When something can never be rom-com

What ‘Last Night’ gets wrong about suicide

I saw the trailer to this and I find it bleh. I didn’t get anything out of the trailer of what it’s exactly about, at least, and I see Piolo and Toni looking at each other at a balcony of a nice-looking building or a hotel, all cutesy and lovey dovey. So this alone reduced the possibility of me ever watching it to total zero. However, I’d like to point it’s easy on the eyes, it’s nice to look at but that’s all there is to me.

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And then I read this review from CNN Phils (link above), which is a very well-written review, such an in-depth take, and so I find out that it’s about suicide — only this movie makes suicide such a trivial matter; that it’s a fun game while the “one-dimensional characters” are trying to think of horrendous ways of killing themselves and laughing it off every time they fail; that suicide can be a platform for tender moments, romance and falling in love; that one can be driven to suicide all because of a single event in the form of a break-up; that the decision to commit suicide is instantaneous; that this feeling of positivism and wanting to live again is also instantaneous for suicidal people (as if you just bumped your head lightly); and that after a failed attempt, one recovers so easily (with no serious after-thought or trauma of what was done).

It’s the kind of the film that I don’t even have to watch to know how it goes and how it ends. Besides, the review is highly detailed already. I can easily picture the scenes in my head while reading the review. I can’t blame the review for being spoiler-filled because she has to clearly point out the examples. It’s needed. After all, with or without spoilers, it’s the kind of film that’s ultimately predictable.

From the review alone, it already makes me think that it gives off the wrong message about suicide. Instead of making audiences have deeper understanding of suicidal people and mental issues, it encourages the idea that it’s fun to think of ways to kill yourself and that you can think of many creative ideas to do it, and that maybe in the process of trying to commit suicide, suddenly there’s a Romeo that’s out to save you and then, what else, of course they fall in love.

A college friend of mine (who watched the film) commented that it’s Carmina (Toni Gonzaga) who ended up saving Mark (Piolo), convincing him that life is worth living, but this doesn’t erase the fact that Mark still saved Carmina from that failed suicide attempt by the bridge (an example of a Romeo out to save a girl in the process of a suicide attempt).

My friend adds that “it doesn’t really encourage suicide but the message is that life is worth living.” Let’s say that’s the aim of the movie but by approaching the sensitive subject of suicide lightly and making it an avenue of fun, cutesy, and flirty interactions between the characters absolutely supplants that very message.

And then there’s this line. Mark tells Carmina, “Ayaw mo talagang magpakamatay. Nagpapapansin ka lang.”

If you’re an individual, whether or not you know someone who once tried to commit suicide or encountered it yourself, at least one should have an understanding that this very dialogue is so wrong. It’s because suicide should be taken seriously and not like a joke, like someone’s just acting all “papansin” (attention-seeking) and that he/she is not really going to do it even when they already showed signs and openly talked about suicidal thoughts.

Depression and suicide and others in anime and manga

The review cites “The Hours” and “Little Miss Sunshine” as good examples of films with the context of suicide and depression. As for me, I think of Ichigo Takano’s manga/anime series, “Orange” and Reiko Yoshida’s manga/anime film, “A Silent Voice” (Koe no Katachi), both of which are highly-acclaimed hits for their wonderfully-deep and well thought-out telling of depression, suicide, guilt, regrets, forgiveness, of past and present, bullying, redemption, friendship, second chances, and disability.

All these have become my anime favorites because they make me realize about so many things that matter. With Orange, I empathize so much to the main character, Kakeru and his strong sense of guilt for what happened to his mother and for Koe no Katachi, to Shouko, who is deaf and gets ostracized for being different and Shouya, for realizing the deep consequences of what he’s done to Shouko when they were kids.

Orange has love story in it but it isn’t the main focus, it’s a subplot; same goes with Koe no Katachi, the romance here doesn’t even come to light directly and is only implied.

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Another great example is also Makoto Shinkai’s definitive work, “5 Centimeters per Second” (2007) that astoundingly exemplifies the complexities and frailties of human connections and how these affect and change someone drastically, to the point of not seeing any sense in life anymore.

The same themes in literary fiction

In literary fiction, I can think of my top two favorite Haruki Murakami novels: “Norwegian Wood” (1987) and “Colorless Tsukuru Tazaki and His Years of Pilgrimage” (2014) as the books that gave me insight into depression and suicide and the tremendous trauma that affects the people who are left behind.

