl's either, laughs.)
Suzume is a hundred times more accessible than Howl's, so Ghibli fans will probably enjoy it. That said, given its density, this film could easily have been two to three hours long (laughs). They presumably had to keep it short for audiences — as a result, there is almost no direct verbal explanation. I love that about it, but I understand it's not for everyone.
On disasters and nature
Some seem to believe that "earthquakes cannot be prevented" or that "disasters are unrelated to human activity." But then — why were some areas hit far harder than others?

Put simply:
Where forests haven't been excessively cleared, tree roots strengthen the soil. Reclaimed land, lacking this foundation, suffers greater damage.
Strong root systems prevent landslides, providing more escape routes when tsunamis strike. Forests also mitigate flooding.
Animals with acute hearing detect disasters before humans — dogs, for example, become anxious hours before people notice thunder.
Can we definitively say that "human destruction of nature amplifies disaster damage" is nothing more than myth? Can we prove it scientifically wrong?
Regardless, the question remains: how do we face the reality of earthquakes?
Is your furniture secured?
Do you have a fire extinguisher at home?
Are you keeping physically fit?
Haven't we forgotten the lessons of March 11, 2011, a little too much?

Why I wept
I wept with joy knowing that Makoto Shinkai — a genius creator who still carries Miyazaki's spirit in modern Japan, who sincerely believes in humanity and wishes for the ordinary happiness of everyday people — exists.
I consider this a masterpiece of the Reiwa era.
The world today is tough. Life is hard, even when you try your best. It's tempting to become cynical. But if people change, society improves — that much is true. If everyone were kinder, if people stayed strong and positive even when cornered, the world would be less bleak. Fewer people would be hurt. If we could trust in human conscience, we could live with warmth.
The post-war era was poorer, yet more vibrant and warmer. Amidst irreparable cruelty, in a society where nothing could be trusted, people still pushed forward — striving desperately to build a better country. For those who survived the war, there was likely a feeling: unless they lived that way, they couldn't face those who didn't survive.
Much like today's younger Asian nations, where populations haven't yet aged. Ultimately, it is the human heart that shapes society.

▼ここからネタバレ  Spoilers ahead
病院でのすずめの台詞、ラストにミミズを鎮めるソウタの台詞がメインメッセージだろう。懸命に生きる事。｢おかえり｣と言える人がいる事の貴重さ。
恋人でも良い、親友でも良い、仲間でも家族でも同僚でも、猫でも犬でも、ふとすれ違った親切な他人でも良い、｢君に会えたから生きた意味はあった｣
かつて自分にそうしたかげがえのないものをくれた存在がいたから生きる意味は十二分にあったのだ。
この何も持たない災害だらけの小さな島国が、チビでひ弱で眼鏡の不細工達が、どれ程絶望から這い上がって来たか。
元からこの国には何もない。海底資源を採掘する予算がまずない。日本人の崇高で善良な強い精神力、勤勉さ、日々を楽しむ｢祭り｣という苦しみ耐性文化、苦しい日々を我慢し楽しみ希望を失わず前向きに乗り切る為に民衆自らクリエイティブになった。紙と鉛筆しかなくても俳句を楽しめる民族。
今も変わっていない。国民はXで人を笑わせバズるのが好きだ。tiktokで踊ってみるのが好きだ。インスタを加工して綺麗なリールを作るのが好きだ。
noteを書いてみたり、ブログを書いてみたり、料理を作ってレシピを考案してみたり、はたまたファンアートを描いてみたり、YouTubeをアップしてみたり。プラットフォームより｢コンテンツ｣を自ら作る事を本当に楽しんでいる。
コロナで苦しくても学生はその中で日々を楽しもうとした、弱い精神で暴動を起こさない、国民全員が強くクリエイティブで精神力が強い。
国民性の強さ善良さ、唯一誇れるのはそれだけ。
それしかない、国土もない、身体は弱い、石油は湧かない、海底にあるレアメタルは様々な事情で掘れない、災害だらけ、人間の強さ以外何があるのか。コロナ下でも、こんな状況でも、暴動を起こさない強い国民なのだ。

☆前提(現段階での推察、今後変わるかも)

【要石とは】
漂う日本を大地に繋ぎ止める「国中の柱」
日本書紀において神(武甕槌神：日本に地震を引き起こす大鯰を御する存在)が降りた磐座
引用：https://ja.wikipedia.org/wiki/%E8%A6%81%E7%9F%B3

【ミミズとは】
大鯰＝巨大なナマズの姿をした、日本の伝説の生物。地下に棲み、身体を揺することで地震を引き起こす
引用：https://ja.wikipedia.org/wiki/%E5%A4%A7%E9%AF%B0

【ダイジン、サダイジンとは】
※自分の現段階での推察では、災害（大鯰）を鎮める神を宿した元閉じ師。あるいはサダイジンは藤原鎌足。神に近い存在であり、人心の善悪の影響を受けてしまう、あるいはそれを引き出す存在
ダイジン：武甕槌大神(タケミカヅチノカミ)がモチーフ
雷、剣、相撲の神、地震の神と崇められており、日本に地震を引き起こす大鯰の頭を押さえつける
日本神話を記した古事記の神武東征の際には、その力で悪疫を退散させ、日本に平和をもたらし鹿島の地に根付いた
腕を氷に変える事が出来たと言われている
※ひとつの可能性としては、太古の昔、まだそうした地方の風習があった時代に｢神を降ろす人柱｣にされた、ほんの幼い小さな子供、あるいは子猫。
どこまでも無邪気に、｢うちの子になる？｣と言われたら素直に信じてしまい本当に嬉しい。
すずめが要石になるくらいなら僕がと、要石に戻ったダイジンが可哀想で泣けてくる
あの木彫りはどこかにモチーフとなった伝承があるのだろうか
サダイジン：要石を祀る神社に鎮座する左大臣と呼ばれる白髪の壮年像＝藤原鎌足(大化の改新を推進し国を治める法律を整えた、公地公民制による中央集権国家建設を目的とし豪族中心の政治から天皇中心の政治へと変えた)と伝えられている
引用：http://g.kyoto-art.ac.jp/reports/1307/

【閉じ師とは】
古事記の記載によれば、日本の第10代天皇である崇神天皇の御世において疫病が大流行した際、
厄災を鎮めるために墨坂神社を創建した際の神主に近しい存在。

引用　　
https://ja.wikipedia.org/wiki/%E5%B4%87%E7%A5%9E%E5%A4%A9%E7%9A%87
サダイジン=藤原鎌足、と推察すると、=天皇を中心とし国を治めたという暗喩とも辻褄が合う。
藤原鎌足暗喩からの新海誠監督のメッセージの個人的推察としては、
｢国内で足を引っ張り合い調整に時間をかけ、バラバラになっている場合ではない。国全体が優先順位を決め国民同士が協力一致団結し力を合わせるべき有事だ、個人の利害だけで派閥争いをしている場合ではない（豪族社会からの暗喩）｣

▼ Spoilers ahead
Suzume's lines at the hospital and Sota's words as he calms the Mimizu (the earthworm) at the end represent the film's core message: To live with all your might. The absolute preciousness of having someone to say "Welcome home" to.
It could be a lover, a best friend, a teammate, family, a colleague, a dog, a cat, or even a kind stranger you briefly cross paths with. "Because I met you, my life had meaning." Simply having someone who once gave you that irreplaceable warmth makes life more than worth living.
It shows how far the people of this tiny, resource-poor, disaster-prone island nation—often stereotyped as short, frail, and awkward—have crawled up from the depths of despair. This country never had much to begin with. We don't even have the budget to properly mine seabed resources. Our true assets are the noble, kind, and resilient spirit of the Japanese people, our diligence, and our cultural endurance—such as the Matsuri (festivals) that help us find joy despite our struggles. To survive painful days without losing hope, the masses became creative. We are a people who can find joy in writing haiku with nothing but a pencil and paper.
That hasn't changed today. People love making others laugh and going viral on X (Twitter). They love dancing on TikTok. They love editing beautiful Reels on Instagram. They love writing on Note or personal blogs, inventing recipes, drawing fan art, and creating YouTube videos. They genuinely enjoy generating "content" themselves far more than just relying on the platforms. Even when suffering during the COVID-19 pandemic, students tried to find daily joy; they didn't riot. Our people are mentally strong, resilient, and creative.
The strength and goodness of our national character—that is the only thing we can truly be proud of. It is all we have. We lack vast territory, our physical statures are small, oil doesn't spring from our ground, and our underwater rare metals remain unmined. We are besieged by disasters. What do we have left but human fortitude? Even during the pandemic, under such immense stress, we remained a strong people who did not resort to rioting.

