Always: Sunset on Third Street (2005) [Film Review]

Always: Sunset on Third Street; or, The Virtue of Selflessness
     Think of it logically… You and I aren’t related in the slightest. We are completely strangers.
Continuing my obsession with Takashi Yamazaki, initiated by Godzilla Minus One, I decided to set aside some free time and check out the director’s previous cinematic endeavours. As a result, I am sharing my herein review of his 2005 movie Always: Sunset on Third Street.
Release Info
Directed by: Takashi Yamazaki Starring: Hidetaka Yoshioka, Shinichi Tsutsumi, Koyuki
Language: Japanese Original Title: オールウェイズ 三丁目の夕 Runtime: 133 min
Synopsis
Tokyo, 1958. Japan is on the brink of technological advancements as TV broadcasts are becoming a nationwide thing, and the construction of Tokyo Tower is about to be completed. We follow the lives of inhabitants who live in a fictional neighbourhood called “Sunset on Third Street”. Mutsuko (Maki Horikita) is a young employee who arrives from the countryside to work in a car repair factory. Little does she know, the factory she is supposed to work at is actually a small repair shop owned by Norifumi Suzuki (Shinichi Tsutsumi), a bad-tempered head of a lovable family. Their neighbour is a good-for-nothing writer Ryunosuke Chagawa (Hidetaka Yoshioka). He devoted his life to the craft of writing, but now he runs a shop selling toys and sweets. Suddenly, a local bar owner Hiromi (Koyuki) asks Chagawa to look after an abandoned boy Junnosuke (Kenta Soga).
A Tiny Bit of Hope
It should be explained at the beginning that Always: Sunset of Third Street is actually an adaptation of a popular manga series created by Ryohei Saigan in 1974, and it is still in publication today. There was also a short-lived anime show in 1990, but I couldn’t find any information about it, and the MAL profile has no fan discussion whatsoever.
Given the fact that Takashi Yamazaki operated on the basis of a pre-existing source material, it makes me wonder if the director was hired to do the job for the studio, or was he really passionate about the subject. Still, it goes without saying that (as in the majority of his other projects) he wrote the screenplay and supervised special effects.
The movie itself, in my opinion, feels like a heart-warming blanket for cinema enthusiasts who seek visual consolation after a day of hard work. This is exactly the type of uplifting, positive, and incredibly touching period piece that I needed at this point of my life. Some critics may claim that the film is too sentimental and utilises cheap tricks straight out of a TV drama, but I beg to disagree. Always: Sunset on Third Street presents a family-friendly tale about love and emotional connections set in the idiosyncratic period of the 1950s. This may have been a difficult period for Japan, but for some who lived back then, it is a sentimental time of old days long gone.
Apart from the story aspects, I have to praise the reserved cinematography by Kozo Shibasaki and top-notch production design that really captures that stylish post-war look of Japan. Evidently, some special effects had to be used for overview shots (and even comic gags, such as Mr Suzuki obliterating the entrance to his shop), but these are used sparingly and do not look dated. In addition, the music score composed by Naoki Sato is absolutely captivating.
With regard to performances, it is great to see Shinichi Tsutsumi in a non-serious comedic role as the father figure who discovers all the technological commodities like a TV set and a fridge. Hiroko Yakushimaru, Kazuki Koshimizu, and Maki Horikita are also wonderful as members of the Suzuki family. However, the real heart of the film is the outstanding performance of Hidetaka Yoshioka as Chagawa. His character’s tear-jerking story art is a must-see, and it is amplified by supporting parts done by Koyuki and Kazuki Koshimizu. Also, Tomokazu Miura has a small but heartbreaking part in the film, and the legendary Fumiyo Kohinata appears for one scene as well.
Recommendations
All things considered, I greatly enjoyed Always - Sunset on Third Street and I do not regret giving this movie a try. I have heard a lot about this film for a long time, but never actually knew what it is about. Well, now I really want to check out the remaining two parts of the movie trilogy, also done by Takashi Yamazaki. Certainly, this movie is for keeps. Like, please Criterion wake up and give this film a proper physical media treatment.
Overall score: 10/10
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Takashi Yamazaki is the GOAT [Editorial]