There are some subjects that you cannot make out to be humorous, fun, or romantic, and this is one example of that subject. It makes me wonder why do they always try to inject romance in everything. Makes me wonder if they’re trying to mimic the hype of “13 Reasons Why”, the novel-turned-Netflix series (which I will never see or read), only difference is this is rom-com. Makes me wonder why it always has to be cutesy.

* My own perspective is mine alone. It doesn’t apply to everyone.*

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Blade Runner anime short: Black Out

I just saw Blade Runner anime short – Blade Runner: Black Out, and it makes me feel like I wanna watch a full series of anime Blade Runner. Can we get an animated version of Ryan Gosling, director Shinichiro Watanabe?

From live action to anime / From anime to live action

It’s ironic how an original live action film/series, when it becomes an anime version; most often, the anime version enhances the original, or at par with the original and at times, even better than the original.

Blade Runner: Black Out is an original anime short though, but it’s still based on an original live action film, and serves as the prequel and bridge between the original 1982 film and the new Blade Runner that’s out starting next Friday.

However, this is not the case when it’s the other way around — when anime is the one being turned into live action version, such as the awful case of Netflix’ Death Note and Ghost in the Shell. Then there’s also the ever escalating dread to the newly-announced Hollywood remake of 2016’s biggest hit, that is Makoto Shinkai’s Kimi no Na wa (Your Name). And more of that dread is expected to spread like wildfire up to when Paramount with JJ Abrams on the helm, finally reveals a teaser of the live action remake.

Tokyo Ghoul live action: My independent perspective

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This is the first instance I ever watched something on the first day, last screening though because I don’t wanna miss it like when I almost didn’t get to watch Your Lie in April back in December.

Not a fan of the anime as I haven’t seen it but I’m quite familiar and so far has watched some clips before seeing the film. But every time there’s a live action adaptation of manga-anime series, I always wanna check out the trailer to see if I should watch it. Then I saw the trailer of this coupled with a great ending song, I was floored and quickly decided I’ll see it.

As far as reviews go, it’s generally positive. As for me, it doesn’t disappoint from my stand-alone view of not comparing to the anime-manga of course, so I’m not saying anything about how faithful the film is from the manga, which is pointed out as one of the strong points of the film.

I enjoyed watching it and I really like it because it has a great cast that’s suitable for the characters they portray, has good balance of drama and action, the scenes and pace play out well meaning it doesn’t drag, it isn’t so gory or too violent for me, the cinematography — I love the cold dark color and atmosphere of the film, I love the effects of the kagune — it really gives me the creeps, love the fight scenes, it’s so well-done, particularly that climactic face-off between Kaneki and Amon (Masataka Kubota and Nobuyuki Suzuki really executed this part really good), and not to forget really strong performances from the cast, specifically Nobuyuki Suzuki as Amon, Yu Aoi as Rize, Yu Oizumi as CCG investigator Mado and Masataka Kubota as Ken Kaneki.

I’m so amazed right now with Masataka, that part when he gets all consumed and deranged by his ghoul instincts and about to kill and eat Amon is the highlight of his performance as Kaneki. He gets all the craziness of this character all in the right ways, even when he was still the nerd human Kaneki.

He gets my respect from this performance. I do know him from Death Note TV series but haven’t seen it but after researching him, I found out he earned a best actor award as Light. This reminds me of how Kenichi Matsuyama also earned awards from his performance as L from the Death Note movies, but this time the cards are on Light’s side for having the stronger and more talented actor between the two. #MasatakaKubota

With this, the film makes me wanna watch the anime now and I’m now considering seeing Death Note TV series despite being uninterested when I first heard about it — one reason is that I’m not exactly okay with YamaKen as L.

Eiga Sai Ph 2017: 20 Years of Japanese Cinema.

 

Despite failing to get a ticket last Saturday for the last Shang Cineplex screening of opening film, “Her Love Boils Bathwater,” I still have a chance to see it sans the director’s talk and not on the big screen but probably via projector since it will be playing on August 19 at the UP Film Institute for free.

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Atsuko Maeda is one lucky girl — she got to work with both of the Matsuda brothers — Ryuhei and Shota but she co-starred with Shota first in “Initiation Love” (2015). 
Even Akira Emoto, who plays Ryuhei’s dad in this film has co-starred with both brothers, first with Shota in “Ikigami: The Ultimate Limit” (2008). I love Ryuchan’s mom here, Masako Motai. She is simply adorable, she’s a darling. There’s something with her smile and her face that gives me the warm feeling inside. 
Yudai Chiba, as Koji, the younger brother is cute and funny but his hair is terrible. I know him from “Ao Haru Ride” as Toma Kikuchi.

