Director and screenplay: Hiroki Ryūichi,Saitō Hiroshi
Photography: Nabeshima Atsuhiro
· Eikura Nana (Dozono Tsugumi)
· Toyokawa Etsushi (Kaieda Jun)
· Ando Sakura
· Mukai Osamu
· Maeno Tomoya
Production: Tsujimoto Tamako, Utagawa Yasushi
Running Time: 199 min
Release Date: February 14, 2015
Official Site: otokonoissyou-movie.jp
“I do not know what happiness is,” he says with a sad expression (a bit ‘always the same expression, to tell the truth …) Tsugumi. Lament of a Beautiful Woman: He is the protagonist of Hiroki Ryūichi’s latest film, Her Grandaughter, who has come second in audience preferences at the last Nippon Connection festival in Frankfurt.
Tsugumi – the story is from a manga that has among the fans mostly grown-up women, it seems – has lost grandmother and moved to the great house that was the latter. The case wants a man so beautiful, far greater than she, as well as a professor of philosophy and former grandmother’s lover (manga for adult women, she said …) have the keys of that house and move to a wing of this, thus beginning a forced “coexistence” with the girl. She is diminished by the failure of a previous story, he does not know well because he claims that he no longer wants to fall in love, but he is guessed by the first jokes, in the past can be said that the galeot was the house or grandmother or both.
Hiroki Ryuichi, melodrama master, from the pink world, had delighted us with memorable women figures in his films: I remember the star of It’s Only Talk in 2005, as well as those of The Egoists 2011 or 2012 River.
In this sentimental comedy, well-structured undoubtedly, and beyond the intriguing look of engagement with the ex-grandmother, everything seems a bit “fake”, starting with the two protagonists: Eikura Nana has a model presence , but apart from this it transports very little; he, Toyokawa Etsushi, plays his role better and humorously, though too often he is attracted to pink rotting poses …. In short, it is almost a relief to appear on the screen Ando Sakura in the role of the friend, as always concrete and intense, though in a secondary role.
In any case, I liked the director’s ironic look on his characters: he was often shot “framed” by the scenes created by the sliding doors of the vintage house, or on an old two horses, or walking in the bamboo forest in Kyoto or, when they find themselves dealing with a child abandoned by their mother, suddenly plunged into the house, they appear at every opportunity so little real to be intimated. Almost too beautiful to be true. I also liked the cues of a talented filmmaker who knows how to create with nothing faceted characters. An example? The professor who runs on wooden sandals with a hand maliciously leaning on his side, even more intriguing in the suspicion of undeclared homosexuality.
The tone is comedy, the dialogues propose curtains about their supposed marriage, the other members of the small community – the close old man, the naïf friend who wants to go to politics, Tsugumi’s mother, whom we see jump in content for the announcement daughter’s wedding with the professor – are just as many elements that fit into the overall atmosphere of the film.
Tsugumi, however, does not seem to me to confront the “other women” of Hiroki Ryūichi.
On the other hand, in this film she laughs at life’s dramas, and is not far behind: as when Professor Kaieda says: “Love is tiring,” and as she says, she pokes her legs bandaged with perfect pants, hitting her hands in the hair that better than that could not be dressed …