Anime: Sakamichi no Apollon 6eu5d

Expectations going into this were naturally quite high. You've got the dream team back together for the first time in over a decade, and for their respective parts they succeeded. Watanabe Shinichiro directed this in his slightly unique and stylish way while successfuly condensing the source material into a quick enjoyable twelve episodes. Yoko Kanno delivered the goods with yet another fantastic soundtrack; jazz is after all her forte. Reading through the synopsis, you'd be thinking that this is a great comeback choice for the pair - it's jazz themed and set during the sixties which has hardly been touched on in the medium. And yet, this is an adaptation of a manga. Unlike Cowboy Bebop for which the duo are famed, here they are restricted to the source material; and while said material is by no means bad, it unfortunately comes up short of being remarkable. Knowing this, it becomes apparent Sakamichi no Apollon will never reach the heights most were hoping or expecting it to reach.

So, this source material. The story is primarily for a josei audience, comparable to the likes of Honey and Clover. It similarly has that balance of hard hitting drama and comedy, with 'art' being ever-present as something that ties the characters together. The difference is Apollon's characters are high school students, so any drama is ridden with the typical angst and immaturity that comes with being a teenager. First loves, jealousy, love triangles, stupidity, it's all here. These things are of course not inherently bad, but they're not good either; in this regard Apollon is a mixed bag. The characters do dumb things and they overreact, and there are plenty of misunderstandings that lead to drama that could have been easily avoided. This is unfortunately a trap of the genre that Apollon does not avoid. However, there is no doubting that this is some serious emotions/tear-duct-attacking drama. Despite how silly it can get, it is very affecting, and the resolutions are beautifully heartwarming and mostly satisfying. So in short, you have to put up with some bullshit to get to the good stuff.

The reason the drama is so potent rests primarily with the characters; well, more specifically their relationships with each other. The main focus is bespectacled Nishimi Kaoru. Him and his circumstances are quite typical (transfer student, loner, has a 'problem' that makes it hard to make friends) and yet he befriends the most unlikely of people - Sentarou, the school's feared tough guy. This does sound pretty blegh (interpret this word however you want), and yes the characters by themselves are not special, Sentarou being something of an exception for being utterly hilarious and entertaining. Luckily, the show is all about developing relationships, and that is what's good! The friendship between the aforementioned duo is wonderful, and after the typical beginnings it develops naturally. Its tumultuous nature is frequently expressed through the excellent emotional jazz they bang out together. This relationship is certainly the most interesting, yet the other romantic links between the five main characters are still gripping. They are very been-there-done-that but coming to care about Kaoru and Sentarou leads to emotional investment in whatever happens between the five. Things get a little out of control toward the end with misunderstandings and the like in typical rom-drama fashion, but by this stage you don't care about typicality and press on as fast as possible to satisfy your emotional unrest. The end result is simultaneously climactic and anti-climactic, yet does just enough to satisfy.

With all that out of the way, production values are consistently excellent. The animation is fluid and visually Apollon is an excellent slice of 60s Japan (well, as you'd imagine it to be). Unfortunately it never has a chance to show off, other than perhaps during the playing of instruments. I touched on the jazzy soundtrack, which is Yoko Kanno kicking ass and being completely versatile and inventive with her music. But it plays a particularly significant role here, being that it is intricate to one of the show's major themes. The jazz music serves as a link to the main characters in more ways than one; it's a common interest, as well as symbolising the topsy turvy lives they all lead. It's certainly more than merely a way to make a typical story feel fresh, and as such Kanno's efforts are very relevant. The soundtrack is a balanced mix of classic jazz pieces, reworked to suit, as well as fantastic original tunes. Also, as with Watanabe's previous projects, the music direction is noteworthy. Music is used only when needed, and as such its impact is really felt and enhances scenes to which it is played.

Apollon is enjoyable and a fresh take on an overused setup. The main players in the show's production are in good form, yet they cannot overcome the sadly flawed source material. Luckily the common anime fiend will be sucked in and come out emotionally wrecked, so it is worthwhile in that sense.

Within each story, there are many essential components such as the plotline and characters. While these aspects encom the main body of the work, it is ultimately the pacing of events which holds the structure together. As such, each story needs to be able to find the perfect rhythm where it can successfully convey its message, accomplish its goal and develop its cast.