On the other hand, I was successful this past Wednesday at catching my other priority film — “The Mohican Comes Home,” a dramedy about an ailing father and his long-absentee struggling punk musician son and their unusual family. Starring Ryuhei Matsuda, Atsuko Maeda, Yudai Chiba, Akira Emoto, and Masako Motai.

One of the greatest pleasures of my fangirl life is being able to watch a high-bias actor on the big screen. That extreme euphoria of seeing Ryuhei again on the big screen, like he’s larger than life and that I have a maximum of 2 hours to ogle at him. I first saw him on the big screen at the 2015 Eiga Sai in “Tada’s Do-It-All House: Disconcerto.”

The Mohican Comes Home easily becomes one of my favorite Japanese movies now, and of course one of my favorite Ryuhei movies.There’s so much about this film that I can relate to, except the idea of being a punk rocker and the pregnant girlfriend.

Some of the subtle real-life moments of the film that I find really touching and relatable:

  • When Eikichi (Ryuhei Matsuda) takes over the conducting duties from his Dad Osamu (Akira Emoto) for the practice of the local school’s brass band of middle school students, in which Eikichi changes the tune that they usually play by taking the cue from the student drummer — he finds himself enjoying with the school band and ends up laughing altogether resulting to his Dad’s annoyance as he hears them over the phone;
  • When Eikichi asks his Dad to write his last wishes so that he can see if he can do something about them;
  • When Eikichi dresses up as Eikichi Yazawa, his Dad’s idol and Hiroshima’s Elvis because his Dad wrote he wants Yazawa to visit him;
  • When Eikichi simply walks behind his Dad not knowing where his Dad is going until they reach the graveyard;
  • When Eikichi tries his best to find that same pizza his Dad ate on his 60th birthday by ordering all kinds of pizza from (3) pizza chains and asking them to have it delivered to their place in Tobi Island, Hiroshima;
  • And the beach scene — that quiet conversation between Eikichi and his Dad and when he finds himself crying while trying to stop it in the middle of eating ‘onigiri.’

And this is why Eiga Sai is such a blessing because Japanese films are harder to find and if I do find them, there are no available English subs online. Even DVDs with subs are hard to come by.

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Since I’m still sad about missing last year’s Eiga Sai and my favorite “The Great Passage” (due to an overseas personal trip), I hope next year, I’d get to see another Ryuhei film, perhaps “My Uncle” which also premiered in Japan last November and crossing my fingers, “Before We Vanish” that had its international premiere at the Un Certain Regard section of the 2017 Cannes Film Festival and will premiere in Japan this September 9th.

It would also be nice if they’d (The Japan Foundation, Manila) get to include more old films and maybe stage a Studio Ghibli film festival because other countries are bringing back Ghibli films to the big screen like a film festival or at least include some Ghibli films next year.

Among the films, I’ve seen “Departures” before already and saw “In This Corner of the World” at a regular screening last week. I’m still looking to watch Sweet Bean on Sunday, closing day of Eiga Sai at Shang Cineplex and If Cats Disappeared From The World on August 17 – UP Film Institute.

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This year, there are 20 films to celebrate the 20 years of Japanese cinema in the Philippines, and will also make the rounds this August until the 29th at the UP Film Institute, CCP, Cebu, Davao, Baguio, Bacolod, and Iloilo.

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The line-up this year includes (3) 20th anniversary features:

*Departures / Memories of You / Sting of Death

Besides Her Love Boils Bathwater and The Mohican Comes Home, other award-winning and critically-acclaimed contemporary films include:

*In This Corner of the World (In connection Manga Hokusai Manga Exhibit)

*Sweet Bean

*The Long Excuse

*The Magnificent Nine

*Creepy

*Chihayafuru Part I/II

*What A Wonderful Family

*If Cats Disappeared From The World

*Bakuman

*The Anthem of the Heart

*Tsukiji Wonderland

*Asian Three-fold Mirror 2016: Reflections

*Poolsideman

*Sadako vs Kayako

For screening schedules, check Eiga Sai Ph official Facebook. 

‘Sleepless’ at the QCIFF

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Again, it’s another last minute post. I’ve been meaning to write about this since I saw the film last month at the 3rd QC International Film Festival but I haven’t gotten around to write on it. This is my 6th film festival of the year. The last is Cinema One Originals also last month where I saw Hou Hsiao-Shien’s “The Assassin” and an animated short film “Memorya” by Jovanni Tinapay.

