Granted, it probably helps that these films have the luxury of knowing from the start what Chihayafuru is actually about. The funny thing about this film is, in spite of it not being the most dramatically effective thing ever, nearly all of its adaptation choices struck me as very smart. If I move the whole grandfather arc here, I can use his story as a thematic counterpoint to this other narrative. Having Chihaya dash off to practice with Hokuo might not seem exactly in character, but it allows Sudo handing off the team’s opposition research to both stand as a welcome dramatic payoff in its own right, and also neatly conclude Chihaya’s solo play arc. That, too, counts as a major and very intelligent change from the source material.
I’ll get the bad news out of the way right from the start: the second Chihayafuru film is not that great of an actual film. After a film that explored this contrast in philosophies from every possible angle, Harada’s claim that “solo karuta is team karuta” is proven true, with one trusted ally after another pushing her upwards to glory. However, for a professional writer. . Arata’s advice to “find an image of the place where you were happiest playing karuta” acts as a natural line linking him, his grandfather, and his friends, and cleverly informs Taichi’s ascension into Class A. In the manga, it was quite possible that Yuki Suetsugu only realized Shinobu and Arata being childhood friends would be a key dramatic device after introducing her – her first relevance is “the greatest challenge for Chihaya to face,” and other aspects of her dramatic profile are fleshed out as they become needed. Sorry, your blog cannot share posts by email. This article was made possible by reader support. The only problem is… it’s an entirely invented complex that never existed in the original material, thus making the first fifty minutes of this film feel like a quick jog away from and then back to the actual narrative, while also feeling totally out of character for Chihaya herself. In contrast, in a film that lacks the running time or cinematographic acuity to make matches exciting in pure tactical terms, each fight must be a Battle of Ideas in order to be a meaningful battle at all. For the films, knowing from the start that Arata and Shinobu’s debates would become one of this story’s key philosophical arguments, and that Shinobu’s feelings of isolation would be key to the overall story’s thematic thrust, allows smart revisions like having Shinobu first introduced at Arata’s grandfather’s grave. Where and how you choose to end a story defines its ultimate takeaway, and tends to be the point, emotion, or whatever else that led that writer to craft that story in the first place. In the dazzling, joyous dance of these two characters fighting with all they’ve got, I can forgive a little dramatic wonkiness.

Reducing endless volumes of manga to ninety minutes of film demands ruthless cuts, and what this film chooses to save stands as a smartly chosen greatest hits of thematically relevant Chihayafuru moments. It makes in-story sense that these writers can’t find their endings, because discovering an ending is an exciting concept that makes sense of everything, and can be used to obvious dramatic purpose. For the films, knowing from the start that Arata and Shinobu’s debates would become one of this story’s key philosophical arguments, and that Shinobu’s feelings of isolation would be key to the overall story’s thematic thrust, allows smart revisions like having Shinobu first introduced at Arata’s grandfather’s grave. Though I’ve spent a lot of words praising this film’s methods of rewriting Chihayafuru in order to create a more tightly written and thematically cohesive story, that desire also inspires some of this film’s least effective choices. Incidentally, the necessity of preparation, and the importance of letting your story’s key goals define its trajectory, is why I tend to chuckle when stories include fictional writers who “just can’t figure out the ending” to their story. This is Chihayafuru. Chihaya Ayase has spent most of her life supporting her sister’s model career. I’ll get the bad news out of the way right from the start: the second Chihayafuru film is not that great of an actual film. Click to share on Twitter (Opens in new window), Click to share on Tumblr (Opens in new window), Click to share on Reddit (Opens in new window), Click to share on Facebook (Opens in new window), Click to email this to a friend (Opens in new window). Her rivalry with Arata is thus correctly framed as even more important than her rivalry with Chihaya, and the preeminence of this “solo versus team” argument can furthermore be seeded all throughout this film’s conflicts.

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