☆ Premise (Current speculation, subject to change)

【What is the Keystone (Kaname-ishi)?】
The "pillar of the nation" that anchors the drifting land of Japan to the earth. In the Nihon Shoki (The Chronicles of Japan), it is the sacred rock where the deity Takemikazuchi-no-Kami (who subdues the giant catfish that causes earthquakes) descended.

【What is the Mimizu (Earthworm)?】
An allegory for the Giant Catfish (Oonamazu)—a legendary Japanese creature that dwells underground and causes earthquakes by thrashing its body.

【Who are Daijin and Sadaijin?】
Based on my current speculation: They are former "Closers" (Tojishi) who housed deities to quell disasters. Alternatively, Sadaijin might represent Fujiwara no Kamatari. They are entities akin to gods, highly susceptible to—and capable of drawing out—both the good and evil in human hearts.

• Daijin: Modeled after Takemikazuchi-no-Kami. Venerated as the god of thunder, swords, sumo, and earthquakes. He holds down the head of the giant catfish. According to the Kojiki, his power dispelled plagues, brought peace to Japan, and he was able to freeze arms rooted in Kashima's soil.
  One possibility: In ancient times, a very young, innocent child (or kitten) might have been sacrificed as a "human pillar" to summon the god. Utterly innocent, if asked, "Will you be my child?", they would believe it wholeheartedly and be overjoyed. The thought that Daijin returns to being the cold keystone so that Suzume doesn't have to is so heartbreaking it brings tears to my eyes.

• Sadaijin: The white-haired, middle-aged statue enshrined as the "Minister of the Left." This is said to represent Fujiwara no Kamatari, the historical figure who pushed the Taika Reforms, established laws to govern the nation, and centralized power around the Emperor instead of powerful regional clans.

【What is a Closer (Tojishi)?】
According to the Kojiki, during the reign of Emperor Sujin (the 10th Emperor of Japan), when a great plague ravaged the land, a figure akin to a chief priest founded Sumisaka Shrine to quell the calamity.
If Sadaijin represents Fujiwara no Kamatari, it perfectly aligns with the metaphor of a nation governed centrally by the Emperor. Shinkai's implicit message here might be: "This is no time for internal squabbling, wasting time on adjustments, or being divided. We are in a state of crisis where the entire nation must set priorities and unite. We cannot afford factional strife driven by personal interests (an allegory referencing the ancient clan society)."

【すずめとは】

岩戸=天の岩戸
太陽神である天照大御神(アマテラスオオミカミ)が岩戸に隠れ、世界が暗闇に包まれた
引用　https://ja.wikipedia.org/wiki/%E5%A4%A9%E5%B2%A9%E6%88%B8
すずめ=天鈿女命（アメノウズメ）
引用　https://ja.wikipedia.org/wiki/%E3%82%A2%E3%83%A1%E3%83%8E%E3%82%A6%E3%82%BA%E3%83%A1
日本神話で、天照大神が天の岩屋に隠れた際、その前で踊り、大神を誘い出した女神。天孫降臨に五伴緒神として従い、天の八衢にいた猿田毘古神に道案内をさせた。

【ソウタとは】
宗像草太。
宗像大社（むなかたたいしゃ）は福岡にある宗像三女神を祀る神社の総本社であり、宗像三女神は日本書記では、「道主貴」と称される「道の最高神｣であり、歴代の天皇を助けて来た。
猿田毘古神とアメノウズメは、新しい日本の体制を開くための和睦を成し得たとの解釈もある。
アマノウズメは一説には猿田毘古神の妻となったとされており、猿田毘古神の代表的ご利益は「交通安全」「万難排除」であり、教育の神として知られている。
=ソウタは教師を志している、すずめを岩戸へ導く役割であった(猿田毘古神＝芹沢、とする解釈もあるようだ)
https://ja.wikipedia.org/wiki/%E3%82%B5%E3%83%AB%E3%82%BF%E3%83%92%E3%82%B3
ソウタ、すずめのモチーフとなった神は、互いに協力し日本の新たな体制を作り出す。
若く優秀な二人が良い未来、良い国を作ってゆく。
日本書記を引用したのは、｢建国当初から日本とは災害とともにある、その中で人々は強く生きてきた国だ、だから日本人は強い｣という暗喩だと思った。
最近興味深い話を聞いたのだが、なんと、第二次大戦直後、フランスから日本へ移住したフランス人がいると聞き、｢ドイツにあれ程酷い事をされたのに何故日本に！？｣と聞いた所、
｢日本という国は何故強いのか知りたかった｣という理由だと聞き、その勇気と行動力に驚愕したのだが、
｢それで、その人は日本をどう思ったのか｣と聞いた所、
｢日本の天皇制は凄いと思った。ハプスブルク家さえ廃れている、これ程続いている国は世界中探しても他にない｣と思ったと聞き、
考えた事もなかったので目から鱗で、言われてみればその通りだと思い、新海誠監督もそこに何か思慮があったのかもしれないと思った。
確かに日本の皇族は、全国民が未だに外交の要として、｢こうした方であらねばならない、世界からも国内からも、全国民の尊敬を集めるお方でなければ｣と無自覚に敬意を評している事に気付いた。
これだけ国内が多国籍化しても、日本という土地に災害が多い事は変わらない、それをしも天皇陛下が全世界から尊敬を集めるお方であれば、
どのような国籍の方が日本に住もうとも国内がバラバラにならずに済む、陛下はその要なのかもしれない…
良く見ていると、ソウタの家の書物には日本書紀らしき記載があったり、
東京の後戸の場所の付近に｢三宅坂｣と記載があったり、
※三宅坂は、明治政府の陸軍の中枢であり、戦時中の参謀本部の代名詞。つまり、国防の要。
戦後はGHQの将校が住むパレス・ハイツになり、占領が解除され昭和40年に土地が返還された後は、最高裁判所が建設された場所。
東日本大震災後は、耐震性が疑問視されている
東京の後戸の場所は一瞬映るすずめのGPSからすると、御茶の水駅から程近い科学技術館のそばかもしれない？(江戸城跡地のそば)
新海監督は恐らくかなり勉強家で、メッセージは色々あるが、直接言うには…という所を、分かりづらいぼやかした範囲でファンタジーにしているんだろうな、と感じた

【About the Suzume】

Iwato = The Heavenly Rock Cave
Amaterasu Ōmikami, the Sun Goddess, hid herself within the rock cave, plunging the world into darkness.
Source: https://ja.wikipedia.org/wiki/天岩% E6%88%B8Suzume = Ame-no-Uzume-no-Mikoto引用　https://ja.wikipedia.org/wiki/アメ% E3%83%8E%E3%82%A6%E3%82%A3%E3%83%A5 In Japanese mythology, the goddess who danced before the cave to lure out the Sun Goddess Amaterasu Ōmikami when she hid in the heavenly rock cave. She accompanied the descent of the heavenly grandchildren as one of the Five Companions and had Sarutahiko Ōkami, who resided at the heavenly crossroads, guide their way.

