I saw this movie in DVD release that came out 10 years after its initial theatrical release, so there is a lot of making-of stuff on the DVD that reveals some surprising things about the movie, e.g. almost all the actors were first-timers; it was a huge box office hit in Japan; the director put down his own work as substandard (much too hard on himself, in my opinion).

The story itself turns and twists on the fact that characters who seem strong--Tatsuro and Yoriko--are actually weaker than their younger friends--Shin-chan and Asami-- who turn out to be strongest when they are the most vulnerable. The name of the escort service the boys work for is Pinocchio, a sort of puppet palace/donkey island where it takes something special to become a real, live boy. Overcoming self deception is the biggest hurdle. I suppose it is meant to be Tatsuro's movie, but Shin-chan stole it from him, not with any sort of mugging, but largely because of the charm of the character. All of the performances were pitch perfect.

I didn't come away feeling quite as gloomy as our other commentator did, maybe because I recognize low-key Japanese upbeat-ness when I see it. I was charmed by all four of these kids, but definitely not in a manipulated Hollywood sort of way. They all seemed like the kids I teach: very real, very embattled, and very resilient.

I have a quibble with the subtitles. They were mostly pretty good, but since it's an older movie, we're stuck with them... no way of turning them off. However, there was an occasional omission of some dialog from the translation that I could see no reason for, and--if left in--would have actually enhanced the understanding. I think perhaps this was critical in the last scene, and could be the thing that led the other commentator to find it depressing, because he didn't catch this one little bit of dialog--when Tatsuro tells Shin-chan how much he actually got for posing and Shin-chan's response to it--that was actually quite sardonically funny.

Japanese cinema is celebrated for its refined minimalist dramas and avant-garde experimentation; it also introduced popular genres like jidaigeki (samurai epics), kaiju, and anime. Across both high art and mass entertainment, it often explores morality, impermanence, and the pressures of modern life.

Hidetoshi Nishijima and Tôko Miura in Drive My Car (2021)

The coming-of-age subgenre features personal growth, maturation, and self-discovery of a young protagonist as they navigate the challenges and transitions of adolescence into adulthood. These stories often revolve around characters experiencing pivotal moments, gaining new insights, and learning valuable life lessons as they transition from childhood to maturity.

The teen drama subgenre features stories specifically aimed at a teenage audience. These dramas typically focus on the lives, relationships, challenges, and experiences of teenagers and young adults. They often explore themes of identity, friendship, romance, family dynamics, and personal growth, catering to the interests and concerns of their target demographic.

Molly Ringwald in The Breakfast Club (1985)

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The romance genre features the theme of romantic relationships and emotional connections between characters. These stories focus on the development of love, desire, and intimacy between protagonists, often exploring the challenges, conflicts, and triumphs that arise in their relationships.

Ingrid Bergman and Humphrey Bogart in Casablanca (1942)

The story of two young hustlers, Tatsuro and Shin, and her two female friends. Everything seems to work, until the day Shin declares he's in love with Tatsuro.

Get a closer look at some of Hollywood's perfect pairs.

Hollywood Power Couples

Get a closer look at some of Hollywood&#39;s perfect pairs.

See which big screen releases you can watch from the comfort of your couch.

Theatrical Releases Coming to Streaming

See who dazzled on the red carpet and took home gold at the 78th Primetime Creative Emmy Awards.

Primetime Creative Arts Emmys: Photos We Love

Kate Yeung, Hsiao-chuan Chang, and Ray Chang in Eternal Summer (2006)

Timmy Xu, Johnny Huang, Fengsong Lin, and Wen Chen in Addicted (2016)

Lien Binh Phat and Isaac in Song lang (2018)

Terrance Lau and Fandy Fan in A Balloon's Landing (2024)

Slight Fever of a 20-Year-Old

Photos2

Top Cast11

User reviews10

More like this

Related interests

Storyline

Top picks

Details

Tech specs

Contribute to this page

More to explore

Recently viewed