Among the various phrases that could initiate a light-hearted animated film, the Serenity Prayer, which gained prominence through Alcoholics Anonymous, is undoubtedly one of the least expected.
However, “The Colors Within,” which begins with the request for divine assistance in accepting the unchangeable, transcends the typical animated feature. Directed by Naoko Yamada, renowned for her work in anime series such as “K-On!” and films like “A Silent Voice” and “Liz and the Blue Bird,” she has emerged as a distinctive voice in the medium.
The film aligns seamlessly with her thematic exploration of youthful aspirations and emotions, following a trio of teenagers as they spontaneously form a rock band, exploring their personal journeys with a refreshingly gentle and empathetic approach.
The prayer is voiced by Totsuko (Sayu Suzukawa), a student at an all-girls Catholic high school in Japan. Since childhood, she has experienced a unique form of synesthesia, perceiving individuals as radiating specific colors, a phenomenon visually represented by Yamada in a watercolor-like style. One day, she observes the striking blue hue of her classmate Kimi (Akari Takaishi), who unexpectedly leaves school. Their paths cross again at the used bookstore where Kimi is employed, where they also meet Rui (Taisei Kido), a young man passionate about music, whose vibrant green aura inspires Totsuko to impulsively suggest forming a band with her new friends.
Despite Kimi being a self-identified novice guitarist and Totsuko having limited piano skills, the trio frequently gathers in an abandoned church on Rui’s island, where he has accumulated an impressive array of musical instruments to complement his remarkable theremin performances. These practice sessions are intertwined with familial challenges: Kimi has yet to inform her grandmother about her school departure, while Rui’s mother insists he pursue a career in the family medical practice.
In a different film, even one directed by the same individual, these narrative elements would occupy a significant portion of the storyline. Yamada, who initially worked as an animator for Kyoto Animation, is likely most recognized in the United States for her 2016 film “A Silent Voice,” which explored a young man’s confrontation with his past as a bully, revealing anguish and emotional distress that resonated throughout its ensemble of similarly troubled teenage characters. Her 2018 work, “Liz and the Blue Bird,” which is arguably her most visually stunning film to date, also conveyed a quiet intensity that enriched the emotional complexity of its central, ambiguous relationship.
“The Colors Within” marks Yamada’s inaugural feature film for Science SARU, the anime studio celebrated for the works of Masaaki Yuasa, including “Inu-Oh” and “The Night Is Short, Walk On Girl,” as well as its involvement in the series “Scott Pilgrim Takes Off.”
While there are noticeable differences in animation style compared to Yamada’s earlier work at KyoAni—characterized by softer lines and lighter hues—the most profound change lies in her overall tone and character development.
The emotional turbulence present in her previous films is supplanted by a more optimistic outlook, particularly highlighted by the consistent focus on Totsuko’s perspective. Although it would be misleading to claim that her character lacks growth, her transformations in personality and self-awareness are considerably more internalized than those of her peers.
A key aspect of “The Colors Within” is its commitment to Totsuko’s viewpoint, even as the issues faced by others take precedence.
The film’s thoughtful portrayal of religion, particularly within an academic setting, is perhaps its most striking feature. It notably avoids the typical clichés associated with Catholic schools, instead presenting Sister Hiyoshiko (Yui Aragaki) as a compassionate educator who fosters a nurturing environment for Totsuko. Her own subtle journey towards tranquility parallels that of Totsuko, as well as Kimi and Rui.
While “The Colors Within” does not delve into the psychological intricacies found in Yamada’s previous works—such as the diminishing focus on Totsuko’s attraction to Kimi as the narrative progresses—it effectively captures the emotional dynamics of its characters through Yamada’s signature techniques.
These include frequent close-ups that emphasize the characters’ physical expressions, a slightly dynamic camera that shifts in and out of focus, and unexpected cutaways that conclude scenes on surprising notes.
These artistic elements culminate in a remarkable, uninterrupted 10-minute concert sequence, where “The Colors Within” emphasizes that musical skill was never the primary objective, particularly for Totsuko. Although the three performed songs are both catchy and poignant, with Kimi’s lead vocals being particularly moving, the true highlight lies in the authentic representation of each character’s connection to the music and to one another.
This fusion of spirits maintains their distinct personalities. The film concludes with an unforeseen yet fitting recognition of the myriad emotions woven into their interactions, symbolizing an open door to a promising future ahead.