【About the Sōta】
Sōta Munakata. Munakata Taisha in Fukuoka is the head shrine of the Munakata Sanjin (Three Munakata Goddesses). In the Nihon Shoki, these goddesses are called Michishikigami, the 'Supreme Deities of the Way', who have aided successive emperors. Sarutahiko and Ame-no-Uzume are also interpreted as having achieved reconciliation to establish Japan's new order. According to one theory, Ame-no-Uzume became the wife of Sarutahiko-no-Kami. Sarutahiko-no-Kami's principal divine blessings are "traffic safety" and "removal of all obstacles", and he is known as a god of education. = Sōta aspires to be a teacher; his role was to guide the sparrow to the rock cave (there also seems to be an interpretation equating Sarutahiko-no-Kami with Serizawa). https://ja.wikipedia.org/wiki/サルタヒコソウタ,
the deities who became the motif for the sparrows, cooperate to create Japan's new system. Two young, talented individuals forge a bright future and a prosperous nation. I believe the reference to the Nihon Shoki was meant as an allegory: 'From its founding, Japan has been a nation enduring disasters alongside its people, who have lived on with strength; therefore, the Japanese are resilient.' Recently, I heard a fascinating story. Apparently, immediately after the Second World War, a Frenchman emigrated from France to Japan. When I asked, "Why Japan, after all that Germany did to you?!" he replied, "I wanted to understand why Japan is such a strong country." I was astonished by his courage and initiative. When I then asked, "And what did he think of Japan?", 'I thought the Japanese imperial system was remarkable. Even the Habsburg dynasty has fallen. There's no other country in the world that has lasted this long.' It was a revelation, something I'd never considered before. Once mentioned, it seemed perfectly logical. I wondered if director Makoto Shinkai might have had some thought on this too. Indeed, I realised that the Japanese imperial family remains, unconsciously, the cornerstone of diplomacy for the entire nation. People still hold them in reverence, thinking, 'They must be this kind of person, someone who commands the respect of the whole nation, both domestically and internationally'. Even as the nation becomes increasingly multinational, the fact that Japan remains a land prone to disasters remains unchanged. If His Majesty the Emperor is a figure who commands respect from the entire world, then regardless of the nationality of those living in Japan, the nation might avoid becoming fragmented. His Majesty may well be that pivotal figure... Upon closer inspection, Souta's family books contained what appeared to be entries from the Nihon Shoki, and near the location of Tokyo's rear gate, there was a reference to "Miyakezaka". ※Miyakezaka was the nerve centre of the Meiji government's army and synonymous with the wartime General Staff Office. In other words, the linchpin of national defence. After the war, it became Palace Heights where GHQ officers resided. Following the lifting of occupation and the land's return in 1965, it became the site where the Supreme Court was constructed. Following the Great East Japan Earthquake, the location of Tokyo's rear gate—whose seismic resilience is now questioned—might be near the Science and Technology Museum, close to Ochanomizu Station, judging by the fleeting GPS signal from the sparrow? (Near the site of Edo Castle) Director Shinkai is likely quite studious. While his messages are varied, I sensed he likely chose to frame them within a fantasy realm—a deliberately ambiguous, hard-to-pin-down scope—rather than stating them directly.

白いダイジンと黒いサダイジンは対となる存在で、白いダイジンは大きくなると黒くなり、黒いサダイジンは大きくなると白くなる。
白いダイジンは人間の良い心に影響された存在、自分を解放してくれた良心の象徴であるすずめが大好き
黒いサダイジンは人間の黒い心で黒くなってしまった存在、叔母の｢黒い側面、人間の本音のひとつ｣を引き出す。
サダイジン｢その通り、人の手で(後戸を閉じて)元に戻して｣
元の姿(白い大きな姿)があるのだ。
ソウタは人間が戦争を起こし自然を破壊しようが、悪い事をしようが、役割として災害を鎮める。
どちらかと言えば、ダイジンにとってはソウタは当初、サダイジンの方が大きい世の中の中では、
人間の為だけに人間だけを守る優秀なリーダー、クシャナに近かったのかもしれない。
だから、ダイジンにとってソウタは「お前は、(悪い心を持つ自然を破壊する人間を守るから)ジャマ」
あるいは単に「ダイジンを要石に戻そうとするソウタがいては、すずめと一緒にいられないからジャマ」というだけかもしれないが。
ソウタの祖父は、サダイジンに「お久しぶりで御座います。あの子について行かれますか」と敬意を評する。
サダイジンは、人間が良い行いをしていれば基本的には災害を鎮めてくれる。
だからダイジンは、すずめの良心によって、黒くなってしまったサダイジンを元に戻して助けて欲しい。
サダイジンはダイジンをペロペロ舐め、とても可愛がっている。しかし叔母の悪い本音をサダイジンが引き出し、ダイジンはすずめを傷付けるサダイジンに物凄く怒る。
｢うちの子になる？｣=血の繋がりがなくとも家族になれる、家族になるとは、もキーワード。
すずめもダイジンに｢うちの子になる？｣と言った。それを否定する叔母の発言は、すずめにとってもダイジンにとっても許しがたいものだった。
幼いすずめと叔母、ダイジンと成長したすずめ、この関係性がリンクしている。
すずめに付いていったサダイジンは、すずめの良心、人間の良い心により、黒くなってしまった身体が白くなりミミズ（災害）と戦う。
ソウタはラスト、人間の心の重さがその土地を鎮めていると言う。その土地土地の人間の懸命さが、国を良くする。
映画のストーリーとして「人間の良心の象徴」であるすずめ。
だがそれがごく普通の女子高生である事が、現実的には違和感を持つ。
死ぬ事を「怖くない！」と言う。｢私が要石になる！｣と言う。
同じく自己犠牲的であるナウシカには行動理由の根拠の設定、立場がある、だがすずめはごく平凡な普通の女子高生だ。何故そこまで必死に命をかけるのか？
母親はすずめを深く愛していた。4歳で母親を亡くしたすずめは、母親を探し、母親に会いたくて扉の中が見えるようになってしまった。
この｢扉の中が見えてしまう｣｢声が聞こえてしまう｣｢ミミズを止めなければどうなるか、4歳で知っている｣事が彼女の行動理由。
誰か一人でも大切な人がいる事、その貴重さがどれ程か、出会った人々が母親を失わず暮らせる社会が何もせず簡単に永続するものではない事を知っているから必死に守る。
｢一人は怖い｣｢大切な人に先立たれ自分一人が世界に取り残される事、それは死ぬよりも怖い｣その恐怖が彼女を動かす。
叔母に何を言われても、愛するソウタを突き刺してでも、どうしても｢おかえりが言える世界｣を守りたい。
すずめにとって大切なのはソウタだけではない、ダイジンを失っても涙を流す。一人は怖いと4歳で知っているから、出会った人々全てが貴重。
二人が守りたいもの、それがラストに一瞬人々の声として流れる。｢行ってらっしゃい｣｢おかえりなさい｣
人々の平凡でごくありふれた、しかし当たり前ではない平和な生活。
だからこの台詞が、映画の中で何度も繰り返される。
｢行って来ます｣｢おかえり｣と言える人が一人でも生きている事の貴重さ稀有さ。
そう言いたいのに、言えなかった人達の無念と哀しみ。
二人にはその声が聞こえる。
すずめは叔母に｢行ってきます｣と言う。｢ただいま｣と言う為に。
｢人々の想いがその土地を鎮めている｣
大人の自分が、子供の自分を抱きしめ癒す事も出来る。
インナーチャイルドを自ら癒す、その力が人間にはあるというドライブマイカーと同じテーマまで盛り込まれていた。
一番大切なものを亡くしても、また出会える、また得られると。
震災で代わりのいない家族、一番大切な人を失った悲しみを背負わされた人への共感と、哀しみの中にある人へのメッセージ。
また、天気の子のインタビューの中で、新海誠は「気候変動は加速している。でもね、若い世代は意外とそれに順応していくんじゃないかと思っているんですよ」と仰有ってらした。
新海誠監督は、日本の若い世代の力を強く信じている。確かに、著名人の中でも優秀極まりない若手が一部に出てきているのを感じる。
最近都内を中心にZ世代のトレンド調査+実際23歳に今何が流行っているか聞いたのだが、本当にSDGS実践意識が当然のように高い。むしろ意識が高いとすら思っていない、｢クールでお洒落なトレンド＝SDGS｣｢そうじゃないものってダサい｣でしかないのだ。
2年前流行していたのは、
｢量り売り（フードロス対策、食べきれる分しか買わないカフェのケーキ）｣
｢大学生の有志による、ロータリーに置かれた英語表記のゴミ分別用段ボール｣
｢企業の社会貢献度を学術的に評価する人工知能システム｣
｢お洒落なエコバッグ｣
｢SDGsなイベント(ただお祭りとノベルティが楽しい、単なるファッションの一貫、深い意識はない)｣
｢Be Real（気の合う友人のリアルな口コミしか信用しない、無駄なものを買わない）｣
｢ソバーキュリアス、シーシャ、マイボトル、リサイクルボトル｣
｢自然派食材、玄米、自然派カフェランチ｣
｢ステマ嫌い、大企業の建前のSDGS活動アピール嫌い｣
｢お洒落なトレンド｣｢可愛い｣｢それがクール、カッコイイ｣として本当にSDGSが都内を中心に流行している。
だからこそ、ごく普通の女子高生を、まるでナウシカの役割かのように描いたのかもしれない。
恐らくこの映画は、若年層の方が共感を呼ぶ。
新海誠監督自身がそういう人間だからなのではないかと思う。