Of course, this is easier said than done as many modern works run into the common problem of trying to place too many things on the table. Especially when time is of the essence, writers and directors can often run into issues when adapting a lengthy source. In particular, acclaimed director Shinichiro Watanabe’s adaptation of Sakamichi no Apollon is a work with all the right cards in play but faces an ironic opponent in the form of its own tempo.

Like any good coming of age drama, Apollon’s story unfolds in a rather humble manner, effectively establishing the main cast and setting the tone of the series. Kaoru Nishimi is a high school freshman who faces the uphill challenge of transitioning from life in the big city to a small, rural town as a result of his father’s job situation. Due to his highly restrictive upbringing, Kaoru has become somewhat of an introvert, choosing to keep to himself whenever possible. However, in an unexpected twist of fate, he finds himself face to face with his polar opposite who also happens to be the biggest “bad boy” in school, Sentarou Kawabuchi. Unlike Kaoru, Sentarou comes from a much lower social class, is somewhat shunned by society for his heritage and mostly acts on impulse, appearing as a symbol of rebellion. Through a series of unexpected events, Kaoru manages to befriend Sentarou along with his childhood friend, Ritsuko Mukae, sparking the start of a rosy friendship; thorns included.

A large portion of each episode revolves around the characters bouncing off one another and bridging the gap between their respective lifestyles via a common thread. And this thread happens to be none other than the power of music, a motif which may seem rather contrived at first glance but actually fits very nicely into the context of the characters’ backgrounds. While the show features a number of musical performances, the focus isn’t so much on the technicalities but rather how they are used to catalyse character development. As such, this makes Apollon a very character-driven piece in which the chemistry between the different pairs is the central element driving the plot forward. In particular, Kaoru and Sentarou deserve a special mention as they are undoubtedly the pair with the most realistic set of dynamics. Though there are plenty of scenes detailing the two boys overcoming their differences and bonding, the most powerful scenes in the show generally involve their unspoken interactions during the musical performances.

During these sessions, both characters’ respective personalities come across in their execution of the musical piece. Kaoru’s sheltered lifestyle is conveyed by his highly technical application of the classical piano whereas Sentarou’s wild and carefree attitude is reflected in how he forges his own play style with the drums. While each character starts the performance in their respective style, as it progresses they slowly begin to find the same rhythm before blending together into a synchronized accord. Though simply listening to the movement during these pieces is enough to understand the full extent of the pair’s connection, the show’s choreography takes it an extra step further by clearly detailing both characters’ facial expressions and body language. The most incredible feat is that not a single line of dialogue is ever uttered during these performances, which allows the focus to be placed on the music, enveloping the viewer in both characters’ worlds. Of course, these performances aren’t just for show either as a clear progression in both Kaoru and Sentarou’s relationship can be noted throughout the story. As the two develop a deeper bond through their performances, they begin to better understand the full extent of each other’s personality and help one another out in times of need. This is highly evident from situations such as Kaoru knowing where to find Sentarou after a tragic accident befalls one of his family without being notified of his whereabouts. By the end of the series, both characters achieve a perfect sort of harmony, creating an inseparable bond between them.

Unfortunately, achieving the ideal rhythm for both the characters and the direction of the story isn’t always an easy feat. While Kaoru and Sentarou’s relationship is fleshed out in a natural fashion throughout the series, the same cannot be said for everyone else. While it is understandable that not every pair will receive the same level of attention due to the series’ limited duration, it still doesn’t excuse the rushed approach taken. Prominent characters such as Sentarou’s childhood friend, Ritsuko, tend to receive the short end of the stick throughout the series. Though Ritsuko does have ample screen time, the fact of the matter is that her role in the story is limited to being a romantic interest for Kaoru and Sentarou. What this ends up doing is instigating a love triangle in order to create some tension between them. And while this isn’t an inherent flaw in and of itself, the approach taken with some of the romantic drama does unfortunately cheapen the character interactions. Instances such as Ritsuko walking in on Sentarou at exactly the wrong moment and then getting all depressed due to a simple misunderstanding impedes the romance in places. When these misunderstandings occur multiple times throughout the series, they no longer act as legitimate plot developments. Instead, they become contrived and artificial, adding unbelievable melodrama towards the trio’s relationship. To that end, characters such as Ritsuko fall victim to this aforementioned malady. While she does face her own dilemma and experiences a change by the end of the series, said development is almost entirely dictated by coincidental plot events and misunderstandings rather than the input from her character.

