Surely someday. Directed : Shun Oguri, screenplay : Shogo Muto; interpreters : Keisuke Koide, Ryo Katsuji, Go Ayano, Ryohei Suzuki, Tsuyoshi Muro, Manami Konishi, duration: 122 '; first July 17, 2010.
PIA with comments 3.5 / 5 exit of rooms: 66/100
score ★ 1 / 2
This film is a typical example of seishun eiga . To understand the reasons we need to understand the intentions of the genre. Mark Schilling, in his review for the Japan Times , gives a clear definition of the term so I think that should translate:
"The seishun eiga (youth movie) is an important and enduring genre of Japanese cinema that has no exact match in the West. The difference lies not so much the issue as such - there are also films about young people in Hollywood - but rather in the quantity and approach. The Japanese entertainment industry produces each year, dozens of these movies and all, even those that are not explicitly nostalgic sketch the high school years as a special period of life that will never be repeated or equaled. From one point of view, the characters have that kind of purity and freedom that often disappears in adulthood, with its compromises and its restrictions. "I've reached the best years of high school" would be an admission of defeat for an American but a seishun eiga is often an assumption of the base, where the "best" is defined more by emotionally and in terms of goals or status, such as your first love or winning the big meeting. "
Right here would be all right, and indeed there are several examples of the kind of films that are characterized by feelings and atmosphere. Unfortunately, in most cases a seishun eiga is done not just to celebrate the fleeting and fascinating loops emotional adolescence, but rather to call and cajole the young adult male and immature as the paying public. This has some consequences for the applicants to ensure the performance of the product: a style as simple, flamboyant and lively as possible, a kind of acting iperdrammatizzata, shouted, reminiscent of the manga (the bread he grew up with that kind of public) and the presence of actors from the television drama or musical idols belonging to groups.
Surely someday it constitutionally belongs to seishun eiga so understood, that his own director, Shun Oguri, is an actor, became the darling of the teen television drama "Hana yori dango and then Crown with zero, the film that, thanks, alas, Takashi Miike, enhances the students' machismo.
The story of five high school belonging to a band who, prevented from seeing their concert, they occupy the high school and, unwittingly, to send him fire. Are suspended and appear three years later, all more or less under bankruptcy. To complicate matters involved the inevitable conflict with the yakuza, an enigmatic woman (the empty and meaningless Manami Konishi), the interrelationships with a street musician, a father of five who is a policeman (a less excessive Naoto Takenaka usual). After several adventures, all stupid fracassone and collegiate painless, the five together rediscover the spirit of "then" and understand that this is the most important thing. Fine. Both testosterone squandered in unnecessary dialogues and actions shouted excited (in this, the palm goes all'insopportabile Katsuji Ryo), no analysis, no psychology. And that is enough, apparently, to the director and the audience in Japan.
In confirmation of this type of product is important in the entertainment industry Japanese, just look at the names of the actors who play the cameos and that alone would be a great cast: Mao Inoue, Aya Ueto, Tsumabuki Satoshi, Takashi Sasano, Endo Ken'ichi and, frankly, wasted the great Ootake Shinobu. [FP]
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