The white Daijin and the black Sadaijin are two halves of a whole; the white Daijin turns black as it grows, and the black Sadaijin turns white.
The white Daijin is an entity influenced by the goodness in human hearts, and he deeply adores Suzume, the symbol of conscience who freed him.
The black Sadaijin is an entity corrupted and darkened by humanity's malice, drawing out the aunt's "dark side—one of the ugly but honest human feelings."
Sadaijin basically says, "Exactly, restore me by human hands (by closing the back door)." His true, original form is a large, pure white beast.
Sota's role is to quell disasters, regardless of whether humans are destroying nature, starting wars, or committing evil deeds.
If anything, from Daijin's perspective—in a world where Sadaijin's dark influence is dominant—Sota might have initially seemed akin to Kushana from Nausicaä: a highly capable leader who strictly protects humans solely for humanity's sake.
Therefore, to Daijin, Sota was simply "in the way" (either because he protects destructive humans with dark hearts, or just because Sota trying to turn Daijin back into a keystone meant Daijin couldn't stay with Suzume).
Sota's grandfather addresses Sadaijin with the utmost reverence: "It has been a long time. Will you be accompanying that child?"
Fundamentally, Sadaijin will suppress disasters as long as humans are performing good deeds. That is why Daijin wants Suzume's pure conscience to heal the blackened Sadaijin and return him to normal.
Sadaijin affectionately licks Daijin and dotes on him. However, when Sadaijin draws out the aunt's malicious true feelings and hurts Suzume, Daijin becomes absolutely furious with Sadaijin.
"Will you be my child?" is also a key theme, signifying that people can become family even without blood ties, and questioning what it truly means to be a family.
Suzume had asked Daijin, "Will you be my child?" The aunt's outburst denying that bond was entirely unforgivable to both Suzume and Daijin.
The relationship between the young Suzume and her aunt parallels the dynamic between Daijin and the teenage Suzume.
Guided by Suzume, Sadaijin's blackened body is purified and turned white by her conscience and the goodness of human hearts, allowing him to fight the Mimizu (the disaster).
At the end, Sota says that the weight of human hearts is what calms the land. The earnest, hardworking lives of the people in each region are what improve the nation.
Within the film's narrative, Suzume serves as the symbol of human conscience. However, realistically, there's a slight dissonance in the fact that she is just an ordinary high school girl.
She boldly claims, "I'm not afraid to die!" and "I'll become the keystone!"
Nausicaä was similarly self-sacrificing, but she had a defined background, rationale, and royal status. Suzume, on the other hand, is completely ordinary. Why is she willing to risk her life so desperately?
Her mother loved Suzume deeply. Having lost her mother at age four, Suzume desperately searched for her and longed to see her again, which awakened her ability to see what lies beyond the doors.
Her ability to "see inside the doors," "hear the voices," and crucially, her firsthand knowledge gained at age four of what happens if the Mimizu isn't stopped—these are what drive her actions.
She knows the profound value of having even one precious person in your life. She fights desperately because she knows that a society where people don't lose their mothers doesn't simply endure on its own without effort.
"Being alone is terrifying." "Being left behind in the world after your loved ones pass away is scarier than death itself." That sheer terror is what propels her.
No matter what her aunt says, even if it means stabbing the Sota she loves, she is determined to protect "a world where people can say 'Welcome home.'"
Sota isn't the only one who matters to Suzume; she sheds tears when she loses Daijin too. Because she learned the terror of being alone at age four, every single person she meets is precious to her.
What the two of them are trying to protect flows in a brief montage of people's voices at the end: "I'm off!" and "Welcome home!"
The ordinary, mundane, yet never-guaranteed peaceful lives of everyday people.
That is exactly why these lines are repeated over and over throughout the film.
The absolute preciousness and rarity of having even one person alive to exchange an "I'm off" and "Welcome home" with.
And the agonizing regret and sorrow of those who wanted to say those words, but couldn't.
Suzume and Sota can hear those voices.
Suzume tells her aunt, "I'm off," specifically so that she can eventually say, "I'm home."
"The feelings of the people calm the land."
The film shows that your adult self can embrace and heal your childhood self. It even incorporated the same theme as Drive My Car: that humans possess the power to heal their own "inner child."
A message that even if you lose what is most precious to you, you can still find love and connection again.
It offers deep empathy for those burdened with the grief of losing irreplaceable family members and loved ones in the earthquake, serving as a message of hope for those trapped in sorrow.
Furthermore, in an interview for Weathering With You, Makoto Shinkai remarked, "Climate change is accelerating. But you know, I think the younger generation will surprisingly adapt to it just fine."
Director Shinkai strongly believes in the power of Japan's younger generation. And indeed, even among public figures, you can sense the emergence of exceptionally brilliant young people.
Recently, I looked into Gen Z trend surveys centered in Tokyo and actually asked a 23-year-old what's popular right now. Their awareness of practicing SDGs (Sustainable Development Goals) is naturally incredibly high. In fact, they don't even think of it as being "highly conscious"; to them, "eco-friendly and sustainable equals cool and trendy," and "anything else is just tacky."
What was trending two years ago included:

• Buying by weight (food waste prevention; buying only the cake you can actually finish at a cafe)

• English-labeled cardboard trash sorting bins set up at rotaries by university student volunteers

• AI systems that academically evaluate a company's social contribution

• Stylish eco-bags

• SDG-themed events (enjoying the festival vibe and novelties as part of fashion, without overly deep ideological baggage)

• BeReal (trusting only authentic reviews from close friends; not buying unnecessary things)

• Sober curious lifestyles, shisha, bringing your own tumbler, using recycled bottles

• Natural ingredients, brown rice, organic cafe lunches

• Disliking stealth marketing and fake corporate SDG PR
  SDGs are genuinely trending, especially in Tokyo, simply because they are seen as "fashionable," "cute," "cool," and "stylish."
  Perhaps that is exactly why Shinkai portrayed a completely ordinary high school girl in a savior role akin to Nausicaä.
  This film will likely resonate even more strongly with younger audiences.
  I think this is because Director Makoto Shinkai himself is that kind of genuine, forward-thinking person.