To make matters worse, the pacing of events in Apollon is the one area where the show falls apart the most. Since a great deal of the show hinges on the characters and their relationships with one another, the amount of exposure given to each pair’s development is crucial in allowing their chemistry to take flight. Unfortunately, due to some glaring issues with the show’s tempo, Apollon is unable to allot sufficient time for proper interactions between some of its main characters. While Kaoru and Sentarou’s relationship isn’t negatively affected for the most part, others such as Sentarou’s tension with his mentor, Jun, receive the full brunt. Furthermore, the show’s format also falls victim to a number of rather large time skips, which only increase in number and frequency towards the end of the series. Though the age of time is well conveyed by an attention to detail such as a change in season and the start of a new term, the actual relationships between the characters take a hit. To this end, Apollon requires the viewer to make a great deal of assumptions regarding some of the characters’ relationships to compensate for a lack of time and detail given to them. And while many stories will require the audience to assume certain liberties at times, the extent to which Apollon does this can only be called a sloppy way of filling in the gaps.

However, the show does have other elements which redeem the overall product from the pit of mediocrity besides Kaoru and Sentarou’s relationship. Since Apollon’s story is set during the mid 1960’s in a small, rural town, it provides an interesting context which distinguishes the series from the bulk of high school dramas. While the setting isn’t exactly the main focus of the story, there is a solid amount of attention placed in the artwork which successfully conveys the atmosphere and culture of the time period. Elements such as the rustic decor found in many of the residential housing units to the smoked-filled taverns of a well known jazz bar for American soldiers really brings the setting to life. Besides the backgrounds, the quality of animation benefits the characters by highlighting their movements and body language during important scenes.
The show’s soundtrack, assembled by renowned anime composer, Yoko Kanno, is highly effective in conveying the different genres of music which were reflective of the time period. As Kanno has previously worked on other series featuring a jazzy soundtrack such as Cowboy Bebop, her musical talents are put to great use with Apollon’s score. Though there isn’t quite the same level of variety compared to some of her earlier works, considering how central the theme of music is to the plot and characters, there is plenty to be impressed about with how Apollon integrates many of the pieces. The performance segments involving Kaoru and Sentarou are one such instance where Kanno’s score really takes flight, essentially driving these scenes forward. Aside from that, the different styles of music help to emphasize changing trends during the time period such as the fading of jazz and the coming of rock and roll.

Though Sakamichi no Apollon certainly had all the right cards in play, it encountered the unfortunate dilemma of not having enough space to place them. Due to some glaring issues with how the show chose to implement its romantic drama along with a haphazard pace, the execution of the overall product was not nearly as graceful as it could have been. And while aspects of the show such as Kaoru and Sentarou’s relationship along with the setting and score do remedy these flaws, they still aren’t enough to form a cohesive product. Despite some difficulty, Sakamichi no Apollon still manages to convey its central theme and firmly stands as an above average title. It’s just somewhat ironic that a title centered on music still couldn’t find the ideal rhythm that Kaoru and Sentarou were able to achieve.

Sakamichi no Apollon
Like Miles Davis, I've been swayed by the cool
There's just something 'bout the summertime, there's just something 'bout the moon
So I laid a kiss on a stone, tossed it upside your window by the roof
Before you change your mind, Miles, bring in the cool
--The Gaslight Anthem, "Miles Davis & the Cool"

