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||IMDB Rating: 7.1/10 from votes
||Release: 21 August 2010 (Japan) /
||Director: Noriko Yoshida,
||Stars: Anastasia Morsucci, Arata Iura, Hiroo Ohtaka, Kaori Mizushima, Kelly Karavites, Manatsu Hayashi, Misaki Mori, Misako Renbutsu, Osamu Mukai, Tôma Ikuta, Yû Koyanagi, Yui Aragaki, Yûichi Kimura, Yûta Kanai, Yutaka Matsushige
||Synopsis: Sae (Yui Aragaki) is a high school student who is studying hard for her college entrance exams. She lost her father when she was very young and so lives her mother Ryoko (Hiroko Yakushimaru) in Hokkaido, Japan. Her father Kemimichi (Arata) once planted a dogwood tree in their garden after he found out he had a terminal disease and could not watch Sae grow up. She hopes to enter a university in Tokyo. She then meets Kouhei (Toma Ikuta), who attends a specialized high school teaching fishery. He hopes to follow in the footsteps of his father and grandfather as a fisherman. These two young people meet and have a long distance relationship. Although their love is strong it does not last. 10 years later these two people have a miracle ... (Source: Asian Wiki)
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Watch Hanamizuki - Alternative Versions.
The lines seems to have been drawn in genre terms in contemporary
Japanese cinema. Many are attracted by the package of young starlets
and hit pop music. Others are repelled by the heavy-handed plot
contrivances and schmaltzy dialogue. You make your choice and either
pay up or walk away.
Two young lovers 'meet cute' on the train, but find educational, social
and class differences pulling them apart as time goes on.
My foot is firmly in the latter camp, but I can't help feeling the
lightweight scripts and low-key catharsis are a shame, as there is much
to admire in Hanamizuki, namely the performances by the two leads. Yui
Aregaki (Sae) gives a reigned-in performance as the ambitious girl from
small-town Hokkaido, her admirable restraint hinting at greater
strength and complexity. Tôma Ikuta as Kohei finds family and social
circumstances pile against his chances of walking his own path, or more
pertinently walking a path with Sae. Ikuta is charismatic and looks
like he could hold his own if given stronger fare to work with.
As it is, sappy sentimentality and lazy coincidences once again pile up
to sink a J-film. Why are people always just 'turning up' in these
films? Sae's Mum turns up at her apartment in NYC. Sae herself 'turns
up' at a hometown wedding. She turns up again at the lighthouse Kohei
is visiting. Kohei turns up in the Canadian town Sae was born in on the
EXACT day she chooses to visit. Would a little cause-and-effect be
unwelcome? Even at the end, Sae just turns up, and eventually, so does
Kohei. Not even a cuddle. Go figure.
There is a demographic for this film and I am clearly not in it, but
neither are the vast majority of overseas audiences, and that is
ultimately damaging. Japanese society in many areas is developing a
Galapagos phenomenon, the notion of separate evolution. For a cinema
that used to produce to universal acclaim, that is a tragedy.
Tags for Hanamizuki Full Movie
, Arata Iura
, Hiroo Ohtaka
, Kaori Mizushima
, Kelly Karavites
, Manatsu Hayashi
, Misaki Mori
, Misako Renbutsu
, Osamu Mukai
, Tôma Ikuta
, Yû Koyanagi
, Yui Aragaki
, Yûichi Kimura
, Yûta Kanai
, Yutaka Matsushige
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