When action or the lead-up to a scheming endeavour kicked in, the score picked up its pace to intensify the sense of edge-of-the-seat anticipation and exhilaration.Ĭinematography in The Promised Neverland is no less impressive as well. Scenes that run high on tension were accompanied by tight crescendo notes leading to explosively-rousing highs, while emotionally-charged moments carried a soulful concoction of stringed chords, notes, and passion. Its stellar musical score and technical prowess only serve to breathe more life into specific parts of the movie. The Promised Neverland is far from being a perfect adaptation, but it’s, at the very least, a respectful homage to the original story. Every plot twist, surprise development, or unexpected reveal was executed with fine surgical precision, and held to a balanced blend of suspense and emotional flavour. Having minimal creative and narrative deviation from the source material means fans will sit through the 119-minute film with a strong sense of familiarity and deja vu – an advantage the team uses to great effect.
With Isabella throwing a wrench in their plans and newly-recruited caretaker Sister Krone (Naomi Watanabe) standing in the way, the trio finds themselves banding together to overcome various stumbling blocks and outwit the adults in this race against time. Realising that they have limited time before they, too, meet their demise by the hands of the demons, the duo seeks help from Ray to device a scheme and help everyone escape. One fateful night, however, leads to Emma and Norman stumbling upon the truth behind their home: the children are being raised to be sacrificial food for demons, with the orphanage’s front disguising its purpose as a farming ground.
The story is driven by three protagonists, Emma (Minami Hamabe, Let Me Eat Your Pancreas, Kakeguri – Compulsive Gambler), Norman (Rihito Itagaki, Alice in Borderland), and Ray (Jyo Kairi, Erased), who along with a cast of orphans, lead happy lives together in Grace Field House, an orphanage run by Mother Isabella (Keiko Kitagawa, The After-Dinner Mysteries, Let Me Eat Your Pancreas). Mirroring the events in the first season of the anime, The Promised Neverland stays true to the overall plot of all 12 episodes, which covers the discovery of an orphanage’s deadly secret to the execution of a grand escape plan.
The result is a faithful, respectable adaptation of its manga-slash-anime counterpart of the same name, topped off with a great music score and impressive cinematography, that’s unfortunately weighed down by issues of racebending and errant miscasting. Yuichiro Hirakawa’s The Promised Neverland isn’t quite bold enough to explore an alternative plot or setting, instead choosing to adapt from the source material, and retains the core parts of it. How does one strike a balance between canonical elements and narrative freedom?
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On the Japanese side of things, the notion is perhaps more optimistic, buoyed by the likes of Rurouni Kenshin, Koe no Katachi ( A Silent Voice), and Let Me Eat Your Pancreas, but the difficulty of such an undertaking remains a constant – to what extent should a live-action anime movie introduce original content? Live-action anime adaptations are a very tricky affair, with a less-than-positive track record doing little to inspire faith within the community, especially when it comes to Hollywood-helmed projects that take on a westernised spin on things ( Dragon Ball and Netflix’s Death Note, anyone?).
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