Quick Shot Review
I don't particularly like jazz. I'm a punk rocker, and a browse of my i-pod would reveal a number of song by bands like Bad Religion, The Dead Kennedys, Rise Against, etc. But even for someone that doesn't care for jazz, the musical score of this show is amazing. Everything, from the covers to the improv jam sessions are immaculate and you can't help getting lost in the swing. It takes a lot of ambition, some would say arrogance, to place oneself in the company of the great masters, but Apollon pulls it off. The show is different from titles like K-on where the music is tacked on like a MacGuffin to give the characters something to do. In Apollon, the music is a form of communication, a session is a conversation, an argument, or apology. The music is integrated into the plot in such a way that makes it essential, and makes it a joy to watch. They could've just aired 20 minutes of the characters jamming together, and I would have loved it. Apart from the score, the voice acting is impeccable as well; the two male leads give banner performances (not surprising given their past experiences) and the actress for Ritsuko, Nanri Yuuka, gives a mostly solid go at it, with a wonderful bit with a song (in perfect English) at the end there. YUKI provides another great OP, not as good as her songs for Honey and Clover (Fugainaiya has to be one of my favorite songs of all time), but it fits the mood of the show perfectly. The ED is the weakest point—not that it is bad, but is pedestrian, and given how great the rest of the music is, it feels weak. But not enough to down grade the show, the music here might be one of the best scores in the last decade.

The plot is a little rough. The story is about jazz and male friendship, and the show does a great job with those, but such subjects do not an epic make. The show has a bad tendency to vacillate back and forth, with one episode heading one way only to have the next complete reverse course, the plot staggering around like a drunken sailor, filled with backtracks and false starts. This could be explained by the fact the script writing duties alternated between different writers each episode. The plot never gets a good flow to it, and remains herky-jerky to the end. The story always seems at risk of falling apart, but while it avoids that fate, it never manages to become great either. There are scenes that don't fit well, and there is the whole Jun'ichi storyline that seems kinda shoehorned in, but it does do a great job detailing the friendship of the male leads and the bitter romance of Ritsuko. Perhaps, the plot does a great job with the core of the story, but all the side plotlines suffer. The sixties atmosphere is wonderfully recreated, and adds a welcome layer of detail. The plot in itself is better than most of what you see out there, but it has some flaws to it.

Animation wise, the show is really good. It never has any scenes that take your breath away, or any moments of truly outstanding animation, but the character designs are crisp and clear, the sixties era clothes and city meticulously detailed, and animation of the music scenes are beautiful in their simplicity. Getting the animation to time up with the musical score must have been hell, I commend the efforts of the staff. In fact the only thing that holds me back from giving this a ten is the lack of a crowning moment of animation quality. Like with the plot, the art never hits that one moment of sublime greatness. And apart from the musical scenes, it is mostly people walking around and talking. But still, those jam sessions are pretty for the eyes as well as the ears.

The friendship between the male leads is the focus of the story. It is one of the best friendships I've seen in anime, and while I sure it sent the fujoshi scrambling to pen doujinshi, it has a realism to it that is uncommon. The three main characters, Kaoru, Sentaro, and Ritsuko all have deep and problematic emotional and psychological issues, and the show does not shy from delving into their psyches. Things don't work out. The characters are fallible, and even with the best intentions, they still manage to totally screw up their own lives and those around them. Sentaro is one of those guys that seems larger than life, but as we get to know him, we learn just how messed up he is inside, and how he always manages to do the wrong thing and hurt those around him. He makes a fascinating character study. There is a strong tragic streak to this show, a melancholy that is uncomfortably to close to reality. If Apollon has a weakness, it is this. The show is too real to be escapism. Whether that is a weakness is yours to decide. But there is a beauty in how human the characters really are.

I never was truly sold on this show. While its quality is undeniable, the lack of a rhythm to the plot and the tragic nature of the characters weighed on me. It took the final episode before I really started to the like show. The ending is perfect, summing up both sides of our humanity: our endless capability for stupidity and our endless capability for redemption. The ape and angel, the total of ourselves. Apollon never quite becomes great, it never quite becomes fun, but there is a sense of history to it. Like all good jazz, it is an imperfect masterpiece, raw and earthy, an unrefined gem. It is a work of art, and should be ired for what it is, flaws in all. I recommend everyone give this show a spin. Even imperfect, it is better than most out there.