すずめがソウタが気になる理由もラストに描かれている。母親を亡くした4歳のすずめは母親を探し常世に迷い込み、そこで未来のすずめとソウタに出会っていた。
一目惚れではなく、記憶にないながら｢一番辛かった時に出会った人｣｢どこかで会ったことがある気がする人｣、それがソウタだった。
もし仮にサダイジンが藤原鎌足の暗喩であったなら…？と、色々複数想像しながら、細かく細かく台詞を聞いてゆくと謎解きのような一言、シーンが散りばめられていて、恐らく最終的にどういう事だったか解釈に辿り着く。そこを観客の想像に任せている。
そこも宮崎駿監督と非常に似ている。
｢千と千尋の電車のシーン、あれは宮沢賢治か、つまりあの影は｣とか、そういう何回も何回も見るとより面白い映画が好きな人に向いた映画。
あのミミズはもののけ姫のタタラ神、巨大化したサダイジンもサンの育て親かあるいは千と千尋のハク(川の神様)、すずめの自己犠牲精神はナウシカ、と、ナウシカともののけ姫を彷彿とさせるシーンが多々。
更には車に乗るシーンは魔女の宅急便の松任谷由実のルージュの伝言と、これでもかな宮崎駿監督リスペクト。
車の赤と風景の水色も、紅の豚を想わせ、そのシーンの叔母様の口紅の色もジーナさんの描き方に似ていた。
食べ物が美味しそうなのもジブリ色。
映画に出てくるバーでの酒のボトル、SNSでのポスト、地震警報に慣れすぎてまるで動じない学生達、双子を育てる母親の預け先が休みな事、双子の面倒を見るすずめと双子とのやり取り、
上げだしたらきりが無いが、全てが現代令和日本としてリアル。
特にすずめが双子と遊ぶシーンが凄いと思った、｢子供二人とこの時間過ごすと本当にこうなる｣と言うのを体感していないと描けないんじゃないかと。
地方のバーの描写にしても、そこにいる人達やキープされたボトルの銘柄を同じ目線で見ていないとこうは描けないだろうなと思った。上から目線が本当にない
この映画は新海誠監督自身が地方を周って撮ろうと思ったとインタビューで見たが、
一体どれだけ取材をしたのか、あるいは新海誠監督自身が本当に人が好きなのだろうと思った。
彼はファンタジー作品を撮りながらも、人間を自分勝手に理想化しない。現実の人間を見て、現実の人間を愛している。
｢自分に都合が良い、こうあって欲しい女性｣
｢自分に都合が良い、こうあって欲しい子供｣
｢自分に都合が良い、こうあって欲しい若者｣
｢自分に都合が良い、こうあって欲しい社会｣
｢自分に都合が良い、こうあって欲しい地方の人々｣
ミドル世代の男性ながら、彼にはそれがない。自己中心的な発想がない。
それをしもなお純粋な心で、人間の良心と強さを信じている。
あくまで人を愛し、人の良心を信じ、ごくごく平凡な庶民に寄り添い懸命に生きる意味、希望を提示し励まそうとしているのを映画から感じた。
要石は人間の良い面も悪い面をも引き出すし、
叔母様の｢悪い本音（すずめがいなければ恋愛出来たのに～）｣をも引き出す、でも勿論叔母様には良い本音もある、それが普通の人間だ。
人間のせいで象徴（それがナウシカのオウムか、あるいは違う何かか、各々比喩は違うが）が災害を起こす、しかし人間の力（努力）で鎮める事も出来る、
そこまでは宮崎駿監督と変わらない。
しかし違うのは宮崎駿監督は時代の問題で、今ならまだ人間の努力で避けられると、避けようとして絶望し続け、それをしも今なお次世代に希望を託している。
だから今宮崎駿監督は一人ゴミを拾っている。地球を破壊しては、温暖化し津波が来ては、人間も生きていけないと。
新海誠監督は、起きてしまった3.11、それをしもなお懸命に生きる人々、避けられなかった現実を受け止め、彼らの悲しみに寄り添おうと、それをしもなお前向きである。
辛い現実、悲しい災害、それをしも人間が変われば、すずめのように美しい心で努力すれば希望はある。
｢君（人間）の手で元に戻して｣
テーマは、
｢今を生きる人々の苦しみ、悲しみ、現実に寄り添いたい｣
｢絶望しなくて良い｣
｢未来は希望に溢れている｣
｢僕は人々にはその力がある、善良さ強さがあると本心から信じている｣
絶望しなくて良い未来は希望に溢れている、懸命に生きる事、それは素晴らしい事なんだと言う前向きさ。
こんな時代にも関わらず本当に純粋な心を持ち続けている。まだ人間を信じている。
彼の描くキャラクターは恋愛においても何においてもとても純粋で誠実、新海誠監督自身がそうだからだろう。こんな誠実な心のままミドル世代になれた、地道に粛々とそう生きて来たのだろう、つくづく素晴らしい人だと思う。
だから、SDGSへの関心が全年代で一番高い学生や20代前半（人生これからなのに津波で死んだらたまったものじゃないので当たり前である）に刺さる。
細かい所で言えば、今若年層に流行している｢エモい、チルい、ノスタルジー、曖昧なもの（昭和らしいイラスト、昭和らしい曲）｣の流行理由、深層心理は、
｢希望が持ちづらい世の中の中での、豊かだった日本への憧れ｣｢カテゴリ分けされたくないモヤモヤした複雑な心理、曖昧なものへの共感｣
だからYOASOBIのイラストレーターは江口寿史氏に似ており、シティポップが流行する、
映画の中でドライブ中に流れる音楽はそうした若年層心理も抑えている。
後半ラストの展開は確かにスピーディーすぎて理解が難しいが、恐らくは現代の若年層はタイパ文化があり、短くしないと見てもらいづらいので仕方なかったのだろう。

The reason Suzume is drawn to Sota is also revealed at the end. Having lost her mother at age four, Suzume wandered into the Ever-After searching for her, and it was there she encountered both her future self and Sota.
It wasn't love at first sight. Rather, even without consciously remembering, she recognized him as "the person who was there during her most painful time"—someone she felt she had met somewhere before. That person was Sota.
If Sadaijin were indeed an allegory for Fujiwara no Kamatari...? As you listen intently to the dialogue and explore various possibilities, you notice puzzle-like phrases and scenes scattered throughout. Eventually, you arrive at your own interpretation of what it all means. Leaving that ultimate realization to the audience's imagination is a deliberate choice.
This approach bears a striking resemblance to Director Hayao Miyazaki's. It's a film tailored for people who love movies that grow richer with every viewing—the kind of fans who ponder, "That train scene in Spirited Away, was that a nod to Kenji Miyazawa? So those shadows must mean..."
The Mimizu resembles the Tatarigami (Curse God) from Princess Mononoke; the giant Sadaijin evokes San's wolf mother or perhaps Haku (the river god) from Spirited Away; and Suzume’s spirit of self-sacrifice is incredibly reminiscent of Nausicaä. There are numerous scenes that strongly echo Nausicaä and Princess Mononoke.
Furthermore, the road trip scene featuring Yumi Matsutoya's "Rouge no Dengon" is a massive, unmistakable homage to Kiki's Delivery Service. The respect for Director Miyazaki here is palpable.
The vibrant red of the car set against the aqua blue scenery brings Porco Rosso to mind, and the way the aunt's lipstick is depicted in that scene felt very much like Madame Gina. Even the mouth-watering depiction of food is a classic Ghibli hallmark.
The specific liquor bottles in the local bar, the social media posts, the students who barely flinch at earthquake alarms because they’re so used to them, the mother of twins scrambling because daycare is closed, the realistic banter between Suzume and the twins as she babysits them—the list goes on and on. It is all incredibly authentic to modern Reiwa-era Japan.
I was particularly struck by the scene where Suzume plays with the twins. You really couldn't depict that kind of chaos so accurately unless you've personally experienced what it's like to spend hours with two toddlers.
The same goes for the local bar. You couldn't capture the regulars or the exact brands of the "keep bottles" on the shelves unless you had observed them directly at eye level. There is absolutely no condescension in this film.
I read an interview where Director Shinkai mentioned he wanted to travel around rural regions to make this film. I can only imagine how much research he did, or perhaps he simply genuinely loves people.
Even while creating fantasy works, he never selfishly idealizes humanity. He looks at real, flawed people and loves them exactly as they are.
"The ideal woman who is convenient for me," "The ideal child who behaves exactly as I wish," "The ideal youth," "The ideal society," "The ideal, quaint rural folk"—despite being a middle-aged man, he completely lacks this male-centric or self-serving gaze. There is no egocentric projection in his work.
Yet, with a stunningly pure heart, he continues to believe in human conscience and resilience. Throughout the film, I profoundly felt his unwavering love for humanity, his faith in our innate goodness, and his genuine desire to encourage the everyday masses by showing them hope and the meaning of living earnestly.
The keystone draws out both the good and bad sides of people. It pulls out the aunt's "ugly truth" (the resentment that having Suzume ruined her chances at romance)—but of course, she also has beautiful, loving truths. That is simply what makes us human.
Human actions provoke a symbol (whether it's the Ohmu in Nausicaä or something else entirely) to unleash disaster, yet human effort can also quell it. Up to this point, his narrative aligns closely with Director Miyazaki's.
The difference, however, lies in the era. Because Miyazaki belonged to a generation where the worst could potentially still be averted through human effort, he spent his life desperately trying to prevent it. He endured constant despair when humanity failed to listen, yet he still entrusts hope to the next generation. That is why, even now, Miyazaki can be seen picking up trash alone. He deeply understands that if we destroy the earth, cause global warming, and trigger tsunamis, humanity simply cannot survive.
Director Shinkai, conversely, deals with the aftermath of 3.11—a disaster that has already happened. He accepts the unavoidable reality, stands beside the grief of those who must continue living earnestly despite it, and remarkably, remains entirely positive.
Even in the face of harsh realities and tragic disasters, he insists that if humans change, if we strive with beautiful hearts like Suzume's, there is hope. "Restore it with your (human) hands."
The core themes are: "I want to stand closely by the suffering, sorrow, and reality of people living today," "You don't need to despair," "The future is brimming with hope," and "I sincerely believe that people possess the strength and inherent goodness to overcome this."
He offers the uplifting message that we need not despair, that the future is full of hope, and that living with all one's might is a truly magnificent thing. Despite the darkness of our times, he has remarkably maintained a pure heart. He still believes in humanity.
His characters are incredibly pure and sincere in romance and in life, likely because Director Shinkai himself is exactly that way. To reach middle age with such an unblemished, sincere heart means he must have lived his life steadily and honestly. He is, quite frankly, a wonderful person.
This is precisely why his work strikes such a chord with students and people in their early 20s—the demographic with the highest interest in SDGs across all age groups (which is only natural, as having your entire future wiped out by a tsunami is a terrifying prospect).
On a more granular level, the deep psychological reason behind the current youth trends of "emo," "chill," "nostalgia," and "ambiguity" (like retro Showa-era illustrations and city pop music) stems from a "longing for a prosperous Japan amidst a hopeless world" and a "sympathy for ambiguity and the complex desire to not be cleanly categorized."
That is why YOASOBI’s illustrators channel the style of Hisashi Eguchi, and why City Pop has seen such a massive revival. The retro road-trip soundtrack in the film perfectly captures this exact psychological pulse of the younger generation.
While the pacing of the final act is admittedly so fast that it can be hard to follow, it was likely unavoidable. Today's youth prioritize "time performance" (taipa), and if the film hadn't been kept relatively tight, it might not have held their attention.

