Nobuhiro Yamashita has made something of a career out of championing the underdog and La La La at Rock Bottom (味園ユニバース, Misono Universe) provides yet another foray into the lives of the disposed and degraded. With a lighter touch than some of his previous work, the once again musically inflected film is another testament to the power of redemption and that you can still turn your life around if you only have the courage to take the chance.
The film begins with a young man being released from prison. The guard apologises about the smell of mothballs emanating from the man’s jacket, usually the family bring clean clothes. No family has come for this inmate though – just a couple of cool seeming characters who profess their gratitude for “what you’ve done for us” but the reunion is anything but warm. A little while later the man is unceremoniously bundled into a car and taken off to a quiet place where he is beaten half to death by thugs using baseball bats. After waking up, he stumbles around and eventually chances on a summer festival with a band playing on the mainstage. Zombified, the man grabs the mic and starts singing before promptly collapsing again.
The band’s manager, a young girl, takes the man home whereupon she discovers he’s lost his memory. Giving him the ironic nickname of “Pooch” (Kasumi also has a habit of picking up stray dogs), the band and local villagers quickly “adopt” the confused stranger and let him work at their karaoke rooms and studio whilst coaching him to become their new lead singer. However, as Pooch’s memories start to return it seems that his former life may not have been as tranquil as his laid-back amnesiac persona might suggest.
Like much of Yamashita’s previous work, music plays a central role with the one thing that Pooch remembers from his former life being the lyrics to a particular song and his innate singing talent. The leading role of Pooch himself is played by real life singing star Subaru Shibutani of Kansai based idol band Kanjani Eight who proves himself more than capable of belting out these hard rock/enka tracks as well as being able to imbue Pooch’s amnesiac blankness with his own specific character. He is ably supported by the popular young actress Fumi Nikaido who turns in yet another impressively nuanced performance as the older than her years Kasumi.
The beginning of the film gives us quite an idea of the man Pooch may have been and the kind of life he’s led. As the revelations pile on and Pooch’s memories inevitably return threatening the new life and personality he’s begun to build with the band and the possibility of fulfilling a long abandoned dream of being a singer, his dark side begins to break through and we’re shown a man lost in rage and violence left with nowhere to turn. At the end of the day, “Pooch” has been given a valuable opportunity to start all over again but it requires him to make the choice to do so. Go back to being “Shigeo”, a self hating thug who’s alienated absolutely everyone in his life or choose to become Pooch and earn a second chance to be the man he always wanted to be.
Like Yamshita’s previous film, Tamako in Moratorium, with which it also shares a lot in terms of style, La La La offers no great revelations or technical bells and whistles but revels in the simple pleasure of a tale told well. Like much of his other work, the central message is that it’s never too late to begin again (even if there are bridges which have been burned beyond repair) only that it requires you to make the sometimes scary choice to take a chance on something new. That choice rests with one person but is greatly aided by the support of others and the unusual bond between the two central characters (which stops short of romance) plus the uncompromising faith which Kasumi places in Pooch are some of the greatest joys of the film.
Perhaps not a career best from this still vastly underrated director, La La La at Rock Bottom is nevertheless another beautifully constructed addition to his filmography. Offering an extreme depth of performance from each of its ensemble cast, the film is rich with detail whilst also reflecting Yamashita’s trademark cinematic naturalism. Once again a musical feast for the ears, La La La at Rock Bottom is destined to become one of the director’s best loved films even in a career which has already offered so many as yet undiscovered gems.