Plot: 8
Art: 9
Sound: 10
Character: 9
Enjoyment: 8
Value: 7

Overall: 8.5

When I first started watching anime, what brought me to the field itself was the possibilities; anime could do what live action just could not, and the Japanese took this art medium seriously enough to really convey great feelings and ideas on it. Those were my thoughts as I started watching shows like Utena, Evangelion, and other classics that I'm sure you've all watched. Then I started watching more. My anime count went from 10s to 100s, recently crossed 1000, and here I am. Somewhere along the line, to me, anime stopped being about pushing the possibilities of art, and more about engaging the stereotypes. Having watched dozens of shows like H2O, Shana, and Nyaruko, you just become inundated to the little girls, the Asian drama, the infinite power levels, the tsundere, and the yandere. In a world where Shaft can do no wrong and Cowboy Bebop just panders to Western audiences, Apollon didn't promise much.

When I first started watching Apollon then, I approached it with the same cynicism I normally do when I watch a show. Where's the male lead, who's his romantic interest, what's the setting, how much of her legs can I see in the sailor uniform, how young does the romantic interest look, and on and on. But as I watched, what I found surprised me. The familiar elements were there; high school students, male lead romantic interest, social awkwardness; but there was so much more. Each of the characters just seemed alive and seemed to pop out at me. The music was lively, catchy, and fit the mood onscreen. And as I watched more, I fell in love. Each of the characters was so much more than its animations and its voice actors, each of the settings was so much richer than just a location. Here on screen was a recording of three high school teenagers and their lives, played out for us in full, hormones, bad decisions, and all. Apollon is amazing, a show of caliber I haven't seen in years, and really reminded me why I started watching anime so many years ago.

Now onto the review of this anime by star-studded director of Cowboy Bebop fame, music composed by the legendary Youko Kanno, also known as Kids on the Slope, a tale of friendship, but most importantly a tale of music.

== Art and Animation ==

The scene is 1968, Japan, a country that was recently defeated and humiliated in a brutal World War. The presence of American soldiers remind the Japanese of their horrific defeat. Students around the world, from the Cultural Revolutionaries in China to the Marxist revolutionary cells in Europe, want an end to the old establishment, and Japanese university students are no exception. Japan, a country known for its pianists who are well heeled in the classical German fashion, watches in envy as the Beatles take the world by storm. It is in this Japan, a Japan on the crossroads of change, that we are dropped.

The scenes in the show are static, but gorgeous. From the namesake Slope leading to the school, the ceiling of the school, and the Japanese countryside, each is rendered in beauty. The school is painted dark and drab, as befits the time and the mood of the show, while the outdoor scenes are rendered in nice, happy pastels. Jam sessions are rendered in beautiful detail, as the facial expressions of each character plays out on the screen and tells as much of a tale as the dialogue itself. Perhaps my only gripe was the obvious distinction between the darker indoor scenes and the more lively outdoor scenes. They probably serve a purpose, but the distinction seemed a bit stark at times

== Sound ==

If this show is about anything at all, it's about how two kids, one troubled and aggressive, the other shy and bookish, meet and befriend each other over jazz music. They play music with each other, at each other, for each other, and against each other, and it shows. The music of the show is amazing, and is integral to the plot. Kaoru's piano playing and Sentarou's drums are magnificent. The OP and ED are great, catchy tunes, and we see renditions of several legendary jazz songs. Episode titles make references to jazz titles, and even the BGM in every scene is heavily indicative of the mood of the characters. I haven't heard music like that found in Apollon in anime in years.

== Story ==

As a slice of life show, Apollon grants us a window to see our three main characters and their friends grow up. As such, and like many other slice-of-life/Seinen shows, there's little plot. On top of this, the organization of events seems a bit haphazard at times, as some episodes progress glacially while others cram several major events into one. I realize that the show had to take a very large, dense manga, and fit it into 12 episodes, but I feel that if the show had been a proper 2cours (26 episode) length, then we would have gotten more time to see our wonderful characters on-screen.

== Character ==

Kaoru Nishimi is a good kid. Kaoru gets good grades, does what he's told, and comes from a well-heeled family. His father is a very busy man and moves often, and so he's never had a chance to make friends in any one place. He hasn't spoken to his mother in years. Kaoru plays the piano because it reminds him of his father, and bears resentment to his classmates, who he sees as woefully underachieving sybarites. It is here he meets a ruffian, a thug, Sentarou. As unlikely a match as ever, the two begin to bond over a shared love for music and women, and we watch as they grow and come to respect and love each other and those around them.

