The End of Summer (Natsu no owari,夏の終り)

Phone Call to the Bar (Tantei wa BAR ni iru,探偵はBARにいる)

Phone Call to the Bar (Tantei wa BAR ni iru,探偵はBARにいる)

[ Directed by ]
[ Produced by ]
* SUTO Yasushi
* KURYU Kazuma
* OKAWA Takehiro
* YAGI Seiji
[ Cast ]
* OIZUMI Yo Detective
* ONO Machiko KAWASHIMA Yumiko
[ Staff ]
* Original Story: AZUMA Naoki
* Screenplay: KOSAWA Ryota
* Screenplay: SUTO Yasushi
* Cinematography: TANAKA Kazushige
* Music: IKE Yoshihiro
[ Production Company ]
DETECTIVE IN THE BAR Production Committee
[ Distributor (Japan) ]
[ Production Studio ]

Release Date: May 11, 2013
Running Time: 119 min
Genre: Comedy, Drama, Feature
Color: Color
Screening Format: DCP
Subtitle: English, DCP
[ Story ]
A sequel to the hard-boiled drama based on Azuma Naoki’s series of novels about a private detective based in Susukino, Hokkaido. It follows the adventures of an unlikely duo: an able sleuth who has a weakness for women, and his indolent partner. Its director is Hashimoto Hajime, who also helmed the first film.
Masako (Gori), a friend of the Detective (Oizumi Yo), is beaten to death. However, the police’s investigation goes nowhere, and a rumor spreads that political corruption is to blame. Meanwhile, violinist Yumiko (Ono Machiko) turns up and asks the Detective and his sidekick Takada (Matsuda Ryuhei) to uncover the truth.

[ Official Site ]
In the red light district of Susukino Sapporo, a private detective with no name (Oizumi Yō ) drinking with his partner Takada (Ryuhei Matsuda) in his usual bar. He gets a call from a woman who looks like Kyoko Kondo (Shion Machida) and asks him to do a simple job. Shortly after starting work, the detective is captured by a group of yakuza and buried in the snow. Rescued by Takada, seeks revenge and gets caught up in a swirl of criminal events in which nothing is as it seems …
Azuma Naomi is the author of the mystery series “The Susukino detective”. The film is based on the second novel in the series – The phone call that arrived at the bar – and took the title – The detective is the bar – the title of the first novel in the series. The English title of the film, however, puts an end to the confusion directly inspired by the title of the novel rather than the original title of the film.
Hajime Hashimoto is a veteran of police television series and mystery and has signed some titles destined to the room, all relating to the world of the yakuza ( Shin jingi naki tatakai / Bosatsu, Gokudo no onnatachi: Joen ). The figure of this film reminds the game Othello: pawns with two facades, one white and one black, which can happen tip over at any moment. Everything has a double face, starting from the atmosphere of the film: a surprising mix of humor and violence, where often the one is the face of the other alternative. The ingredients of the genre hardboiled are there: the detective, the dark lady, alcohol consumed in bars with the philosopher bartender or quiet and discreet accomplice, guns – but here we see little, we in Japan are his fists and the karate moves to resolve disputes. And, of course, no shortage of gangsters. But nothing is as it seems: the “black” part of the company may also have a white face or naked. White as the armor of the champion of justice (tragic character entrusted to Nishida Toshiyuki, also excellent in dramatic roles but known for those brilliant); white like the angel’s robe candor Koyuki, that perhaps hides the black soul of the devil; naked as the man’s skin was born with the face of yakuza (Matsushige Yutaka), but under the clothing does not hide tattoos. With this kind of characters, the unnamed detective can team up to take his revenge (or protect the woman he loves without wanting to admit?).
A good portion of the film is played on irony and self-irony of the protagonist, which makes it different, in some respects, from the investigator stereotype of the American noir. The city, hostile rule, made of dark streets and cynical and desperate people, here is sparkling, friendly, supportive, and within it, the detective moves with ease, well integrated into the undergrowth that populates. Susukino, the neighborhood of night entertainment for adults in the city of Sapporo, is the protagonist uncredited in the film, along with the constant references to the history and of ‘Hokkaido culture. The same actor chosen for the main part is a local star.
What is perhaps missing is a critical attitude. Includes reference to the speculation and the resulting urban sprawl, reference is made to the crisis, unemployment and the involvement of the underworld in the so-called “economic recovery” but in the end, the culprits are identified, the young man is redeemed from his sins and everything continues as before. With confidence in a system that eventually solves everything. If anything, there is a bitter account of the fate of human beings, that ” we come to the world without having decided to find ourselves in an environment, in a body with a brain that we did not choose, and imposed on us to live life, even then if some do not make it keep up with her. ” [Katsuyuki Nakanishi]

cover_phone_call_to_the_bar_reg_jp (1)
Katsuyuki Nakanishi
Born on 1984 in Nagoya City, Aichi Prefecture. Graduated in Vantan Film and Movie Institute major in film director. The fourth graduate of JSC Cinematographers assistant upbringing cramming school. While he was studying in Tokyo, he was also working with Director Shinya Tsukamoto's movie at the same time. After that, he became part of the lighting department of Toei Studios Kyoto, studied under Kiyoto Ando and Takashi Sugimoto. In these movies, he worked as an assistant lighting director with Takashi Sugimoto in "Chacha - Tengai no Onna"(2007) and Kiyoto Ando in "The Fallen Angel"(2010). He work as a freelancer since 2011 and became part of these latest movies as a lighting director of Director Yang Ik-June's ”Shibata and Nagao"(2012), Director Keisuke Yoshida’s ”Himeanile”(2016), Director Kohki Yoshida’s ”ThreeLights"(2017), Director Hiroshi Ando’s ”Moon and Thunder" (2017) and Director Shinya Tsukamoto’s ”Killing” (2018).

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