hatsukoiThe 300 Million Yen Affair is one of the most famous and intriguing unsolved mysteries in Japan, not least because the missing cash has been lying dormant somewhere, apparently untouched, ever since that fateful day back in 1968. Seeing as the true story has never been discovered, the crime has taken on legendary status and become the focus of many kinds of fiction. Misuzu Nakahara’s fictionalised autobiography is just one of these as she retroactively claims responsibility for the robbery as a teenage girl in love with a detached revolutionary.

Misuzu (Aoi Miyazaki) begins her tale a couple of years before the crime as she lives a lonely and introverted life in the house of her uncle, her father having died and her mother apparently absconded with her older brother in tow but leaving her behind. It’s her 16th birthday, but no one cares. Soon enough she starts hanging around a shady jazz bar before another woman convinces her to come inside and join their group of layabout beatniks – a group which is actually lead by her estranged older brother, Ryo (Masaru Miyazaki). These are the heady days of students protests – against the old order, against the ANPO treaty, against the war in Vietnam, against just about everything. Misuzu grows closer to one of their number, the quiet and mysterious Kishi (Keisuke Koide), who has a proposition for her….

Hatsukoi (AKA First Love, 初恋) is a film which is thick with period detail from the authentically smokey, sweaty jazz bar and its counterculture denizens to the nostalgic atmosphere and 1960s street scenes. However, evoking Misuzu’s own sense of ennui, director Yukinari Hanawa opts for a detached, dispassionate tone which is entirely at odds with the otherwise searing, youth on fire tension of the time period. Misuzu is always on the edges of things, younger than the other members of the group she feels as if she’s merely being permitted to stay and listen rather than invited to participate. Nevertheless, even if it’s the case that Misuzu is a by nature a passive person, the film pushes the intense nature of the social revolution going on all around her into mere background, squandering its power to bring out the sense of passion that the film feels as if it needs.

At heart, the robbery is something of a mcguffin as the real story is the true love tragedy hinted at in the title. Misuzu and Kishi grow closer through their plotting of the crime which is born of his desire to commit a different kind of revolutionary act. The money is intended to pay the bonuses of Toshiba employees and Kishi feels the best way to make a protest against economic inequality and the power of large corporations is to hit them in the finances. Misuzu plays her part well enough and the robbery comes off OK despite minor hitches allowing only a brief honeymoon period for its would be Bonnie and Clyde before history begins to move forward and eventually rips them apart. For Misuzu the robbery becomes the defining event of her youth and the birth of the love that she seemingly cannot let go. After this the jazz club is over, the protest movement dies as do some of the protestors, or else they move on to more conventional lives. Not quite a coming of age, but a death of youth before it had hardly begun.

Some injuries never heal, says the kindly old man who teaches Misuzu how to drive. A prescient remark if ever there was one. Misuzu seems locked within this brief period of her youth, before her friends died, left, or disappeared once the turbulent atmosphere of protest and revolution gave way to the consumerist 1970s and everyone forgot about the necessity for social change in the hurry to make money.

Hatsukoi becomes less a about the first love itself than about the period that surrounds it. The love was lost, but so was the bubble in which Misuzu had begun to define herself as a young woman. What Hatsukoi lacks is a sense of personal tragedy, of a soul crushing, spiritual death which locks each of the group members into their own tragic fates and seems somehow dictated despite their insistence on defining themselves in the new, youth centric world. Often beautifully photographed, Hatsukoi’s air of desolation and cold, detached tone weaken its ability to engage making its painful end of youth journey all seem rather dull.


Hatsukoi was released with English subtitles on blu-ray in Taiwan, and on DVD in Hong Kong though both editions now appear to be OOP.

Unsubtitled trailer:

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