A Doorway to Healing: Dive into the world of Suzume no Tojimari

Released on April 14, 2023, Suzume no Tojimari had been on my watchlist ever since its captivating OST and promising trailer first caught my attention. Directed by Makoto Shinkai, this is the second of his films I've seen, the first being Weathering with You, which left a lasting impression. Shinkai's signature style—characterized by breathtaking visuals and vibrant, vivid artwork—transforms his films into pure cinematic escapism. His attention to detail allows viewers to truly appreciate the beauty of the art direction. Both Weathering with You and Suzume no Tojimari have been critical and commercial successes, ranking among the highest-grossing Japanese films of all time. Notably, Suzume no Tojimari holds the 14th spot on the list, alongside iconic films like Ponyo, Avatar, and Harry Potter and the Chamber of Secrets.

Suzume no Tojimari, which translates to Suzume's Locking Up, is a heartfelt coming-of-age adventure film. The title is thought to be inspired by a Japanese folktale about a sparrow who builds her nest in a farmer's rice field. Angered by the sparrow for eating his rice, the farmer captures her, ready to kill her. But the sparrow pleads for mercy, promising to repay the farmer's kindness. In return, the sparrow calls upon all the birds in the field to help harvest the rice. Amazingly, they gather and complete the task in a single day. Grateful and astonished, the farmer spares the sparrow's life and vows never to harm the birds again. This tale beautifully underscores the value of kindness and the importance of helping others, regardless of their size or perceived worth.

In the film, Suzume's name isn't written as "sparrow," but there are subtle nods to this symbolism. When Suzume and Souta part on the train, a flurry of sparrows takes flight—a detail that suggests the director may have intended a parallel between Suzume and the sparrow, implying that even someone who may seem small or insignificant still has a vital reason to live.

Some interpretations suggest that the film's title refers not only to the literal closing of doors but also to the emotional closure Suzume achieves by the story's end. In this sense, the title holds dual meaning—signifying both the physical act of closing doors and the metaphorical act of closing one chapter of life to make way for another.

Returning to the plot, this 2-hour, 2-minute film is set in a small rural town in Japan and unfolds as a road trip adventure centred around Suzume, a high school girl, and Souta, the closer. Suzume, who was raised by her aunt Tamaki after losing her mother at the age of four, has always been haunted by strange dreams. As her journey with Souta begins, she uncovers the existence of Daijin and Sadaijin—keystones responsible for protecting the earth from catastrophic "worms" capable of triggering devastating disasters. Along the way, they encounter kind-hearted strangers like Chika, the owner of a guesthouse, and Rumi, who runs a snack bar and helps Suzume without hesitation. Together, Suzume and Souta work to prevent earthquakes across Japan while also embarking on a journey of personal growth and self-discovery.

Suzume no Tojimari is a story of courage, responsibility, teamwork, sacrifice, love, and, above all, tragedy and recovery. Through their adventure, Suzume and Souta not only fight to save their world but also uncover deeper truths about themselves. The film explores themes of grief and healing in a nuanced and authentic way, depicting the messy and complex process of coming to terms with loss. The characters are rich and multi-dimensional, each bringing a unique perspective to the story.

Visually, the film captures the serene beauty of the Japanese countryside, with sweeping shots of lush forests and tranquil streams. The attention to detail is remarkable, with every frame feeling carefully composed and thoughtfully executed. Suzume no Tojimari is ultimately a story of resilience and hope, as Suzume learns to embrace her past and find joy in the present. The cinematography is truly stunning, elevating the film into a visual masterpiece.

Even though Shinkai intended this film to resonate with everyone, some knowledge of Japanese mythology—particularly regarding Daijin and Sadaijin—can enhance the viewer's experience. Shinkai is known for weaving elements of Japanese myths into his works, and Suzume no Tojimari is no exception. However, incorporating these myths can make certain parts of the film confusing. In this blog, alongside my review, I’ll share some assumptions and interpretations that might help clarify the story (with a few spoilers). I’m grateful for the opportunity to learn more about these fascinating myths through this film and to deepen my understanding by writing this review.

Myths 

1. Who is Daijin? 

According to Director Shinkai, the word Daijin carries two meanings: "government minister" and "deity." In the movie, we encounter two cats: Daijin and Sadaijin—who represent these roles. Sadaijin, the black cat, symbolizes the "left minister," while Daijin, the small white cat, represents the "right minister," also known as Udaijin. Interestingly, Shinkai intentionally names the white cat Daijin to prevent the audience from immediately expecting Sadaijin's appearance later in the film. Historically, the roles of Udaijin and Sadaijin were among the highest positions in the Japanese imperial court, dating back to the 7th century. These ministers supported the Emperor in governing the country until their positions were abolished in 1855. The Sadaijin held a higher rank, symbolizing wisdom, while the Udaijin supported the Sadaijin and embodied power.

Another origin of Daijin is Okami, a term used to show respect for a deity. When the two cats, Daijin and Sadaijin, reveal their true forms, their colours shift: Daijin, originally white, becomes a giant white cat on a black base, while Sadaijin undergoes the opposite transformation. This visual contrast suggests a yin-yang relationship between Udaijin and Sadaijin. The essence of the yin-yang concept is that both forces work in tandem to maintain natural harmony. This balance is reflected in the film. For instance, after Daijin’s visit, Chika's guest house suddenly becomes busy, and Rumi's snack bar thrives with an influx of customers.  Conversely, Sadaijin possesses Tamaki, amplifying her underlying negative emotions and leading her to express harsh feelings toward Suzume. In a later scene, Tamaki doesn’t deny what she said but instead acknowledges that she expressed terrible things.

2. Why did Daijin turn Souta into a keystone?

When Suzume removes the keystone, Daijin reverts to his cat form, appearing weak and frail. This might suggest that Daijin's diminished state is due to a lack of worship and appreciation over time. However, as Suzume begins to show affection towards Daijin—who embodies a capricious child deity—he becomes devoted to her, establishing a kind of cooperative relationship. This newfound bond could explain why Daijin no longer wishes to serve as the keystone after holding that role for over a hundred years. When Souta attempts to turn Daijin back into the keystone to seal the worm, Daijin resists and instead forces Souta to take over his role as the keystone.

3. Why did places of keystone change?

As Souta explains, "As people's perceptions change, so does the shape of the land." Over time, the flow of people shifts, and the weight of their hearts secures the land. In areas where fewer people reside, the weight of their hearts fades, and the door begins to open. This implies that as people's focus and emotions shift, so do the places that require protection. Consequently, the locations that need keystones change with the flow of people's hearts over time.

4. What is the moral of this film?

Japan, like the rest of the world, has faced many natural disasters, causing people to lose their loved ones. In the past, people found comfort in worshipping deities as a way to honour those they lost. Over time, these traditions faded, and with them, the practice of confronting trauma. Suzume no Tojimari doesn’t suggest returning to these rituals but rather encourages us to face our traumas directly and find solace within ourselves. While revisiting painful memories of past disasters can be difficult, the story emphasizes that by confronting and accepting them, we can find peace and move forward into the future.