2015 is definitely the year of the movies and I’m happy to know I was able to see that much this year, some were even free. It seems like I actually spent a lot on seeing movies this year more than anything else, even books, though I had some book purchases as well.

Like as mentioned in my previous posts, it has become a habit for me to attend and watch film festivals whether or not I’m going to write it for Pinoy Gazette, and I especially like to try the ones I haven’t attended before. This time, there’s Cine Europa which I had one movie and another one from the French Film Fest.

Another first for me this time is the 3rd QC International Film Festival. I actually really wanted to attend last year’s season but it coincided with Cinema One Originals. Luckily this time, they weren’t happening on the same dates.

I decided to watch one this romantic-comedy titled “Sleepless” starring Dominic Rocco and Glaiza De Castro from the direction of Prime Cruz and screenplay by Jen Chuansu, both former freelance writers from Star Cinema.

I was initially attracted to it when I read it’s about two insomniac and how these two different but similar people have come to form a connection during the hours while most people are asleep; talking about random matters from zombie apocalypse, to Facebook posts, superpowers, love, and all those in between.

And while I wasn’t particularly impressed with the chemistry, I can say that I’m very fond of the two characters’ simple interactions. Their conversations and at how they can almost talk about anything is one thing I really appreciate and that’s the core of real friendship.

I felt that there’s some sort of romantic spark going on but the film didn’t need to venture to that just so it can validate the value, realism and meaning of the film. I find that one thing particularly interesting.

Another highlight of the film is how beautifully it captured Manila by night and how the night becomes the witness to Gem (De Castro) and Barry’s (Rocco) nocturnal loneliness and the eventual development of their unique bonding and friendship. It’s part of the story, as if it’s breathing among them.

The way the film depicted Manila by night is something that affects anyone like them or even anyone who isn’t insomniac – the complete silence that it can almost break something and the things nocturnal people do at night.

To me, it’s like the night has become their home and their only solace from the life that they have to face during the day. I can relate to this a lot because I myself is someone who likes to be awake during the wee hours of the night. It simply has that unique calm and quiet feeling that the day doesn’t give.

I’d still give it 3/5 stars although it didn’t necessarily topped “That Thing Called Tadhana” by Antoinette Jadaone which I so love. But then again, the film has its own faults (cliche relationship of Gem to a married man or the awkward incorporation of animation) but it has its own distinct shining moments that any rom-com film doesn’t have.

‘A Second Chance’ : Love’s Lost Identities

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I wasn’t intending to read a review about A Second Chance this morning (Nov.29) but I read it anyway, though I’m not particularly influenced by reviews, from ClickTheCity by Philbert Dy. One important thing he mentioned was about the ending. And when Anna and I saw the movie today, I finally understood what he meant.

Like the review, I’d give it 4*/5 because I was a little disappointed with the ending. I feel like the writers rushed it too much, that they had to force them to make amends with each other. If it were told the other way, it would have been a lot better.

If I were the writer, which I’m not, but I wanted Popoy to leave for London so he could reclaim himself, the talented engineer and the self-respect he lost from all the circumstances, and because it is also what Basha needs.

I wanted to see Popoy doing well in London and Basha happy managing the firm, that despite being away, they remain to be married and are gradually patching things up the long-distance way. They just need some time and distance apart to regain the identities they’ve lost and to come back to who they really were as individuals.

I can honestly say that I like this one better than the first because this time it isn’t only about petty quarrels, wanting for space, being controlled, breaking-up, getting back together. They’re dealing with matters of more weight this time, of matters they promised at the altar to face together.

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I honestly think Popoy and Basha rushed into things. For me, they didn’t really have to get married right away after getting back together. They could have continued on with their own separate careers as an engineer and an architect.

In the last scene from One More Chance, he did say he won’t be going away anymore but really that could change. It’s an honest to goodness opportunity that will benefit the two of them in the long run. He should have taken the London offer. And there’s also the idea of putting up their own firm, it was too soon. I felt like they didn’t think about it properly, like they just felt the need to put up their own because now they are married. Because let’s face it, when you work with your wife or husband, you’re definitely bound to get into big arguments combining that of personal matters. It’s a one big mess. At the end of all this, it was all because they love each other.

