Honey and Clover (ハチミツとクローバー, Masahiro Takada, 2006)

honey and clover blu-rayAh youth! Chica Umino’s phenomenally popular manga Honey and Clover (ハチミツとクローバー, Hachimitsu to Clover) is, essentially, a coming of age story in which love, requited and otherwise, plays a significant part. Masahiro Takada’s adaptation is no different in this respect as its central group of friends learn to come into themselves through various different kinds of heart break leading to soul searching and eventual self actualisation. The path to adulthood is rocky and strewn with anxieties, but has its own charms as our self branded Mr. Youth seems to have figured out, romanticising his own adolescence even while he lives it.

The action kicks off at an art college in Tokyo where a circle of friends is temporarily shaken by the arrival of a new student – a distant relative of a popular professor, Hanamoto (Masato Sakai). Our youth loving hero, Takemoto (Sho Sakurai), falls instantly in love with Hagu (Yu Aoi) – a genius self-taught painter with a dreamy, ethereal personality and negligible interpersonal skills. Hagu, however, seems to have developed a strange connection with conceited sculptor Morita (Yusuke Iseya) who continues to struggle with his conflicting interests in art and commerce. Meanwhile, geeky design student Mayama (Ryo Kase) has a problematic crush on his boss, Rika (Naomi Nishida), whose husband went missing some years ago, and has begun semi-stalking her. Unbeknownst to him, Mayama is also being semi-stalked by Yamada (Megumi Seki) – a spiky ceramicist who refuses to give up on her unrequited crush despite being fully aware of his one sided love for a brokenhearted middle-aged woman.

In actuality all of our protagonists are a little older than one might assume – all past the regular age for graduating college and either hanging around after being unable to complete their studies or pursuing additional training in the hope of furthering their art. They are all also hopelessly lost in terms of figuring out who they are – perhaps why they haven’t quite got a handle on their art, either. Hagu, younger than the others, seems to have an additional problem in existing outside of the mainstream, experiencing difficulties with communication and needing some additional help to get into the swing of college life. Perhaps for this reason, maverick professor Hanamoto palms her off on the “least arty” (read “most responsible”) of his students, Takemoto, who is tasked with accompanying her for meals – something for which he is quite grateful given his first brush with love on catching sight of her at her easel.

Hagu is also, however, the most sensitive and perceptive of the students even if she can only truly express herself through canvas. Her most instantaneous connection is with Morita, whose instinctive approach perhaps most closely mirrors her own though where Hagu is quiet and soulful, Morita is loud and impetuous. Watching him creating his centrepiece sculpture, Hagu is honest enough to tell Morita that he’s overdone it. Morita agrees but ends up exhibiting the piece anyway and not only that – he sells it for a serious amount of money despite knowing that it lacks artistic integrity. Hagu is unimpressed and her disapproval only adds to Morita’s sense of self loathing in his ambivalence towards to the fleeting rewards of superficial success versus the creation of artistic truth.

A similar sense of ambivalence imbues the romantic difficulties which neatly divide the group into a series of concentric love triangles. Takemoto, the selfless hero, realises the best thing he can do for Hagu is try to help Morita be less of a self-centred idiot while simultaneously dwelling on his fleeting youth and actively pursuing himself while debating whether or not to hit the road and leave his lovelorn friends to it. Mayama and Yamada, by contrast, are content to dance around each other, understanding the irony of their respective unreturned crushes while not quite bonding over them but both determined not to give up on their dreams (romantic and professional).

Despite the central positioning of our shy hero as he walks towards the end goal of being able to state his feelings plainly, the drama revolves around the enigmatic Hagu whose descent into an intense depression after an ill-advised moment on a beach is only eased by the careful attentions of her new friends finally realising that their artistic souls benefit from compassion for others rather than remaining solipsistically obsessed with their own romantic heartbreak. Despite its noble intentions, Honey and Clover misses the mark in charting the heady days of youth though our confused heroes do eventually manage to find themselves and each other along the road to adulthood as they chase down disappointments romantic and professional and discover what is they really want in the process.


Original trailer (no subtitles)

March Comes in Like a Lion (3月のライオン, Keishi Ohtomo, 2017)

march comes in like a lion posterShogi seems to have entered the spotlight of late. Not only is there a new teenage challenger hitting the headlines in Japan, but 2017 has even seen two tentpole Japanese pictures dedicated to the cerebral sport. Following the real life biopic Satoshi: A Move for Tomorrow, March Comes in Like a Lion (3月のライオン, Sangatsu no Lion) adapts the popular manga by Chica Umino in which an orphaned boy attempts to block out his emotional pain through the taxing strategising becoming a top player entails. Shogi, however, turns out to be a dangerous addiction, ruining lives and hearts left, right and centre but, then again, it’s not so much “shogi” which causes problems but the emotional volatility its intense rigidity is often masking.

