Ongaku

Sometimes you don't need a big budget to create a hilarious and heart-warming film. All you need is vision and a good understanding of the cinematic tools at hand (and a lot of time and dedication). This is a 71-minute film that took seven years to complete with a crowdfunded microbudget of nearly 40,000 dollars. Kenji Iwaisawa drew over 40,000 frames on his own. The minimalist art style, oddball characters, and deadpan humour grew so quickly on me that by the end I was craving for more and more. It did make me yearnful for the idyllic days of the past, even though it wasn't ... exactly that long ago that I was in high school, aimless but full of youthful joy without a care in the world. A world of possibilities is brought to life by the power of music. Also, the music genuinely rules, and the set pieces blow my mind. On-Gaku: Our Sound isn't exactly a big investment of time, so if you're willing to check it out, I'd say go for it. It's a living, breathing example that anyone—truly anyone—can create art.

At the beginning of the film, the characters still do not have an interaction with the music. What we know about them is that delinquents are possible, and that is because of their clothing and characteristics. What surprises us most is our bald protagonist Kenji, played by Shintaro Sakamoto. The character is quite expressionless at various times. It seems that he does not necessarily have a personality or a will of his own. Even so, his choices and actions influence the other characters around him.

The anime begins with this simpler animation, which uses very static plans and frameworks, at times the characters don't even move. ... It gives me a very good idea of ​​the life of the characters, which is very still. The characters and the sets are also very “two-dimensional” in that sense. We can only see them from simpler perspectives, and not from complex insights. As far as we can see, they have no goal or pretensions until the main character invites them to create a band.

Music is treated as something to be discovered and deepened. The anime is very well etilized in musical moments. The evolution of the film starts from this point. It is an evolution that is styling the music more and more until reaching the end. As we already know the simplest and least expressive side of your universe, the stylization moments are very impactful. You can't even say that what they play is really a song, it's more of a noise that they make with the instruments. When the characters do this together for the first time, it changes from that two-dimensional, expressionless aspect to a deeper and more organic perspective.

The film treats music as a kind of discovery and fascinating goal. The sound in the film generates movement. The anime leaves the viewer immersed in that static reality and later gratifies him with that feeling of movement and freedom.

In this first moment, even at the beginning of the film, this technique appears as something fascinating, and that later becomes an imaginary element, especially when we encounter the character Morita. His relationship with music already transcends this vision of fascination with the new, he is already someone who relates to music, so he shows a more imaginary and meditative affection. The first song sung by the character group is calm, and this is reflected in the style of animation that is presented to us in this scene and also by the great voice actress Kami Hiraiwa. We, as spectators, are invited to discover this more imaginary side.

There is a moment in the film where Kenji gives up on the music after listening to it on his recorder. If we notice how the anime deals with the relationship between music and spaces, it makes sense to understand why he gave up. In that scene, they just listen to the song they just recorded, and it had no impact at all. It was staged without that expressiveness that we were used to seeing when they play, again passing that feeling of immobility that goes against the feeling that the characters should feel at that moment.

If there is no music or to appreciate one's own, there is no reason to have that more evident expressiveness. This final stretch leaves the film again with that more static aspect, at least when it comes to Kenji's musical group. There is a very interesting moment when the Morita musical group is handing out the flyers for the rock event, and they are not getting anyone's attention. The character becomes uncomfortable with this situation and begins to play more aggressively, and this is reflected in the animation. Because it is a very unusual scene for the lightness that the character had when singing the first time, it shows how he not only likes to sing, but also takes it very seriously.

At the rock festival, we are in the situation where Kenji is not yet there to play, and another more important one that happens with the character of Morita. Before that, it is interesting to note that the first to sing his music is not so impressive due to the lack of expressiveness that his song goes through the form of animation that we are used to. This in a way takes away the importance of the other participants, until the turn of Morita's Kobujutsu band comes. While they play, at the same time, Kenji's character ran around playing the flute and being chased by a gang for the event. The character to the sound of rock has been traveling the spaces of the streets and the scenery in a very visceral way. This is interrupted when Morita's instrument in the middle of the performance breaks and disrupts his song.

After this event, another band plays and then it is the turn of Kenji's Kobujutsu group to do their show. In an obvious way, the character arrives at the last minute to play with his friends, so we have the most expressive scene in the entire film. When the characters begin to play, Morita's band, by virtue of the music, joins them in the same song. It is interesting to note how at this point, everything becomes more organic, three-dimensional and expressive, and this effect reaches even the audience that is watching. And when it seems like it's over, Kenji continues to play his flute, and in a surreal moment of animation, there is a dip in that imagery side, and then the character floats across the sky, transcending not only this musical and imagery expressiveness, but also reality. It's kind of hard to have an idea if that was real or not, but the important thing is to convey that idea of the effect of the music.

To conclude my criticism. All the ideas and the staging of director Kenji Iwaisawa managed, through the contrast of simplicity and expressiveness, to pass this idea on to a discovery by movement and fascination that music can provide.

Dissonant Notes: A Lackluster Melody - A 2/10 Review of "Ongaku: Our Sound

"Ongaku: Our Sound" aims to explore the world of music through the eyes of a high school band, but unfortunately, it falls far short of hitting the right notes. From its unengaging characters to its disjointed storytelling and troubling handling of sensitive subjects, the film fails to capture the essence and power of its subject matter. Furthermore, its problematic depiction of sexual harassment, where the harasser is rewarded instead of being appropriately held accountable, further undermines the film's integrity.

One of the most significant flaws in "Ongaku: Our Sound" lies in its unengaging characters. ... Despite the potential for emotional depth and growth, the protagonists remain disappointingly one-dimensional. Their motivations and struggles lack nuance, leaving the audience detached from their journey. The lack of compelling character arcs and authentic connections between them hampers the film's ability to generate empathy or investment from the viewers.

Moreover, the film suffers from a disjointed narrative structure. Scenes transition abruptly, often without a clear purpose or seamless connection, leaving the audience perplexed and disconnected from the overall plot. The pacing is inconsistent, veering between moments of tedious stagnation and rushed developments that lack the necessary buildup. Consequently, the film fails to establish a cohesive and engaging storytelling rhythm.

In addition to its flawed execution, the film's troubling depiction of sexual harassment raises serious concerns. Instead of responsibly addressing this sensitive subject matter, "Ongaku: Our Sound" takes an alarming turn by rewarding the harasser rather than confronting and appropriately addressing the behavior. This narrative choice not only trivializes the seriousness of such incidents but also sends a harmful and confusing message to viewers. By failing to explore the consequences of such actions and perpetuating a problematic dynamic, the film exhibits a concerning flaw in its storytelling and ethical sensibilities.

In conclusion, "Ongaku: Our Sound" is a dissonant and unsatisfying experience. With its unengaging characters, disjointed storytelling, and troubling handling of sensitive subjects, it fails to strike a chord with its audience. The film's flawed execution and questionable choices leave viewers yearning for a more harmonious and thought-provoking exploration of music and its impact.