In each scene it captures all of those emotions, but you only start to feel it out by the time you reach the Epilogue on the first viewing.It's such a beautiful piece of music that captures so much about the longing and the love between Mitsuha and Taki. What stood out me about the movie was that each scene was alive with a million interpretations. 46,688 Scrobbling is when Last.fm tracks the music you listen to and automatically adds it to your music profile. The band achieved great commercial success in 2006 with their album Radwimps 4: Okazu no Gohan, and are best known for their later singles "Order Made" (2008) and "Dada" (2011), both of which hit number one on Oricon's single charts.

(Your Name.)

We’ve seen nothing to suggest that there’s actually a spark of romance there on Taki’s merits alone.

The depth of the film is striking. In short the piece is masterful.The sadness of the movie is so sincere that even when we reach the end of the movie with its resolution, the feeling that sticks is that of sadness.

As a viewer, you know that Okudera is an easy adolescent crush for Taki - the kind that a lot of teenagers have on boys/girls have on older kids who are out of their league.

6 It's as delicate as it is intricate, as haunting as it is comforting, as peaceful as it is tragic, as fateful and ominous as it is open-ended, as much about the novelty of young romance as it is the maturity of abiding love, and as unwavering as it is crestfallen. Mitsuha’s actions are courageous and understandable. To be met with a 14 year old boy, three years her younger, is devastating, and the music slowly falls apart and becomes more chaotic as she is tussled off the train and the scene plays to a close, and we return to Taki climbing the mountain as fast as he can.As the movie draws on we are treated to *Sparkle* as the two admit their feelings for one another and Taki’s love and determination wins Mitsuha a second chance.

Radwimps is a Japanese

Somehow it also makes you feel positive things, too at the same time. We get a sense that Taki and Mitsuha know that the other is there but they just can’t reach them yet.

46,688 I found it difficult to get the movie out of my head, despite the (in my opinion) resolved ending [they live happily ever after - I refuse to accept another interpretation], and the fact that the events and setting in the movie have zero connection to my own life. But deeper than that, the music draws attention to the characters’ emotions rather than the drama of what’s happening in a story.Three scenes stand out to me each time I’ve watch the movie, and as I paid attention to the composition of the film I noticed that the three scenes carry the most weight (for me) and they are all backed by the same piece of music, or variations on it.

The ending scene, even when skipped right to it, carries all the weight it had of my first viewing, and the climax of the movie when Mitsuha is granted a second chance and carries out Taki’s plan was the same. All of these things seem to be captured in the piano solo which gets increasingly familiar as the chord progression unfolds, offset by a harmony which sits just outside of where you’d expect it to be for happier music.The next time we hear the piece is when we see the tragic flashback when Mitsuha goes to Tokyo on the day of the date, only to find that Taki has no idea who she is. Even before the first half of the movie has drawn to a close and we are faced with the Big Twist™, Mitsuha’s tears in the mirror feel like a sucker punch.

The one thread of hope we’re given in the whole film is the last line, in which Taki and Mitsuha are able to start their relationship the same way everybody else does: by asking each other’s name.While 'Theme of Mitsuha' is one of the scores that's stuck in your head, the one I can't get out of mine is 'Kataware Doki'. Nonetheless, we again hear Mitsuha narrate her own monologue.

Her family runs a shrine, for which she participates in its old traditions as a shrine maiden with her younger sister. Director Makoto Shinkai, who is also a fan of the band, approached Noda through producer Genki Kawamura as soon as the production of movie was confirmed. [I will admit now that at this point in the movie this scene completely destroyed me - I sobbed like a sissy bitch.]

Original introduction scene by Makoto Shinkai from Kimi no Na wa. Mitsuha's theme, for me, stands out as the crowning piece of music in the movie.

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