Christmas on July 24th Avenue (7月24日通りのクリスマス, Shosuke Murakami, 2006)

Christmas July 24th AvenueThey do Christmas a little differently in Japan. Rather than a celebration of family and commercial excess, Christmas is an occasion for romance much like the Western Valentine’s Day. Strangely, Japanese cinema has been slow to warm to the idea of the Christmas date movie though Christmas on July 24th Avenue (7月24日通りのクリスマス, 7 gatsu 24 ka dori no Kurisumasu) tries its best to plug the gap. Starring the ever reliable Miki Nakatani, Christmas on July 24 Avenue is a grown-up romance filtered through the innocence of the shojo manga its heroine has come to love.

Sayuri Honda (Miki Nakatani) is a 24 year old office lady who dreams of romance but has come to believe that she just isn’t destined for a great love of her own. Obsessed with a manga she’s loved since childhood which is set in Lisbon, Sayuri has begun to notice the various similarities between her hometown of Nagasaki and the Portuguese capital, living part-time in a kind of sunbaked European fantasyland. When her long lost high school crush, Satoshi (Takao Osawa), resurfaces as a famous architect with a bestselling book out, Sayuri’s dreams of romantic fulfilment are suddenly reawakened.

Constructed with obvious projected wish fulfilment, Sayuri’s arc is the rom-com classic of shy girl gets handsome boy after a series of coincidences and misunderstandings. Bespectacled and reserved, Sayuri’s major selling point is her propensity to suddenly fall over and make a spectacle of herself which she does in spectacular fashion during one of the amateur dramatic plays she helps out with. Embracing an unwelcome genre norm, Sayuri’s journey towards true love begins with prettying herself up – swapping her glasses for contacts, getting a more sophisticated haircut, and dressing in more typically elegant girlish outfits over her practical, dowdy tastes.

Rather than allow Sayuri to realise she’s fine as she is and doesn’t need to change herself for a man, the arc is Sayuri abandoning her anxieties to become the kind of person she thinks Satoshi would like. While all of this is going on there’s another potential suitor hanging around in the form of Yoshio (Ryuta Sato) – a geeky guy who works in a bookstore and has been nursing a crush on the oblivious Sayuri for years. Several times Yoshio confesses his love, and several times Sayuri fails to understand him. His being a pure love, Yoshio decides to help Sayuri find happiness no matter who with.

Sayuri sees her own situation mirrored in that of her brother. Where Sayuri sees herself as plain and undesirable, her brother is handsome and popular with the ladies – the kind of “prince” she herself dreams of. Despite having a long history of dating remarkable girls, Koji’s new girlfriend (Juri Ueno) is a virtual clone of Sayuri – mousy with glasses and a talent for mumbling. Oddly, Sayuri is not worried by this development in the way that might be expected, but only outraged at her brother’s breaking of romantic protocol in taking up with someone who is nowhere near his league. Resenting that a girl just like her has improbably managed to bag a prince, Sayuri treats her potential new sister-in-law with scorn and contempt whilst continuing to blame her own failure to do the same on her plainness and reserve.

Truth be told, Satoshi is a predictably dull love interest – a cardboard cutout prince of the kind familiar to shojo romance. Additional spice is added in an extra-marital affair between Satoshi and an old flame with whom he apparently has some unfinished business but even this hint of impropriety does not seem to put Sayuri off. Her final revelations tend towards realising that there’s nothing wrong with plain dowdy girls hooking handsome guys, even though she is no longer a plain and dowdy girl herself and her prince is also responsible for a crisis in the marriage of a friend. She has this revelation through a lengthy speech at someone else’s wedding which she has nearly derailed by provoking a crisis of confidence in the bride.

Based on a short story by Shuichi Yoshida – best known for socially conscious crime thrillers such as Villain, Rage, and Parade, Christmas on July 24th Avenue is a consciously cute affair filled with quirky details which attempt to recreate the world of shojo manga but cannot make up for the soulless quality of its romance. A lack of chemistry between Nakatani and Ozawa prevents the love story from taking off while the second lead is kept hovering the background but more sweet joke than credible option. Reaching an improbably neat conclusion in which everything is forgiven and everyone lives happily ever after, Christmas on July 24th Avenue fulfils its promise of magical romance filled with cheerful Christmas carols and twinkling lights but proves disappointing after all the fancy wrapping.


30 second trailer (no subtitles)

Golden Slumber (ゴールデンスランバー, Yoshihiro Nakamura, 2010)

golden-slumberYoshihiro Nakamura has made a name for himself as a master of fiendishly intricate, warm and quirky mysteries in which seemingly random events each radiate out from a single interconnected focus point. Golden Slumber (ゴールデンスランバー), like The Foreign Duck, the Native Duck and God in a Coin Locker, and Fish Story, is based on a novel by Kotaro Isaka and shares something of the same structure but is far less interested in the mystery itself rather than the man who finds himself caught up in it.

30 year old delivery driver Aoyagi (Masato Sakai) is all set for a nice day out fishing with an old college buddy, Morita (Hidetaka Yoshioka), but he’s about to discover that it’s he’s been hooked and reeled in as the patsy in someone else’s elaborate assassination plot. After grabbing some fast food, Morita takes Aoyagi to a parked car near the closed off area through which the Prime Minster is due to be paraded in an open topped car. Waking up after a brief period of drug induced sedation, Aoyagi is made aware that this has all been a trick – badly in debt thanks to his wife’s pachinko addiction, Morita has betrayed him to a set of undisclosed bad guys with unclear motives and is taking this brief opportunity to give him as much warning as he can. Sure enough, a bomb goes off at the parade and Aoyagi just manages to escape before Morita too is the victim of an explosion.

Aoyagi is now very confused and on the run. Inexplicably, the police seem to have CCTV footage of him in places he’s never been and doing things he’s never done. If he’s going to survive any of this, he’s going to need some help but caught between old friends and new, trust has just become his most valuable commodity.

At heart, Golden Slumber is a classic Wrong Man narrative yet it refuses to follow the well trodden formula in that it isn’t so much interested in restoring the protagonist to his former life unblemished as it is in giving him a new one. The well known Beatles song Golden Slumber which runs throughout the film plays into its neatly nostalgic atmosphere as each of the now 30 year old college friends find themselves looking back into those care free, joyous days before of the enormity of their adult responsibilities took hold. That is to say, aside from Aoyagi himself who seems to have been muddling along amiably before all of this happened to him, unmarried and working a dead end delivery job.

As Morita tells him in the car, it’s all about image. The nature of the conspiracy and the identity of the perpetrators is not the main the main thrust of the film, but the only possible motive suggested for why Aoyagi has been chosen stems back to his unexpected fifteen minutes of fame two years previously when he saved a pop idol from an intruder with a nifty judo move (taught to him by Morita in uni) after fortuitously arriving with a delivery. Those behind the conspiracy intend to harness his still vaguely current profile to grab even more media attention with a local hero turned national villain spin. The Prime Minister, it seems, was a constantly controversial, extreme right wing demagogue with a tendency for making off the cuff offensive statements so there are those who’d rather congratulate Aoyagi than bring him to justice, but anyone who’s ever met him knows none of this can really be true despite the overwhelming video evidence.

Throughout his long odyssey looking for “the way back home” as the song puts it, Aoyagi begins to remember relevant episodes from his life which may feed back into his current circumstances. Although it seems as if Aoyagi had not seen Morita in some time (he knew nothing of his family circumstances, for example) his college friends with whom he wasted time “reviewing” junk food restaurants and chatting about conspiracy theories are still the most important people in his life. Not least among them is former girlfriend Haruko (Yuko Takeuchi), now married and the mother of a little daughter, who seems to still be carrying a torch for her old flame and is willing to go to great lengths to help him in his current predicament.

The film seems mixed on whether these hazy college days are the “golden slumber”, a beautiful dream time enhanced by memory to which it is not possible to return, or whether it refers to Aoyagi’s post college life which impinges on the narrative only slightly when he asks an unreliable colleague for help, aside from an accidental moment of heroic celebrity. It could even refer to the film’s conclusion which, departing from the genre norms, resolves almost nothing save for the hero’s neat evasion of the trap (aided by the vexed conspirators who eventually opt for a plan B). Once there might have been a road home – a way back to the past and the renewing of old friendships, but this road seems closed now, severed by the new beginning promised to Aoyagi who has been robbed of his entire identity and all but the memory of his past. Whether this means that the golden slumber has ended and Aoyagi, along with each of the other nostalgia bound protagonists, must now wake up and start living the life he’s been given, or that the old Aoyagi has been consigned to the realm of golden slumbers, may be a matter for debate.

Though the resolution may appear ultimately unsatisfying, the preceding events provide just enough interconnected absurdity to guide it through. During his long journey, Aoyagi is aided not just by his old friends but new ones too including a very strange young serial killer (Gaku Hamada) and a hospital malingerer with one foot in the “underworld” (Akira Emoto). It speaks to Aoyagi’s character that all of those who know him trust him implicitly and are ready to help without even being asked (even if they occasionally waver under pressure), and even those who are meeting him for the first time are compelled to come to his defence.  An elliptical, roundabout tale of the weight of nostalgia and inescapability of regret, Golden Slumber is the story of a man on the run from his future which eventually becomes a net he cannot escape.


Original trailer (English subtitles – select via menu)