suzume no tojimari spoilers ! hi guys im Insane
literature analysis brain is going haywire so here’s a bunch of incoherent ramblings some themes motifs and symbolism i love in this movie because AAAAAAA
Love and Sacrifice.
Obviously, but like the different kinds of love and devotion and how they’re never perfect and sometimes self-destructive but they’re so powerful and just waughhh. It was so important to me how after exploding at her Tamaki (suzume’s aunt, ik im not the only one who forgets names) was like “you know I don’t feel that way all the time, right?” like not denying that yes, she has felt exhausted of taking care of Suzume and sometimes wished she didn’t have to take care of her, trying to be the parental figure she needs while also trying to not encroach on her sister’s memory. It means so much to me that she didn’t deny those feelings but instead told Suzume that it’s not how she always feels, because loving someone means sacrifice and ewughghgghfgfh im not putting this into words well but htrggfhgf.
and ALSO the reciprocation of kindness with daijin - as thanks for the taste of freedom at last, and wanting to be with someone whom you love but not really comprehending that what they want (that “suzume doesn’t love me” killed me) and how by the end daijin helped her pull souta out and sacrificed himself for suzume because he really loved her ggrgfggfhfnfnch
And just. everyday love. This is kind of a mix of themes and motifs but every time we flashed back to the memories of whatever abandoned place they were in - the simple “good morning”s and “be back soon” and “it’s so hot”s made me choke up. the mundane love of Chika and Suzume in their newly found friendship, Rumi’s kindness in picking Suzume up off the street and her love for her children, Serizawa’s platonic love for Souta letting him drive these two crazy women with crazy beef for 7 hours across Japan, there’s just so much expression of love and the hardships people go through because of it and rhgrjgrjhgdhgjhb
Mourning and Closure.
Makoto Shinkai himseld said that he wanted to write a story about “mourning deserted places” (at least according to Wikipedia) so this one is all but textual but like yeah. the motif of opening/closing/locking doors and locking the bike and things like that? AaAAaAaa
To close the gates, you need to imagine the emotions of people who once lived there - i can only imagine what Souta was thinking in the abandoned bathhouse area, but hrhggejghw the school and the amusement park and the shots we got of normal life in tokyo before the worm revealed itself in the climax, it just. really speaks to the beauty of everyday life. im a sucker for that kind of stuff as both a psychology major and just a weird person who thinks “man i wonder what happened to this person for the past 22 years of their life that led them to be here with me in this moment” whenever i pass someone in the grocery store. Hodaka could let japan be flooded in weathering with you because of his love for hina, but suzume’s whole arc was learning about the common people and living their lives and embracing all the kindness they had to offer to herself and others and it really hits that like. of course she can’t just let tokyo get destroyed to save Souta, every person in all of tokyo is just like Rumi and Chika and Serizawa and they’re all people who love and are loved. She finds herself in Souta’s place as one who stretches himself thin between being a gate closer and studying to be a teacher because he loves life as well, and-
oops i forgot i was talking about mourning and closure
anyway the doors keep getting reopened because the grief never fully goes away and the worm of “calamity” is letting yourself be consumed by the grief and destroying the people around you and not being able to move on, and it comes from the Ever-after becomes ever-after is a place where time doesn’t exist and you wish you could be there forever because it’s where you can relive the events of your past, it’s where you can live in denial that time moves forward and you have to move with it, it’s where Suzume goes after her mother dies because she wants people to stop giving her condolences and just give her her mom back. “Ever-after” in itself is a “happily ever after” - a place where mortals aren’t meant to go, no matter how beautiful it looks. Souta goes there too because he is the catalyst Suzume needs to go back and face Ever-after - and it’s no longer beautiful, but it’s torn apart by grief and everything is in flames. The idea of a keystone as well, locking the memories and hurt away, is one that Suzume removes to relive her memories and puts back in place when she’s ready to move on. htrhgfhgfghfghf. she won’t let souta be the keystone because she refuses to move on without him.
Also both Souta and his grandfather tell Suzume to just forget everything she’s seen, but it’s too late for that because connections aren’t so easily forgotten. Even when Tamaki couldn’t remember telling Suzume she’d be her new mother, that doesn’t change that she cared for her for the next 12 years anyway. Suzume visits Chika and Rumi by the end, and obviously she’s never forgotten her mother, both because her chair was still in her room by the start of the movie and because she looks like her by the end. Even though relationships change, they’re never forgotten in the movie, and I think that’s beautiful, really.
(also cool detail: 12 years ago is when the tsunami that killed suzume’s mother struck. the movie came out in 2023, and the touhoku earthquake/tsunami that inspired this film was in 2011. nice)
Reality vs Fantasy
The scenes where Suzume goes out into public again following stopping the worm from destroying Tokyo were especially poignant to me. This girl’s been going on a fantastical adventure with her talking chair and talking cat, meeting nice people and making friends, excited at the idea that she’s doing something important, but after Souta’s gone she shuts down. Her feet are bloodied, her clothes are destroyed, and people keep giving her strange looks and calling her homeless because she may have stopped the worm but even without being consumed by grief, it still isn’t pretty or picturesque. Standing out in Japanese society is discouraged, as most of us are well aware, but she’s been doing nothing but that with all the running around and talking to chairs and flying through the sky she’s been doing. Without a concrete goal in mind, without Souta as company, she’s alone in the world of adulthood and has no one to tell her what she should do, no Souta to guide her through Tokyo. And without that confidence or charm, people don’t come to her aid like they did before. It’s only once she finds her resolve to save Souta, quite literally walking in his shoes/footsteps, that the next helpful stranger (Serizawa) comes in.
She could imagine those abandoned places as alive, but the truth is that they were abandoned and will stay that way - none of them miraculously revived by the end, unless something happened in the credits that I couldn’t see through all my tears. Reality will not bring those places back, but what really matters is how we carry the memories of those places with us? I think. man maybe it’d be easier to write this post if i had actually seen the end credits
this post is really fucking long so im calling it here 😭 makoto shinkai has done it again. goddammit
