Young Girls in Love (恋する女たち, Kazuki Omori, 1986)

young women in loveThe friends you make in high school are the friends you’ll have the rest of your life, says Takako – the heroine of Kazuki Omori’s Young Girls in Love (恋する女たち, Koisuru Onnatachi). Only she doesn’t quite want hers – they’re weird and cause her nothing but trouble. Also one of them is too pretty so she soaks up all of the attention – where’s the fun in that? Takako is not altogether happy in her adolescence but at least she has her friends there beside her, right?

Takako’s two best friends have both recently fallen in love leaving her feeling a little left out. Midoriko (Mamiko Takai), the most “unusual” girl in her group (but also thought to be the prettiest), had fallen in love with a teacher and even struck up something of a friendship with him as evidenced by her collection of cute photos of them together. However, he’s recently got married leaving her heartbroken so Midoriko is having another one of her trademark “funerals” in which she buries painful memories from her past. Previously she’s had funerals for an unfortunate PE related incident in which she ripped her shorts during gymnastics, and another for when her grades got so bad that the teachers told her she probably wouldn’t graduate from high school.

Teiko has a difficult homelife as her literature professor father has left the family for unspecified reasons and her mother is still mourning the end of the marriage. However, she has found herself and older poet who formerly wrote lyrics for cheesy teen idol pop songs (though he’s a serious poet now so that’s all beneath and behind him). Teiko knows that this relationship is doomed to failure but is pursuing it in any case.

Takako is so wound up by her friend’s series of love stories that she finds herself visiting “raunchy” movies like 9 1/2 weeks. This is where she encounters possible crush and high school baseball star Kutsukake (Toshiro Yanagiba), but does she really like him or is she just lovesick and jealous of her friends? A new complication also arises in the form of fellow student Kanzake (Yusuke Kawazu) who previously had a crush on older sister Hiroko (Kiwako Harada) but seems to have shifted his attentions on to Takako.

Young Girls in Love is a little broader than the average idol drama though it maintains an overall quirky tone with a few swings towards melodrama. Takako continues with her romantic dilemma although in contrast to what she says towards the opening of the film she mostly does so alone. Rather than her similarly romantically troubled friends, Takako confides in a painter friend, Kinuko (Satomi Kobayashi) who has some rather more grown up advice for her than other friends (or sister) are willing or able to offer.

During her troubles Takako also goes to visit another girl who is kind of involved with low level bosozoku motorcycle gangs, and finds out that her morbid friend Midoriko has gone seriously off the rails. Leading some kind of double life, Midoriko is a disco queen in another town, dancing her troubles away and enchanting all the boys in the club (including the other girl’s biker boyfriend). Distressed, yet a little envious of Midoriko’s ability to soak up all the attention for herself, Takako is the only one to try and intervene during a drag race duel though little heed is given to her desperate plea for sanity and she is only one that gets hurt during the proceedings.

It’s all fairly innocent stuff even though biker gangs, older boyfriends, and boyfriend stealing, all fall into the mix. Omori keeps things simple and brings his idols to the fore to do what they do best though he does overly rely on TV style reaction shots for some of his gags. According to the anecdote Takako offers at the end, none of the various love stories have worked out they way the girls hoped (at least for now) but everything carries on more or less as normal. The three girls have another of their traditional extreme tea ceremonies dressed in kimono and sitting on the edge of a cliff, but they’re all still together despite their recent romantic adventures. The real love story is between three childhood friends who may have temporarily drifted apart over teenage drama, but their bonds are strong enough to withstand the storm and, as Takako stated in the beginning of the film, they’ll be together for the rest of their lives.


Original trailer (no subtitles)

Four Sisters (姉妹坂, Nobuhiko Obayashi, 1985)

Four SistersNobuhiko Obayashi takes another trip into the idol movie world only this time for Toho with an adaptation of a popular shojo manga. That is to say, he employs a number of idols within the film led by Toho’s own Yasuko Sawaguchi, though the film does not fit the usual idol movie mould in that neither Sawaguchi or the other girls is linked with the title song. Following something of a sisterly trope which is not uncommon in Japanese film or literature, Four Sisters (姉妹坂, Shimaizaka) centres around four orphaned children who discover their pasts, and indeed futures, are not necessarily those they would have assumed them to be.

Yasuko Sawaguchi plays the third oldest sister and more or less protagonist of the story, Anzu, who is facing a very common teenage dilemma in that there are two boys (best friends) both interested in her and she can’t decide if she likes both, one, or either of them. Eventually, Yuzuki (Ichirota Miyakawa) wins out leaving his friend Oba (Toshinori Omi) depressed and on the sidelines. However, Yuzuki is from a wealthy family and it was intended he marry a cousin so his mother does some digging and discovers more about Anzu than Anzu knew about herself.

As it turns out, the four sisters are not actually related by blood as only one was the biological child of the goodhearted couple who raised them. Unfortunately, the children’s adoptive parents died in a car accident leaving their birth daughter, Aya (Misako Konno), as a kind of maternal figure to Akane (Atsuko Asano), Anzu, and Ai (Yasuko Tomita) though Akane was the only one old enough to remember their lives before coming to live with Aya and her family. The rediscovery of the truth knocks both younger girls for six, especially as Anzu’s birth mother has reappeared and presents an existential threat to their insular family of four.

Set once again set in a peaceful, countryside town, Four Sisters revisits many of Obayashi’s constant concerns in its evocation of memory, mislaid truth, and the need to come to terms with the past in order to go on living in the present. The four young women are each very different, but bound tightly together by their shared experience, including the recent loss of their parents. Anzu’s discovery threatens to destroy the family firstly through the exposure of a lie (or, what is really an omission of truth), and secondly to speed up the inevitable fracturing as she begins to seek a new life and eventually family of her own. Though Akane has been able to forge a career for herself (less pleasant part-time work aside), she rightly points out that in becoming their maternal figure, Aya has in a sense lost or rejected the opportunity to pursue her own happiness. The sisters’ bond is tight and near unbreakable, but it’s also, in a sense, constraining.

Obayashi begins the picture with in a polaroid-like frame in which the two boys declare their intentions to duel for Anzu’s affections. As the film moves on, Obayshi returns to these intertitle-like captions particularly in bookending the various seasons throughout which the film turns. Though not as radically as in some of his other work, Obayashi once again uses colour filtering as a highlighting tool which is most obvious towards the end as the edges of the screen start to blur, greying out everything other than our central heroines. However, other sequences take place in a noticeably expressionist environment with extreme colour contrasted backgrounds and unreal, star filled skies and Obayashi also allows the real world weather with its storms and raging rivers to dictate the mood.

Four Sisters is, at heart, a family drama though one seen through a slightly distorted mirror. The four girls are indeed a unit which would inevitably have to split or stagnate in the normal order of things but the bonds are strong enough to withstand the unusual amount of pressure placed on them, enabling the sisters to move on with their individual lives whilst remaining close. Obayashi keeps things relatively low key (by his own standards) but gently builds a melancholy, nostalgic tone filled with loss and regret yet also with hope for the future. Beautifully shot, with Obayashi’s characteristically unusual use of imagery and wistful, ethereal atmosphere Four Sisters may not be among the director’s most experimental efforts but does provide a warm tale of love lost and gained in the lives of four ordinary women.