I also felt bad for Popoy. I get that part of the fault is his because he allowed matters escalate to its worst. But if there’s anyone who’s most disappointed, it’s him. He wanted to rush things, in two years, he would have already built the dream home that he promised to Basha, so he ended up taking too many projects. It was beyond him, and it wasn’t all his fault as well. He lied to her because he didn’t want to hurt her, but of course she’ll eventually find out and that will hurt her more.

Basha decided to stay with him and took matters in her hands, but everytime, she shoves it in his face without saying anything that she’s right, that she’s the one taking charge of everything now, that he should have listened to her all along. It’s like everyday, she’s making less of Popoy, of what’s little that’s remained of Popoy’s respect for himself from the events that happened.

But I’m also not dismissing the challenges Basha had to face, like the loss of their supposed first baby, how they’re trying to get pregnant again but it just won’t work, and how she keeps wondering why Popoy’s always in a hostile mood but she keeps trying to reach out to him.

I also find the calamity proof structure interesting. If one really thinks about it, Popoy has a good point of trying to get the idea out, pitching it to clients, and that one day someone is going to understand and believe in the idea. Because if he never tried to put it out, then it’ll feel like he’s already lost when he hasn’t started anything about it. Although I have to admit that the idea may be a little too advanced for some, or that Popoy is thinking too much beyond since it all depends on what they need or want.

They both had difficulties of their own despite being married, and because they’re shielding each other from the possible pain and anger, that very love that they’re holding onto is also what’s driving them apart. And as they grow more into strangers, they’re slowly losing how to trust each other and losing the identities of the people they originally married.

 

Film Festival Circuit II: Eiga Sai 2015 and the introduction to Ryuhei Matsuda

Watching Eiga Sai has been an addictive habit and if I could turn back, I would have wanted to have attended the very first edition of Eiga Sai. But I think when it started I was still in college, so it would have been a little difficult to spend almost the whole day to queue just to ensure a seat. Nevertheless, I’m still happy that it’s my third year attending it and I have my former then current work to thank for it because it opened more doors for me to discover my Japanese addiction.

The recent Eiga Sai was also attended by director Yuya Ishii and producer Takuro Nagai of the opening feature “Our Family” (2014) starring Satoshi Tsumabuki, Sosuke Ikematsu, Kyozo Nagatsuka and Mieko Harada about a family in the midst of breaking apart but a sudden news of their mother being diagnosed with cancer brings them back together.

It is based on Kazumasa Hayami’s same-titled novel and Ishii’s follow-up project to the commercial and critical success “The Great Passage” (2013) starring Ryuhei Matsuda. Ishii shared that he made the film because he understands some issues and situations the Wakana family is going through and can be likened to his own family.

This year’s line-up also includes contemporary films “Parasyte,” “Wood Job,” “Thermae Romae II” and “Princess Jellyfish.” And under the savory Japan category are “It’s A Beautiful Life – Irodori,” “A Tale of Samurai Cooking – A True Love Story,” “Patisserie Coin de Rue,” and two documentaries “The God of Ramen” and “Wa-shoku – Beyond Sushi.”

The Road to Ryuhei Matsuda

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It seriously makes me happy everytime I get to see one of my favorite actors at the big screen, even more so when it’s free, which is why I always make an effort to watch their film when it’s included in either the Eiga Sai or Korean Film Festival.

Just like 2013’s Eiga Sai where I first watched Kenichi Matsuyama at the big screen, who of course happens to be one of my favorite actors, this time, I was able to watch an actor who’s also very talented and popular for the first time who just became one of my favorites after seeing him in “Mahoro Ekimae Kyousoukyoko” (Tada’s Do-It-All House: Disconcerto).

The Great Passage opens the door 

Co-starring Aoi Miyazaki, Joe Odagiri

Unlike Kenichi Matsuyama, who I started following since I watched the first Death Note film back in 2006 or 2007, I have only seen or heard about Ryuhei Matsuda on Screen Red some weeks before the Eiga Sai started in Edsa Shangri-La Mall. I happened to chance upon his award-winning film “Fune Wo Amu” (The Great Passage) and Japan’s representative at the 2014 Academy Awards best foreign language film. But I wasn’t able to start the film so I ended up not watching it the first time. I saw it again few days after on TV, but again it already started.

And when the line-up for this year’s Eiga Sai came out, I saw his name in one of the films, and just like I always do I read each and every film’s synopsis and check out their trailers to make a shortlist. Fortunately, I ended up having the film on my shortlist because I like the trailer and the plot. So that’s the story of how Ryuhei Matsuda became one of my most favorite actors, next to Kang Dong-won who’s always been my top bias for the longest time, which means he already has pushed down some of my other favorite actors on the list who I have known longer than him. That’s how strong his effect on me.

