Coming of age dramas are the mainstay of anime, but if anyone was going to take one in a pleasingly new direction it would be Masaaki Yuasa. His second release of 2017 following the comparatively more abstract The Night is Short, Walk on Girl, Lu Over the Wall (夜明け告げるルーのうた, Yoake Tsugeru Lu no Uta) is the tale of a boy learning to break of out his emotional repression in order to step into a healthier adulthood but it’s also one of learning to live with loss and grief. From the Irish selkie to the conventional mermaid, people of the sea have more often than not stood in for people from a land of lost things where souls are carried away and lonely sailors lured to their doom, but perhaps we’ve simply misunderstood them and the song they sing isn’t intended to make us sad but only to make us remember the joy of living.
Sullen teenager Kai (Shota Shimoda) is in his last year of middle school with a lot of decisions awaiting him as to the further direction of his life. For the moment, Kai lives in the small fishing village of “Hinashi” somewhere in Southern Japan. “Hinashi” literally means “sunless” and the town is indeed overshadowed by a large cliff which blocks the town from the sun but there’s a more metaphorical kind of gloominess lurking here too. Kai is not the only miserable one, pretty much all of the townspeople once dreamt of escape but have either proved unable to get away from their small town roots, or have tried and failed to make it somewhere else before reluctantly returning, salmon-like, to the place of their births. The only one, it seems, to successfully make it out is Kai’s mum who left the family when Kai was small.
Much to his father’s (Shinichi Shinohara) irritation, Kai’s big dream is music though he’s less than thrilled when bamboozled into joining two other aspiring rockstar teens, Kunio (Soma Saito) and Yuho (Minako Kotobuki), as the third member of “Seirèn” even if it does give him an excuse to explore the generally forbidden territory of Mermaid Island. Whilst there, the trio’s song calls out to a music loving Merfolk girl, Lu (Kanon Tani), who can’t resist joining in and, awkwardly, is a much better lead vocalist than the divaish Yuho.
Lu, a charmingly vibrant toddler-type, is perfectly primed to bring this moribund town back to its sunny old self. Able to conjure her own portable corridors of water to travel over land, Lu tracks down Kai hoping to hear more wonderful music and making childish attempts to communicate through broken Japanese so that she can learn to understand the human world. Lu is not, however, the image most of the townspeople have when they think about Merfolk considering most of the local legends paint them as voraciously carnivorous predators existing only to steal landlubbing souls.
The Merfolk are a perfect metaphor for most of the ills consuming the town – a never seen manifestation of unknown fears. Everyone here has lost someone or something at sea (this is, after all a fishing village) or to the city, or just in themselves in learning to accept reality over the lure of unattainable dreams. Kai’s young and caring if distant father tries to push his son towards the “correct” path of non-stop studying and moral uprightness, but his son is just like teenage him, dreaming musical dreams of escape. It might have all gone wrong for Kai’s dad, but as he’s finally able to admit thanks to the guidance of Lu, he doesn’t regret a minute of it.
Ironically enough, Kai’s name is also the word for shellfish in Japanese, making his grandfather’s (Akira Emoto) frequent lament that the muscles in his dinner won’t open more than a little pointed. Kai is definitively closed off, refusing to even open the letters from his mother and keeping himself aloof at school and at home. Yet he’s not the only one who needs to open up – forced to dance to Lu’s tune (literally) each of the townspeople comes to make peace with those things that are so very hard to say, either letting past traumas float away or deciding to swim away with them.
It is, however, a little uncomfortable when the final resolution takes on a romantic dimension seeing as Lu has been painted as an adorable child with her giant bubbly head, cute high pitched voice, and childishly broken Japanese, not to mention that a secondary plot strand revolves around her father (an anthropomorphised shark/killer whale) who has attempted to shed some prejudices of his own to help his daughter in her desire to make friends with humans. Nevertheless, Yuasa and his scriptwriter Reiko do their best to do justice to all the ills of the town from the corporate greed of the mermaid loving old timer who wants to open a theme park exploiting their image, to the creepy behaviour of Yuho’s governor father, and the ever present themes of loss, guilt, and disappointment. The trio of teens at the centre may have felt themselves trapped in a dead end town, but thanks to Lu they come to realise that they too can jump over the wall and go wherever they want so long as they take the music with them.
Lu Over the Wall is in UK cinemas for one night only on 6th December 2017 courtesy of Anime Ltd.. Find out where it’s screening near you via the official Lu Over the Wall microsite.
Anime Ltd. trailer (Dialogue free)