Tree of Palme, A
Entry updated 16 October 2023. Tagged: Film.
Japanese animated film (2002). Original title Parumu no Ki. Palm Studio, Genco. Directed and written by Takashi Nakamura. Voice cast includes Yurika Hino, Akiko Hiramatsu, Motomu Kiyokawa, Kouka, Daisuke Sakaguchi and Megumi Toyoguchi. 137 minutes, Colour.
On a planet where immense fish swim through the sky (see Life on Other Worlds), "the kooloop tree thrives on the particles of memory that it soaks up from the remains of ancient civilizations buried in the soil". Living in an isolated cottage, Fou (Kiyokawa) uses this wood when constructing Palme (Hiramatsu), a Robot boy, to entertain and care for his sickly wife, Xian (Kouka); on her death Palme becomes dormant. He revives years later when a blue-skinned woman, Koram (Hino), enters the house carrying the Egg of Touto, which she says must be taken to the Underground nation of Tamas where the ancient and deified kooloop tree, Somas, rules – Koram then disappears. Her pursuers arrive, killing Fou, but ignore Palme thinking him an inanimate puppet; but the egg they seek was hidden within him – reviving, he leaves the cottage to deliver it, guided by a blue jewel.
Adventures are had travelling the world (see Planetary Romance): Palme is rescued from a slaver by a criminal gang of City children (see Children in SF) and meets Popo (Toyoguchi), a girl whose abusive mother decides to sell him. The egg hunters reappear: they are Tamas citizens who want to stop Somas getting the egg, as the tree is dying and has turned on its people. In the confusion Palmas manages to escape, accompanied by Popo and some of the gang: its leader, the blue-skinned Shatta (Sakaguchi), believes the egg contains the spirit of his mother. Up to this point Palme has been apathetic and unperceptive, mistaking both Koram and Popo for Xian: but he now becomes more proactive and aware, hoping that if he delivers the egg he will be rewarded by being made human. However this growth leads to adolescent mood swings: at one point killing a baby deer, then immediately feeling ashamed.
Descending underground, Palme and Popo leave the others after a confrontation with Shatta, but then roots erupt from Palme's body, to contort and intertwine, forming a vaguely humanoid giant within which dwell the spirits of Palme and Koram – who was the heroic but unloved daughter of a Tamas soldier. Palme helps her find peace and the giant collapses, leaving Palme with the egg – from which a blue light bursts, to be absorbed by Laala, a child with whom Soma wishes to rebuild the world. Black crystals shapes now form, expanding as if about to engulf Tamas, only to stall and fade away – following which Soma dies: as it does so Laala collapses, but not before exchanging a look with Palme. Palme tells Popo he will soon be turning back into a tree, but reassures her wherever she travels he will be collecting her memories from the soil.
The film shows Palme's transformation from a barely sentient robot (with Xian he was a perpetually happy child) whose interactions with others leads to his becoming fully conscious, initially desiring to be human, then accepting he is something else. The surface world is largely a mixture of the Pastoral and Steampunk, whilst Tamas is full of advanced Technology – kooloop wood is metallic and its blue sap is a Power Source. Somas appears to be sentient, though there is no direct communication with it. Mysterious creatures called Bolas appear throughout the film, feared by the population, more through their association with death than any real harm they can do.
The animation is exceptional, with imaginative designs and often generating a sense of awe. However, despite its length the film does not have enough time to tell the story it has set out for itself, leading to sudden jumps in the narrative and rushed attempts at characterization – we do not see Palme's capture by the slaver, whilst Popo's shift from fear to devotion regarding Palme is too swift. The cast's personalities often grate – though criticism of Palme for being too unsympathetic misses the point, as this is an inevitable consequence of his character arc. The inspiration of Carlo Collodi's story of Pinocchio and the 1940 Disney film (see The Walt Disney Company) are clear, whilst Fantastic Planet (1973) (see La Planète Sauvage) is an acknowledged influence on the planetary landscape. Hindered by the above-mentioned problems and a muddy plot which can be confusing, particularly the final scenes, this is a flawed film but an ambitious and memorable one. [SP]
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