Shota Matsuda in Hana Yori Dango 

Shota is the one in blue coat, first from right

But there is something else that totally sent me off the roof. That’s when I found out Shota Matsuda is his little brother. I’ve known Shota since the first Hana Yori Dango in 2005 but I think I saw the drama a year later, as I was motivated to watch the Japanese version of Meteor Garden that I so love. It just so happens that my favorite character is Hua Ze Lei in the Taiwanese version, who is Rui Hanazawa in the Japanese one that was portrayed by Shun Oguri. But in all honesty, I think Shota is the best looking among the four and and he’s perfect for Soujiro Nishikado’s playboy demeanor. Well that’s when until recently, I came to know about his beloved onii-chan.

I did kinda notice the similar surname but I didn’t pay much attention, and initially thought they just have the same surname but no relation. Finding out the real connection between them was a huge surprise, not that they don’t resemble each other, they do when you look closely, but more on the idea that they’re both very handsome and the fact that they’re even brothers – they share the same parents, same blood, growing up together makes it something close to a miracle. It’s not everyday, even in celebrity siblings that you get two brothers or two sisters who are both equally handsome and very talented. It was like my mind wasn’t very ready to take the awesome fact, totally blew my mind.

But then things took a different turn and I came to adore Ryuhei more than Shota. The very first thing I noticed about him is his tender cat eyes, they just look so mysterious and somewhat sad. His eyes speak volumes of things and stories in the most mysterious ways. And I love it when he smiles because I get to see his dimples and his silly laugh in the Mahoro series all got me. I find his features different from Shota despite having a resemblance to each other, because Shota is more of the conventional kind of a good looking guy and Ryuhei is not, which is why my vote goes to Ryuhei.

Mahoro Films and Series 

Mahoro Ekimae Tada Benriken, the first film

I started with Ryuhei at the recent Eiga Sai through the second film titled Tada’s Do-It-All House: Disconcerto and third installment of the Mahoro series, one of the most popular and most successful series of film and TV adaptations from the the Naoki Prize-winning series of novels by Shion Miura.

Mahoro Ekimae Bangaichi – the series

In this second film, Gyoten (Ryuhei) has been staying with Tada (Eita) in running his benri-ya (handyman business) in Mahoro, a fictional laidback place in Japan for two or three years since the events from the first film (2011) and the series (2013). They accept almost all kinds of odd jobs, from cleaning, organizing, walking pets, driving and more. And most of the time, the two get involved with their clients more than they should. Tada and Gyoten are both divorcees, with past stories they want to forget and run away from.

Mahoro Ekimae Kyousoukyoko – the second film

This time, the two buddies are tasked by the local gang leader Hoshi (Kengo Kora) to investigate a mysterious cult group that produces and sells organic vegetables. Things get more messy when Nagiko, Gyoten’s former wife with whom he has a young daughter named Haruka is placed in the care of Tada while she’s away overseas. Tada is scared of what Gyoten might do, especially since he knows Gyoten doesn’t like kids and even more so when he finds out the little girl is his daughter.

Scenes from the series

What I love about the duo of Ryuhei and Eita is that they really complement each other, this one of a kind chemistry I haven’t seen in male actors before. And because of their amazing combination, I feel as an audience that Tada and Gyoten would be at lost without the other.

At the time Gyoten met Tada again in years at the bus station from the first film, it was the right moment for the both of them. Tada, then still couldn’t moved on from the passing of his son that led to his divorce, while Gyoten was on his way to kill his parents because they keep asking Nagiko to see Haruka. I know these all now because I’ve already finished the first film and the series after seeing the second film of course.

It’s also a unique story of two former classmates who find themselves face to face with each other again and becoming best buddies in the process, helping each other out when one needs the other. I have never seen such a story in any of the dramas I’ve seen before.

It’s also very unpredictable and highly enjoyable, I could never guess what adventure would the two be involved with in the next episode. Well-acted, mainly from Ryuhei and Eita who carry the direction of the film and series, picturesque cinematography and fun-loaded, naturally funny story and episodes.

And because of everything, Gyoten Haruhiko has become one of my most favorite fictional characters ever.

I’m also very delighted to know that The Great Passage, in which he won a number of best actor awards will be out in English edition next fall by Amazon Crossing as I was told by a caring staff from Kobunsha, its original publisher when I asked a sample English translation of the novel.