What is Apollon if not a tale of its characters. Apollon is a fantastic look into the childhood of these two and shows us how two unlikely friends meet, and how their different experiences and backgrounds shape who they are, the dreams they reach, and those they don't. Each character in Apollon is fascinatingly deep, and well-rounded.

== Value ==

It has been years since I've watched a show as good as this. With characters that pop out at you, and experiences you'll love to share, Apollon has reminded me why I started watching anime, and that anime can still be made well.

== Enjoyment ==

If you're anything like me, you'll really like Apollon. I'm looking forward to rewatching the show, given what I know about the plot, and seeing the nuggets of future events take place in how the characters first act. Apollon is a story of love, and of love lost, of friends, and of enemies, of dreams you grasp and those you never will, of backgrounds that shape you and those you will never escape. Apollon is fantastic, and is a show I've enjoyed, and is a show I hope you all will too!

This show was the most overhyped title of the first half of 2012 and the fandom was going crazy about it months before it began to air. The reasons were rather easy to pinpoint.
1) It had the director of Cowboy Bebop, Watanabe Shinichiro. And because Cowboy Bebop is awesome, this show must be awesome too.
2) The show would also be about a Jazz band. Jazz is considered to be the classiest type of music ever made.
3) The main genre may be the simplistic slice of life, but since Nodame Cantabile was a great slice of life around music, this one must be awesome too.
4) The setting of the series takes places in the 60’s. It is an era no other known modern anime dealt with, and thus it will be very original and interesting.
5) It would be part of the NoitaminA timeslot, which for most translates to amazing production values and quality storytelling.
6) 2012 is a shitty year for anime and the fandom is grabbing at straws.

So sure, one could easily expect it to be the anime of the year with all those reasons above. I on the other hand didn’t have high expectations for some very simple counter-reasons.
1) Cowboy Bebop was an awesome space western full of action, suspense, interesting sci-fi stories, and tributes to various retro movies. Unless this anime would head for that direction, there is no way to expect the director to pull out something equally entertaining. And all the info pointed out this would be a very down to earth show; so why would I expect it to be awesome?
2) I don’t like Jazz; I am a fan of rock and metal. And it’s not about the size but the way you use it.
3) Nodame Cantabile was great because it was set in university and dealt with the adult lives of grown up people. This anime would deal with the naive lives of immature high school kids; something commonplace to hundreds of shows and thus hardly mature or special.
4) So what if it takes place in the 60’s? What special did that era have next to the 80’s or even today? They didn’t have internet, or cell phones, or colour television, and that is pretty much all of it. People didn’t live or behaved that differently than they do today, aside from using a slightly different vocabulary and women being nothing but housewives. Ok, there were also hippies back in the 60’s. Lots of stoned flower people dancing and preaching about the happiness of life. Too bad this show is not about them; it would be awesome if it were.
5) NoitanimA stopped being a guaranteed source of quality anime years ago. It has produced some of the most terribly executed shows of all times; although this is restricted to those including sci-fi and not slice of life. So it might not have been much of a minus in this show, yet I stopped believing in them offering something great all the time.
6) Ok, we were desperate for good shows but I would never place my hopes on a slice of life anime. I find them boring.

So after the show finally aired, what were most of the viewers saying? Nice production values, nice atmosphere, nice high school feeling. But nothing more. As I foresaw it was just your average romantic school comedy with the usual stereotypes, and predictably simple lives of normal kids living the peak of their youth. Motivational and inspirational? Yes. Special in any way? No. And the biggest disappointment was the Jazz part everybody was so thrilled about. There is barely much music in this; it is used only as a subtle excuse for the main heroes to form a band and interact with each other for a common goal. And sure, there is romance too but damn is it simple and linear. It is not even a love polygon since all you get is A loves B who loves C who loves D who loves E. That’s it; nothing to spice things up like two guys after the same girl. Or a threesome. Or gays, traps, cat girls, stoned hippies, WHATEVER. And their personalities are your standard fare of simplistic caricatures. I can hardly say anything to describe them other than the insecure boy, the cheery girl, the motivational sailor, and so on.

In all, it makes a fine time killer if you are into school romance with some Jazz for BGM but it is hardly something we haven’t seen before or worth to talk about in a few years from now.