新海誠監督、とにかく人間が出来ていると思った。
新海誠監督はインタビューで、君の名はのテーマを｢運命の人は本当にいるんだよと伝えたい｣と語っていた。
驚愕すべき純真なミドル世代だと思った
一体どれ程純朴な恋愛をして、そのまま一途に結婚して今なお幸せな夫婦なのか…と、つい思ってしまった。
新海誠監督と言う人間にとっては、恐らくは｢恋愛とはそういうもの｣だと思っているからなのかもしれない…
微塵も捻くれていない稀有なミドル世代、彼にとっては普通の事なのだろう…
何が凄いって、今この時代に悲観的ではない、現実を直視しながら前向きである、それが本当に嬉しかった。
平和ボケした我々には直視する勇気もなく考えないようにするか、絶望するか、戦後のようなエネルギーはない。
「東京直下型地震が確実に来るって言われてるけど...」「世界で戦争が起こっていて、日本は全然他人事じゃないけど...」「何となく分かってる、だから前向きになれない、どうする事も出来ない、考えたら恐ろしいだけ、だから考えたくない。世の中や人生を良くするって、何を頑張ったら...今がちょっと楽しければ良いかな...趣味とか...」
大衆が刹那的、どこか悲観的、だから現実逃避する、そうなっても仕方ないご時世。
世界は構造が残酷で、人間は歴史的に森を伐採し、仕方なく畑に食べ物を探しに来た家族意識が強く生涯一人の伴侶しか持たない狼を駆除し、品種改良した犬を愛し、にも関わらず捨てたりする。愛する飼い主に会いたくて健気に鳴くシベリアンハスキー達はかつて大量に保健所で殺されたと聞く。
つまり人間は滅びてもこの世界では何も文句は言えない、かつての恐竜のように。けれどその世界の構造には悲しくて辛くて目を背けたい。
そんな時代に新海誠監督は前向きに人間を、私達を信じてくれた。君達は自分が思うより善良で強い、大丈夫だ、と。
この令和にまだ諦めていない、宮崎駿監督が生涯命をかけ訴え願い続けた人間と自然の共存、日本が風の谷＝国防を他国に依存しない永世中立国家スイスを目指すべきである事、世界の信頼回復から土台をととのえ、被爆国(比喩は巨神兵)としてペジテ(比喩)やトルメキア(比喩)に平和を主張出来る国になる事、
ごく普通の、庶民達が平和に暮らせる世界を訴え続け絶望した。紅の豚に起用された加藤登紀子氏も壮絶な人生を生きた。その想いを新海誠監督は受け継いだ。
宮崎駿監督は今まさに起きている世界中での戦争、現代日本人が苦んでいる社会、それだけは避けなければならないと、何十年も訴え続けた。
それは意識が高いわけではない、間近に迫れば人々はその凄惨さに耐えられず、恐怖に震え皆苦しむ、それはかつて本当にそうだったんだ、もう二度と誰も経験してはならないんだと。
けれど、豊かで平和な時代に生きる人々は、何故ナウシカがペジテとトルメキアを止めるのか、何故シータがゴンドラの言葉をムスカに伝えるのか、何故風の谷はトルメキアの侵略支配を最終的に逃れられたのか、自分達が今何をしたら未来の最悪の事態を避けられるのか、どれだけ訴えかけられてもピンと来ていなかった。
風の谷は国民一人一人が逞しく強かった、老人ですらコミカルながら戦車を奪い戦った。しかし侵略はしなかった、ペジテの姫を助けようとした。
巨神兵があるのに使わず、ナウシカはバランス感覚に長け戦う事も耐え忍ぶ事も出来、ユパ様は判断力交渉術に長け、
一言で言えば全体視野を持ち判断力があり優先順位を理解していた。
風の谷の民も、谷の為の優先順位として捕虜にもなるが、タイミングを待ち戦車を奪い、世界の為、谷を自衛する為ならば不屈の精神を持っていた。｢わしらは水と風の方がええ｣。
その結果としてペジテもトルメキアも風の谷の永世中立を認める結果となった。
当時から、小さな積み重ねで何をしなければいけないのか、宮崎駿監督以外の人間達には分からなかった。
大多数が何故そうしなければならないのか分かっていなかった、恐ろしい事になると優先順位を理解していなかった。
何故グレタちゃんがああ言うのか、それは温暖化は氷河を瓦解させ津波を起こすから、その恐怖は目の前に津波が来るまで人間には分からなかった。
経済発展は勿論最重要だが、地球が滅びたらそれ所の話ではない。
ただしその｢正論｣は、今日のご飯の為にCO2を排出する工場で働いている工場労働者には｢正義｣ではない、それも宮崎駿監督は理解していた。
人々が幸せに、毎日安心してご飯を食べられるように出来る事は何か、何を頑張れば凄惨な経験をしないで済むか、
宮崎駿監督、故手塚治虫氏はその勉強量知識量から、それを世界中に訴え続け、自分以外の人々の幸福を願い続け、絶望し続けていた。
彼らは、それが出来ない個人の事情も理解していた。個人個人の事情に寄り添い、故手塚治虫氏に至っては、あの故東条英機氏すら｢国民がご飯を食べられているかどうか、毎朝ゴミ箱をチェックしていた｣と知っており、そういう一面を持つ人間だと描いた。
宮崎駿監督や故手塚治虫氏のようなマイノリティがいくら訴えても大衆は動かなかった。
｢まさかこんな時代になるとは｣と思っていて、いくら彼らが訴えても手遅れになるまで実感がなかった。
大衆の多数派がやらない事はそれが当たり前となり、面倒だから、自分の利益にならないから、と行動まではしなかった。
そして今の恐ろしい社会に苦しむ事になった。
その事を、宮崎駿監督は自分には何も出来ないと悲しみ絶望し続けた。
けれど宮崎駿監督より若い新海誠監督はまだ諦めていなかった。
新海誠監督は現実逃避をしない。昔は良かった、と逃げない。東京で成功した自分には地方やこの国、この世界などどうでも良い、自分さえ良ければ良いと思っていない。
現実の今と現代の若者、現実の人々、起きている悲惨な出来事をその人達に寄り添って理解しようと直視している。
にも関わらず純粋な美しい心で前向きに人を信じ想っている。
最近、とある人に怒られた事を思い出した。
ある企画を考えていたのだが、フォーラム21にも参加する彼は私の企画を聞き、
｢典型的な勉強自体が好きな人間達が陥る罠！！そんな人間達がヒアリングをしたって、その人達はマジョリティか？皆が大学に行けるのか？
君は地方を見て回ったのか？彼らの仲間に入れてもらって、話を聞いたのか？人々に必要なものを届けたいんだろう？
自分では自覚していない本当に欲しいものなんて、仲良くならなきゃ言うわけがないだろう！
日雇いのアルバイトくらいして来い！そうやって仲良くなるんだ、僕はこの間復興支援で東北を見てきた。彼らは強いよ、本当に強い。感動したんだ｣と言われて、本当に嬉しかったし、話が面白くて尊敬した。
新海誠監督も、同じように全国を回ったのかもしれない、と思った。
新海誠監督という人間は、酸いも甘いも噛み分けた謙虚で温厚篤実な大人ながら、なんと優しく美しい誠実な心を持つのだろうと改めて大好きになった。
思い遣りに溢れ、人間が好きなのが良く分かる。
こんな身勝手な、あまりにも頑張り疲れ果て絶望しかけている私達をまだ信じてくれた。
その上、｢SDGSと言いますがね、それは全世界の足並みが揃わなければ無意味で、そこに賛同しない国のGDPが上がり、賛同した国が貧困化するだけなんです｣という正論すら、
｢新海誠監督の映画の輸出による売上｣で捩じ伏せ両立させてしまった...あまりにも凄すぎる。
結局輸出による売上を立てて来たのはスタジオジブリであり、新海誠監督であり、故岩田聡氏であり...
これからどうなるかは過渡期ではあるものの、
｢この国が輸出で売上を立てられたのはこの人達｣
｢唯一の被爆国であるが故の説得力｣
｢常に苦しい中で、国民全員が紙と鉛筆だけで楽しみを見出せる、祭りを楽しめる、創造性が高くクリエイティブであるから暴動を起こさない、強さ由来の治安の良さ｣
これはひとつの過去の真理で、そこは令和も変わっていないのではないかと(形を変えただけで)
正直、随分以前からシンドラーのリストはもう始まっていると思う。
日本人はユダヤと同じように、世界に散らばって生き残る道を辿るのかもしれない。
それでもこの映画を見て、｢どんなに辛くても、ただでさえ闇落ちしても仕方ない時代に、これ以上自分が凄惨な経験をしないで済むように生きよう｣と励まされる人がいたら良いなと思う。
少なくとも自分はそう思えた、世界情勢や現実が不安で希望が持てず辛すぎて、つい捻くれて闇落ちしそうな時に
｢いや、やっぱり違う、これ以上凄惨な経験はしたくない、自分が幸せになりたいならこうすべきだ｣と、正常な思考に引き戻して欲しい時に見直したい映画。
令和としての名作だった。君の名は、は良く分からなかったジブリ好きにも勧められる。
感想映画すずめの戸締り新海誠

