Despite being one of the most prolific directors of the ‘80s and ‘90s, the work of Yoshimitsu Morita has not often travelled extensively overseas. Though frequently appearing at high profile international film festivals, few of Morita’s films have been released outside of Japan and largely he’s still best remembered for his hugely influential (and oft re-visited) 1983 black comedy, The Family Game. In part, this has to be down to Morita’s own zigzagging career which saw him mixing arthouse aesthetics with more populist projects. Main Theme is definitely in the latter category and is one of the many commercial teen idol vehicles he tackled in the 1980s.
A tale of two intersecting love stories, Main Theme begins with nursery nurse Shibuki getting close to the father of one of her pupils, Omaezaki, who will shortly be transferred to Osaka. Omaezaki also has a long running thing with a cabaret jazz singer, Kayoko, which seems to be a messy situation to begin with. Shibuki then ends up running into magician with a pick-up truck Ken who drives her to Osaka where she’s set to meet up with Omaezaki to become some kind of nanny living with him and his wife. En route, the pair pick up Kayako little knowing of her relationship with Omaezaki. Eventually, everyone ends up in Okinawa where Ken lives and Shibuki has an older sister each hoping to sort out their romantic difficulties under the blue island skies.
Main Theme stars popular idol of the time Hiroko Yakushimaru (star of Sailor Suit and Machine Gun) and is, unsurprisingly, centred around her chart topping song of the same name. A neat, new Japanese arrangement of the classic jazz standard Sway, the song fits neatly into the movie’s soundtrack which also features a number of other jazz hits such as The Man I Love and most notably Bei Mir Bistu Shein (or Shoen, or Shön depending on which version you’re looking at) courtesy of our cabaret singer (and her rivals) but being an ‘80s movie there’s still a bit of pop synth in there too though our central couple do seem to have oddly sophisticated tastes.
Though it is, as it’s intended to be, a teen romantic comedy, Morita tries (not entirely successfully) to put a little more substance into the background by also showing us the unhappy romance of middle-aged jazz singer Kayoko and the non-committal Omaezaki. It seems the pair have had an entailment probably stemming back years, perhaps even before Omaezaki’s marriage. Mrs. Omaezaki is a fairly ditzy and neurotic woman who loves shopping and seems to be more interested in the appearance of things than the reality. The status of the marriage itself is difficult to discern and it’s not quite clear if Omaezaki’s problem is a lack of will to leave his wife or that he’s already “left” and is trying to find a way to support her. In any case, introducing Shibuki, a 19yr old with an obvious crush on him, to the household is not one of his better ideas.
Needless to say, Ken also ends up forming an attraction to the older, melancholy musician who doesn’t seem to know what it is she wants (or knows but chooses to run away from it) leaving us in an odd kind of love square with the couples really each wanting their age appropriate partners but getting distracted by foolish dalliances with age and youth respectively. It does feel as if Morita could have made more of this dramatically interesting idea as Kayoko in particular is drawn in by Ken’s youthful innocence, but this isn’t what the film is for so it remains an intriguing yet perverse addition to the film’s otherwise straightforward narrative.
The “perversity” or strangeness of the film doesn’t end there as Morita has also added a number of quirky, absurd touches to offset the flatness of the teenage love drama. Perhaps because he’s a magician we get these odd flashes of Ken where he’s suddenly got crazy eyebrows (just for one 15 second shot) or crazy hair and there’s another charming scene where he’s pulling artificial flowers out of his suit only to have the magic bouquet suddenly droop as his heart starts to break. In another intriguing trope there’s also a strange illustrated map which lead’s Shibuki to her sister’s house by outlining common scenes from the area and when she gets there the gates are covered in light up ornamental tropical fruits. Add to this that the backing behind Kayoko’s final cabaret reads “Bates Motel Live” and there’s definitely a very strange mind behind the production design on this run of the mill, idol pop pushing rom-com.
Undoubtedly of its time, there is probably a reason Main Theme has not proved a big overseas hit though it seems to have been massively popular at the time and is fondly remembered for nostalgic reasons even if not particularly well regarded today. This is perhaps how the film is best approached – as a monument of its times and as a prime example of the 80s idol dramas studios such as Kadokawa put out to push their inoffensive pop music. However, Morita does add his own quirky touches to the film which does provide its fair share of youthful fun even if it isn’t always successful.
And a more recent version of Hiroko Yakushimaru singing the title song: