It’s Me, It’s Me (俺俺, Satoshi Miki, 2013)

It's Me It's Me posterSome say it’s good to be your own best friend, but then again perhaps too much of your own company isn’t so good for you after all. The hero of Satoshi Miki’s adaptation of the Tomoyuki Hoshino novel, It’s Me, It’s Me (俺俺, Ore Ore), is about to put this hypothesis to the test as his identity literally splinters, overwriting the source code of strangers and replacing it with its own. How can you save your identity when you aren’t sure who you are? Perhaps getting to know yourself isn’t as straightforward a process as most would believe.

Hitoshi (Kazuya Kamenashi), an aimless 20-something, had dreams of becoming a photographer but they’ve fallen by the wayside while he supports himself with a dead end job on the camera counter in a local electronics superstore. Virtually invisible to all around him and so anonymous the woman in the fast food restaurant almost wouldn’t give him the fries he’d ordered, Hitoshi is irritated when two salaryman-types gossiping about how one of them plans to quit the company to pursue his dreams rudely invade his space. Perhaps for this reason, he finds himself taking off with the irritating stranger’s phone after he carelessly allows it to fall onto Hitoshi’s tray.

Emboldened, Hitoshi decides to use the phone to commit an “Ore Ore” scam – a well known telephone fraud in which a stranger rings an elderly person and shouts “it’s me, it’s me!” in a panic so they won’t twig it’s not really their grandson who is ringing them and claiming to be in some kind of terrible trouble which can only be relieved with cold hard cash. Not the sharpest knife in the drawer, Hitoshi gets the money wired to his account and then tries to dispose of the phone but it’s already too late. When he gets home, a strange woman (Keiko Takahashi) is in his apartment and she keeps calling him “Daiki”. What’s more, when he tries to go and see his mum (Midoriko Kimura), another guy is there who looks just like him and his mum won’t let him in.

Hitoshi eventually becomes friends with “Daiki” who introduces him to another “Me”, Nao – a cheerful student slacker. Each in their own way slightly disconnected, the trio build up an easy friendship – they do after all have quite a lot in common, and begin jokingly referring to their shared apartment as “Me Island”. Hitoshi, remarking that he’s never felt so carefree among others, begins to see the upsides of his strange new situation which obviously include the ability to be in two places at once, but too much of himself eventually begins to grate when Nao begins tracking down and bringing home all the other Mes he can find with the intention of launching a Me Empire.

A member of a lost generation, Hitoshi is a perfect example of modern urban malaise. Though he once had dreams, they’ve been steadily killed off by an oppressive society leaving him alone and adrift, unable to connect with others as the light slowly dies in his eyes. Perhaps, however, there is the odd flicker of resistance in his intense resentment towards those who have defiantly not given up – the chatty salaryman talking about his individualist dreams and later his work colleague who has been secretly taking accountancy classes in an effort to escape casual employment hell for a steady, if dull, regular job.

Hitoshi has always regarded relationships as “troublesome” but begins to feel differently through bonding with himself. As Daiki puts it, accepting others means that you’ll be accepted – something Hitoshi unconsciously longs for but is too insecure to believe is possible. His actualisation receives another stimulus when he meets the beautiful and mysterious Sayaka (Yuki Uchida) who again encourages him to accept the one who accepts you and is the only other person who seems to be able to see the “real” him as distinct from all the other Mes. Yet Hitoshi struggles – he can accept parts of but not all of himself, eventually leading to a disastrous turn of events in which the parts of himself he does not like begin being “deleted” as one Me decides to make war on all the others.

Only by ridding his psyche of imperfections can Hitoshi reformat his personality and once again resume full autonomy as the one and only Me. Yet can we be so sure final Hitoshi is the “true” Hitoshi? Who can say – only Hitoshi himself can know the answer to that (or not), the rest of us will just have to accept him as he is in the hope that he will also be able to accept us so that we can in turn accept ourselves.


Original trailer (no subtitles)

Policeman And Me (PとJK, Ryuichi Hiroki, 2017)

policeman 2The world of shojo manga is a particular one. Aimed squarely at younger teenage girls, the genre focuses heavily on idealised, aspirational romance as the usually female protagonist finds innocent love with a charming if sometimes shy or diffident suitor. Then again, sometimes that all feels a little dull meaning there is always space to send the drama into strange or uncomfortable areas. Policeman and Me (PとJK, P to JK), adapted from the shojo manga by Maki Miyoshi is just one of these slightly problematic romances in which a high school girl ends up married to a 26 year old policeman who somehow thinks having an official certificate will make all of this seem less ill-advised than it perhaps is.

Kako (Tao Tsuchiya) is only 16 and, truth be told, a little innocent, even naive when it comes to love though she desperately wants to get herself a proper boyfriend. Dragged by a friend to singles mixer where she’s abruptly told that’s she’s 22 for the next few hours, Kako is bashful and dutifully refrains from underage drinking or inappropriate behaviour. Against the odds she hits it off with handsome policeman, Kota (Kazuya Kamenashi), who still thinks she’s 22 and that her reticence is a sign both of shyness and of maturity. Inadvertently blurting out her real age, Kako blows things with Kota who, as policeman, has no interest in dating a 16 year old. However, leaving Kako to walk home alone after the last train has left through a dodgy area of town is not a good idea and she’s soon beset by a gang of moody boys! Luckily, Kota’s policeman instincts have kicked in and he turns up to save the day with some delinquent moves of his own.

Despite the age difference, Kota and Kako have a genuine connection but Kota is anxious not to do anything dishonourable or untoward. Thus, facing the prospect of breaking up with his teenage sweetheart, he abruptly proposes marriage! After all, when the government rubber stamps something it must be OK and no-one can be accused of doing anything morally wrong, right? The surprising thing is, Kota puts on a fancy suit and goes to break the news to Kako’s parents only to have them give up almost without a fight. Her father may be angry to begin with but he’s soon won over and left with nothing other to say than please look after my girl (and try not to get her pregnant until she’s finished her education).

Kako is then placed in the incongruous position of being both a regular high school girl and a married housewife. Kota is stationed at the local police box with two other officers – one an older guy and the other a young woman who both support him in his new life as a married man. The couple live in an improbably large house inherited from Kota’s late parents but their relationship remains chaste and innocent. Perhaps realising that this unusual union will not be welcomed by all Kako has not told anyone at school about her marriage whilst she goes about trying to rescue the sensitive delinquent, Okami (Mahiro Takasugi), who accidentally put her in the hospital before she was valiantly rescued by Kota.

Okami and Kota lock horns over several things from Kako to the rule of law but they have more in common than it might first seem. Kota, once a violent teen himself, is nursing a huge debt to his policeman father killed in the line of duty. Taking on his father’s mission, Kota has dedicated himself to serving and protecting even if he once rebelled against that very thing as the kind of teenage punk Okami currently aspires to be. Okami has his own share of troubles at home which explain most of his behaviour as well as his aversion to law enforcement but Kako sees straight through his tough facade for the damaged boy inside. Kota too comes to find him more of a kindred spirit in need of rescue than a danger to society who needs locking up and also views him as an ally in being another of Kako’s admirers.

Ryuichi Hiroki thrives on this sort of uncomfortable drama, bringing a touch of moral queasiness to an otherwise cute story of innocent romance. Kota and Kako never particularly deal with the elephant in the room aside from Kako’s worries that Kota sees her a little girl who needs protecting rather than a wife who wants to stand alongside him as an equal. Then again Kako is quite happy in a subservient role, playing directly into her romantic fantasies. Hiroki directs all of this in true shojo style, keeping it all very chaste and innocent, overcoming all obstacles related to the inappropriateness in the central relationship and reaffirming the fact that true love is real, occurs in unexpected places, and is waiting for every romantic young girl who dreams of a tall guy in a dashing uniform. Unrealistic? Perhaps, but that’s shojo.


Policeman and Me was screened at the 19th Udine Far East Film Festival.

30s trailer (no subtitles)