Last Updated on January 25, 2025 by 247 News Around The World
Among the various phrases that could initiate a light-hearted animated film, the Serenity Prayer, which gained prominence through Alcoholics Anonymous, is undoubtedly one of the least expected.
However, “The Colors Within,” which begins with the request for divine assistance in accepting the unchangeable, transcends the typical animated feature. Directed by Naoko Yamada, renowned for her work in anime series such as “K-On!” and films like “A Silent Voice” and “Liz and the Blue Bird,” she has emerged as a distinctive voice in the medium.
The film aligns seamlessly with her thematic exploration of youthful aspirations and emotions, following a trio of teenagers as they spontaneously form a rock band, exploring their personal journeys with a refreshingly gentle and empathetic approach.
The prayer is voiced by Totsuko (Sayu Suzukawa), a student at an all-girls Catholic high school in Japan. Since childhood, she has experienced a unique form of synesthesia, perceiving individuals as radiating specific colors, a phenomenon visually represented by Yamada in a watercolor-like style. One day, she observes the striking blue hue of her classmate Kimi (Akari Takaishi), who unexpectedly leaves school. Their paths cross again at the used bookstore where Kimi is employed, where they also meet Rui (Taisei Kido), a young man passionate about music, whose vibrant green aura inspires Totsuko to impulsively suggest forming a band with her new friends.
Despite Kimi being a self-identified novice guitarist and Totsuko having limited piano skills, the trio frequently gathers in an abandoned church on Rui’s island, where he has accumulated an impressive array of musical instruments to complement his remarkable theremin performances. These practice sessions are intertwined with familial challenges: Kimi has yet to inform her grandmother about her school departure, while Rui’s mother insists he pursue a career in the family medical practice.
In a different film, even one directed by the same individual, these narrative elements would occupy a significant portion of the storyline. Yamada, who initially worked as an animator for Kyoto Animation, is likely most recognized in the United States for her 2016 film “A Silent Voice,” which explored a young man’s confrontation with his past as a bully, revealing anguish and emotional distress that resonated throughout its ensemble of similarly troubled teenage characters. Her 2018 work, “Liz and the Blue Bird,” which is arguably her most visually stunning film to date, also conveyed a quiet intensity that enriched the emotional complexity of its central, ambiguous relationship.
“The Colors Within” marks Yamada’s inaugural feature film for Science SARU, the anime studio celebrated for the works of Masaaki Yuasa, including “Inu-Oh” and “The Night Is Short, Walk On Girl,” as well as its involvement in the series “Scott Pilgrim Takes Off.”
While there are noticeable differences in animation style compared to Yamada’s earlier work at KyoAni—characterized by softer lines and lighter hues—the most profound change lies in her overall tone and character development.
The emotional turbulence present in her previous films is supplanted by a more optimistic outlook, particularly highlighted by the consistent focus on Totsuko’s perspective. Although it would be misleading to claim that her character lacks growth, her transformations in personality and self-awareness are considerably more internalized than those of her peers.
A key aspect of “The Colors Within” is its commitment to Totsuko’s viewpoint, even as the issues faced by others take precedence.
The film’s thoughtful portrayal of religion, particularly within an academic setting, is perhaps its most striking feature. It notably avoids the typical clichés associated with Catholic schools, instead presenting Sister Hiyoshiko (Yui Aragaki) as a compassionate educator who fosters a nurturing environment for Totsuko. Her own subtle journey towards tranquility parallels that of Totsuko, as well as Kimi and Rui.
While “The Colors Within” does not delve into the psychological intricacies found in Yamada’s previous works—such as the diminishing focus on Totsuko’s attraction to Kimi as the narrative progresses—it effectively captures the emotional dynamics of its characters through Yamada’s signature techniques.
These include frequent close-ups that emphasize the characters’ physical expressions, a slightly dynamic camera that shifts in and out of focus, and unexpected cutaways that conclude scenes on surprising notes.
These artistic elements culminate in a remarkable, uninterrupted 10-minute concert sequence, where “The Colors Within” emphasizes that musical skill was never the primary objective, particularly for Totsuko. Although the three performed songs are both catchy and poignant, with Kimi’s lead vocals being particularly moving, the true highlight lies in the authentic representation of each character’s connection to the music and to one another.
This fusion of spirits maintains their distinct personalities. The film concludes with an unforeseen yet fitting recognition of the myriad emotions woven into their interactions, symbolizing an open door to a promising future ahead.
Last Updated on January 25, 2025 by 247 News Around The World