I truly felt what an outstanding person Director Makoto Shinkai is.
In an interview about Your Name, he mentioned that his theme was to convey that "the person destined for you truly exists."
I was struck by what an astonishingly pure-hearted middle-aged man he is. I couldn't help but wonder what kind of incredibly innocent romance he must have experienced, marrying with single-minded devotion and remaining a happily married couple to this day...
For a person like Makoto Shinkai, perhaps that is simply what he genuinely believes "romance is." He is a rare adult without a single ounce of cynicism; for him, this is likely just the norm.
What is truly amazing is that, in this era, he isn't pessimistic. He faces reality head-on while remaining incredibly positive—and that genuinely made me happy.
We, who have grown numbed by peace, lack the courage to face reality. We either try not to think about it or fall into despair; we don't possess the desperate energy of the post-war era.
"They say a massive earthquake directly hitting Tokyo is inevitable..." "Wars are breaking out around the world, and it's not someone else's problem for Japan..." "I vaguely understand the situation, but that's exactly why I can't be positive. There's nothing I can do. Thinking about it is just terrifying, so I don't want to think about it. What am I supposed to strive for to make the world or my life better? Maybe it's fine if I just enjoy the present... focus on my hobbies..." The masses live for the moment and are somewhat pessimistic, leading them to escape reality. It's an era where you really can't blame them for feeling that way.
The underlying structure of the world is cruel. Historically, humans have deforested lands, forcing wolves—who have strong family bonds and mate for life—to scavenge in fields out of desperation, only to be exterminated. We selectively breed dogs to love them, yet we still abandon them. I've heard that Siberian Huskies, who whimper pitifully longing for their beloved owners, were once killed en masse at animal shelters.
In other words, even if humanity goes extinct, we have no right to complain to the universe, much like the dinosaurs of the past. Yet, the structure of this world is so sad and painful that we want to look away.
In such an era, Director Makoto Shinkai looked forward and believed in humanity—in us. He tells us: You are kinder and stronger than you realize. You will be alright. Even in the Reiwa era, he hasn't given up. Director Hayao Miyazaki dedicated his life to pleading for the coexistence of humanity and nature. He urged that Japan should aspire to be a perpetual neutral nation like Switzerland, not relying on other countries for its defense (the allegory of the Valley of the Wind). He insisted that Japan must rebuild its foundations by restoring global trust and, as the only nation to suffer atomic bombings (the Giant Warrior), become a country capable of advocating peace to Pejite and Tolmekia. He continuously pleaded for a world where ordinary people could live in peace, and he ultimately despaired. Tokiko Kato, who voiced Madame Gina in Porco Rosso, also lived a life of extraordinary intensity. Director Makoto Shinkai has inherited that spirit.
Director Hayao Miyazaki spent decades warning that the wars currently raging worldwide and the harsh societal pressures modern Japanese suffer under must be avoided at all costs.
This wasn't about being "highly conscious"; it was because he knew that when horror draws near, people cannot endure the brutality, trembling in fear and suffering. Because it truly happened before, and no one must ever experience it again.
Yet, people living in an affluent, peaceful era failed to grasp why Nausicaä stopped Pejite and Tolmekia, why Sheeta relayed the spell to Muska, why the Valley of the Wind ultimately escaped Tolmekia's invasion, or what they must do now to avert the worst possible future. No matter how fervently they were warned, it just didn't click for them.
In the Valley of the Wind, every single citizen was resilient and strong. Even the elderly comically hijacked a tank to fight. But they didn't invade; they tried to save the princess of Pejite. Despite having the Giant Warrior, they chose not to use it. Nausicaä possessed a great sense of balance, capable of both fighting and enduring. Lord Yupa excelled in judgment and negotiation. In short, they had a holistic view, good judgment, and understood their priorities.
The people of the Valley also had an indomitable spirit—even allowing themselves to be taken prisoner based on their priorities for the Valley, waiting for the right moment to hijack a tank to defend their home and the world. "We prefer wind and water." As a result, both Pejite and Tolmekia ultimately recognized the Valley's permanent neutrality.
Even back then, people other than Director Miyazaki didn't understand what needed to be done through small, cumulative efforts.
The majority didn't understand why they had to act that way; they didn't understand their priorities until something terrible was about to happen.
Why does Greta Thunberg say what she does? Because global warming causes glaciers to collapse and triggers tsunamis—but people couldn't comprehend that terror until the tsunami was right in front of them.
Economic development is crucial, of course, but if the earth is destroyed, there won't be an economy to speak of.
However, Miyazaki also understood that this "sound argument" isn't "justice" for a factory worker who emits CO2 just to put food on the table today.
What can we do to ensure people can eat happily and safely every day? What efforts must we make to avoid horrific experiences? Director Hayao Miyazaki and the late Osamu Tezuka, backed by their immense knowledge, continued to plead these points to the world, wishing for the happiness of others, and continuously despairing.
They understood the personal circumstances of those who couldn't comply. They empathized with individual struggles. The late Osamu Tezuka even knew that Hideki Tojo "checked the trash cans every morning to see if the citizens had enough to eat," portraying him as a human being with that specific side to him.
No matter how much minorities like Miyazaki and Tezuka pleaded, the masses didn't move.
People thought, "It'll never come to that," and no matter how much they were warned, it didn't feel real until it was too late.
If the majority doesn't do something, it becomes the norm. People didn't take action because it was a hassle or didn't directly benefit them.
And so, we ended up suffering in today's terrifying society.
Miyazaki continued to grieve and despair, feeling that he could do nothing to change it.
But Director Makoto Shinkai, who is younger than Miyazaki, hasn't given up yet.
Director Shinkai doesn't escape reality. He doesn't hide behind "the good old days." Even though he has found success in Tokyo, he doesn't think, "I don't care about the rural areas, this country, or this world as long as I'm fine."
He looks directly at the reality of today, modern youth, real people, and the tragic events occurring around us, trying to understand them with deep empathy.
Despite all this, he remains forward-looking, trusting and caring for people with a pure, beautiful heart.
I recently remembered being scolded by someone. I was developing a certain project, and this person, who also participates in Forum 21, listened to my idea and said:
"That's a trap typical of people who just love studying! Even if people like you conduct hearings, are those people the majority? Can everyone go to university? Have you traveled around the rural areas? Have you become one of them and listened to their stories? You want to deliver what people need, right? They aren't going to tell you what they truly want—which they might not even realize themselves—unless you become close friends with them! Go work a day-labor job for a bit! That's how you connect. I recently visited Tohoku for reconstruction support. They are strong, truly strong. I was moved." I was so happy to hear that; I found his perspective fascinating and deeply respected him.
I thought that perhaps Director Shinkai had traveled around the country in the exact same way.
I came to love Makoto Shinkai even more, realizing what a gentle, beautiful, and sincere heart he possesses, despite being a humble, genial adult who has experienced the bitter and the sweet of life.
It’s abundantly clear that he is full of compassion and truly loves humanity.
He still believes in us—us, who are selfish, exhausted from trying so hard, and on the verge of despair.
On top of that, he completely overpowered the harsh truth—"SDGs are meaningless unless the whole world is in lockstep; countries that ignore them will see their GDP rise, while those that comply will just become poorer"—by balancing it globally with "the export revenue generated by Makoto Shinkai's films." It's simply too incredible.
Ultimately, the ones generating export revenue for this country have been Studio Ghibli, Makoto Shinkai, and the late Satoru Iwata...
While we are in a transitional period and it's unclear what will happen next, certain truths remain:

• "These are the people who built this country's export revenue."

• "The persuasiveness born from being the only nation to suffer atomic bombings."

• "The safety and public order born from strength—a nation where everyone can find joy with just a pencil and paper even in hard times, enjoy festivals, and possess such high creativity that they don't resort to rioting."
  These are truths of the past, but I believe they haven't changed in the Reiwa era (they've merely taken a different form).
  Honestly, I feel that a Schindler's List scenario has already begun quite a while ago.
  Like the Jewish people, the Japanese might eventually have to scatter across the world to survive.
  Even so, I hope there are people who watch this film and feel encouraged to think, "No matter how hard things get, in an era where it's so easy to succumb to darkness, I'm going to live in a way that ensures I don't have to go through any more horrific experiences."
  At least, that's how it made me feel. When I'm overwhelmed by anxiety about world affairs and reality, when I can't hold onto hope and feel so much pain that I'm about to become cynical and succumb to darkness...
  "No, that's wrong. I don't want to experience any more horrors. If I want to be happy, this is what I should do." It's a film I want to re-watch whenever I need to be pulled back to normal, healthy thinking.
  It is a true masterpiece of the Reiwa era. I can confidently recommend it even to Ghibli fans who didn't quite get Your Name.

ひかえめなニュースレターで購読
hana_mi