Big Man Japan (Dainipponjin,大日本人)
Death of a Samurai (Ichimei,Hara-kiri)

Ringing in Their Ears (Gekijouban Shinsei Kamattechan rokkunroru wa nariyamanai,劇場版 神聖かまってちゃん ロックンロールは鳴り止まない)

Directed, Story and Screenplay : Irie Yu
・Morishita Kurumi
・Nikaido Fumi
・Kiyotaka Uji
・Miura Yui
・Sakamoto Tatsuya
・Tsurugi Mikito
・Nomaguchi Toru
・Keisuke Horibe
Running Time: 99 min
Release Date: April 2, 2011
Link: Official site – Trailer ( – Daniel Robson (Japan Times)
PIA: exit: 3.5 / 5 Comments: 74/100
Score ★★☆☆☆ 2/5
Japanese films that have as main theme music or musical groups, whether real or fictitious, there is an almost infinite number. Since the late sixties, with the glorious series Noraneko Rokku (Stray Cat Rock) through which the two directors Hasebe and Fujita launched the cinematic figure of the rebellious woman, and not a small thing, the Meiko Kaji career, up to the present day with Linda Linda Linda and Fish Story , or the recent soranin , Bandage and Beck , is an uninterrupted sequence.
In this varied landscape, which can not be defined a genre, there is a bit ‘of everything: the film made just to ride a trend, that of great production that uses music as a narrative ploy and those born with little money from fantasy of young directors. Among the latter he deserves to be counted definitely Yu Irie that, after passing the AV industry and the V-Cinema, with SRサイタマノラッパー (8000 Miles), a youth comedy filmed in Japanese hip-pop circles, it is He gained more than a cult following even a prize at the Yubari international Fantastic Film Festival.
After the sequel to 8000 Miles ( SRサイタマノラッパー2女子ラッパー☆傷だらけのライム , 8000 Miles 2 – Girls Rapper) during the first months of this year it came out this latest effort, a job that mixes and makes interacting real underground band (which is precisely called “Shinsei Kamattechan”), who here plays herself, in a narrative where adolescent doubts, obsession with music and technology of a child and the mother pole dancer of life, swirl throughout the film and then come together and explode into the maelstrom of the last final minutes, those of the band’s concert.
The story is so structured as a funnel, that is, with a beginning where four stories develop in parallel and then take progressive speed and shape with every passing minute and almost necessarily converge in the final culmination represented here by the concert of Shinsei kamattechan, which is l ‘ event called the work time limit. The four main narrative lines are that of a child who lives with his mother separated Kaori (Morishita Kurumi) and often absent and that the company is on the computer (which becomes an I-pad) and the Shinsei Group Kamattechan of which become a fan through PC; that of the same woman to get by day works as a cleaner at night while working as a pole dancer in a club; that of a teenage girl (Nikaido Fumi) in love with the wrong guy and very capable player of shō ji (kind of Japanese chess); and finally, that of the same band, here present with the young manager, with its real problems faced by signing a contract with a major label. The band is in fact invited to change the style and image in a pact with the devil to become more commercial and therefore (s) sell. Note that the group’s leader will not be seen for almost the entire duration of the film, with the exception of very short scenes, almost abstract paintings in which paranoically ranicchiato appears to mark the days until the concert. Of course you will see it in the final minutes of the film during the performance (real) will close the film and its narrative tracks.
The film is fresh, also thanks to its brevity indeed; the stories themselves are not particularly original, do not invent anything new and perhaps even wanted to do it. But the eye of the young and talented director is known, the skill in directing a group of almost improvised actors and the realization of the film in a very short time and with a minimum cost, make it about. In addition, the final, and the conclusions of the various stories are far from trivial and routine and themes that are dealt with are all worthy of attention, and could maybe find depth in another paper. To emphasize at least the ties between the indie rock scene and the generations of teenagers, but also of children, especially thanks to the new media (YouTube, iPhone and iPad are elements very present as well as Nico Nico Doga, a portal that also broadcast the film simultaneously with the theaters).
To give depth to the film we also consider an amazing performance of Kurumi Morishita, famous porn actress here in his debut in a mainstream job, which in his interpretation of a woman over thirty years, mother who has a child grows alone and pole dancer who has to deal with advancing age and with the youth who abandons it, he reminded us, made all doverosissimi comparisons, the amazing Marisa Tomei in the Wrestler.
[Katsuyuki Nakanishi]

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).

Leave a Reply

Your email address will not be published. Required fields are marked *