Rei Kiriyama (Ryunosuke Kamiki) lost his family at a young age when both parents and his little sister were tragically killed in a car accident. Taken in by a family friend, Rei takes up shogi (a game also apparently beloved by his late father) in the hope of being accepted in his new home. A few year’s later, Rei’s plan has worked too well. Better than either of his foster-siblings, Kyoko (Kasumi Arimura) and Ayumu, Rei has become his foster-father’s favourite child causing resentment and disconnection in the family home. Believing himself to be a disruptive influence among those he loves (even if he suspects they still do not love him), Rei removes himself by deciding to live independently, shunning all personal relationships and dedicating his life to the art of shogi.

Everything changes when Rei is taken for a night out by some senior colleagues and is encouraged to drink alcohol for the first time despite being underage. A kindly young woman who lives nearby finds Rei collapsed in the street and takes him home to sleep things off. The oldest of three sisters, Akari (Kana Kurashina) has a habit of picking up strays and determines to welcome the lonely high schooler into her happy home. Suddenly experiencing a positive familial environment, Rei’s views on interpersonal connection begin to shift but people are not like shogi and you can’t you can’t expect them to just fall into place like a well played tile. 

Like Satoshi, the real life subject of which is also echoed in March through the performance of an unrecognisable Shota Sometani who piles on the pounds to play the sickly yet intense shogi enthusiast and Rei supporter Harunobu Nikaido, March dares to suggest that shogi is not an altogether healthy obsession. Koda (Etsushi Toyokawa), Rei’s foster-father, is a shogi master who trained both his children to follow in his footsteps only to pull the rug from under them by ordering the pair to give up the game because they’ll never be as good as Rei. Thinking only of shogi, he thinks nothing of the effect this complete rejection will have on his family, seeming surprised when neither of his children want much more to do with him and have been unable to move forward with their own lives because of the crushing blow to their self confidence and emotional well being that he has dealt them.

Kyoko, Rei’s big sister figure, remains resentful and hurt, embarking on an unwise affair with a married shogi master (Hideaki Ito) who is also emotionally closed off to her because he too is using shogi as a kind of drug to numb the pain of having a wife in a longterm coma. Believing himself to be a disruptive influence who brings ruin to everything he touches, Rei has decided that shogi is his safe place in which he can do no harm to others whilst protecting himself through intense forethought. He is, however, very affected by the results of his victories and failures, feeling guilty about the negative effects of defeat on losing challengers whilst knowing that loss is a part of the game.

Drawing closer to the three Kawamoto sisters, Rei rediscovers the joy of connection but he’s slow to follow that thread to its natural conclusion. His shogi game struggles to progress precisely because of his rigid tunnel vision. Time and again he either fails to see or misreads his opponents, only belatedly coming to realise that strategy and psychology are inextricably linked. Yet in his quest to become more open, he eventually overplays his hand in failing to realise that his viewpoint is essentially self-centred – he learned shogi to fit in with the Kodas, now he’s learning warmth to be a Kawamoto but applying the rules of shogi to interpersonal relationships provokes only more hurt and shame sending Rei right back into the self imposed black hole he’d created for himself immersed in the superficial safety of the shogi world.

As Koda explains to Kyoko (somewhat insensitively) it’s not shogi which ruins lives, but the lack of confidence in oneself that it often exposes. Rei’s problem is less one of intellectual self belief than a continuing refusal to deal with the emotional trauma of losing his birth family followed by the lingering suspicion that he is a toxic presence to everyone he loves. Only in his final battle does the realisation that his relationships with his new found friends are a strength and not a weakness finally allow him to move forward, both personally and in terms of his game. Rei may have come in like a lion, all superficial roar and bluster, but he’s going out like a lamb – softer and happier but also stronger and more secure. Only now is he ready to face his greatest rival, with his various families waiting in his corner silently cheering him on as finally learns to accept that even in shogi one is never truly alone.


Released in two parts – 3月のライオン 前編 (Sangatsu no Lion Zenpen, March Comes in Like a Lion) / 3月のライオン 後編 (Sangatsu no Lion Kouhen, March Goes Out Like a Lamb).

Original trailer (no subtitles)