Even though it has been several months since the premiere of Godzilla Minus One, the fallout dust resulting from warm reception of the film across the globe has not settled yet. In January, the movie was re-released in Japan and the USA in a special version called Godzilla Minus One/Minus Color. What is more, the film received 12 nominations at the 47th Japan Academy Film Prize, and a nomination for Best Visual Effects at the 96th Academy Awards. In consequence Minus One is the first Godzilla production to be nominated for an Oscar(!)
     I have already praised the film in review last month, so I am not going to repeat my comments. The reason why I am writing today’s post is to praise the mastermind behind Minus One: Takashi Yamazaki, the ultimate die-hard fan of King of the Monsters.
     Yesterday, I accidentally spotted on Youtube an interview Yamazaki gave to Rotten Tomatoes and it absolutely made my day. Apart from having custom-made shoes, he had the audacity to bring with himself a Godzilla action figure. He is such a sweet fan boy who is not ashamed of his love for the franchise!
     Evidently, Yamazaki poured his heart and soul into making Godzilla Minus One, not only as a writer and director, but also as a VFX supervisor, which (according to FX artists) really shortened the chain of command on a blockbuster production and smoothed the production process (source).
     In an interview, Yamazki says that he is open to the possibility of making “Godzilla Minus Two”, and I think Academy Awards offer the director a solid platform to convince Toho for one more shot at making a Godzilla flick. When I cooled down after reviewing Minus One, I would personally love to see Yamazaki’s take on a sequel in a time when Japan is rebuilding itself after World War II, but I would like the story to focus on entirely new characters. Please don’t bring the old gang because they deserved the happy ending!
     This brings me to the Rotten Tomatoes question that was brought up in the interview. It is clear that Yamazaki has a lot of reverence for Christopher Nolan and Oppenheimer, and when the director was asked about the potential international casting choices for a new Godzilla film, he eloquently responded that the Oppenheimer cast was very talented (without giving any specific names). I know that Yamazaki was very gracious and careful with his answer, but this Oppenheimer touch really set my mind going for a potential Oppenheimer x Godzilla crossover. How crazy that could be?
     I know this is just fanboying, but nothing will deny the fact that Oppenheimer and Godzilla Minus One ruled the cinemas in 2023. Both movies focused on the themes of nuclear weapons, destruction, and morality of man in their own unique ways.
     To end this text, allow me to say that during one of my high school lessons, I allowed students to ask me various questions in English. One student asked me on a whim “Have you seen Godzilla Minus One?” convinced that I haven’t seen the film, but I answered positively, his eyes lit up and shouted, “This is the greatest film of 2023!” and that remark comes from a 15-year-old.
     To sum up, I salute you Takashi Yamazaki, your movie has transcended countries, languages, and generations in its quest to creep into the hearts of Godzilla fans across the world. You are the greatest of all.
*Feature image source. The remaining pictures used are promotional photos of Godzilla Minus One.
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You are going to carry that weight: Revisiting Cowboy Bebop [Editorial]

 
Men always seem to think about their past before they die, as though they were frantically searching for proof that they truly lived. ~ Jet Black
 
     As promised last week, I am back with my blog post about the popular anime series from the late 1990s: Cowboy Bebop. Well, better late than never. Cowboy Bebop was part of my introduction into the realm of anime over 10 years ago, and I have been meaning to write about this show for a long time. However, as in the case of GTO, I avoided doing it because this show is such an all-time classic.
     To be honest, I regard Cowboy Bebop together with Outlaw Star and Trigun as the Holy Trinity of the animated space western genre. However, all three series exhibit radically idiosyncratic styles. I mentioned in my special review of Outlaw Star that I have some issues with Cowboy Bebop, and today allow me to explain what I meant. Whereas Outlaw Star (and Trigun) seem very modernist and traditional with their approach towards the concept of a hero and his journey (the monomyth), Cowboy Bebop, in contrast, appears to be a deeply postmodernist show. It is, in fact, a disjointed, freewheeling story about a too-cool-for-school bounty hunter who is unable to escape his own past.
     First things first, so let’s briefly summarise what the show is about. It was originally conceived by Shinichiro Watanabe and the creative staff led by him in Sunrise animation studio. Bebop presents us with a not-so-distant future, namely the year 2071 in which Earth is almost uninhabitable due to a hyperspace gateway incident. As a result, humanity has colonised the rest of the Solar System, which unfortunately led to skyrocketing crime rates. In consequence, the Inter Solar System Police authorised the profession of bounty hunters (aka Cowboys) who catch criminals alive and return them to law enforcement for financial reward. Spike Spiegel, Jet Black, Faye Valentine, Ed, and Ein accidentally form the bounty hunting crew of a ship called Bebop.
     It is difficult for me to explain why, but I felt the need recently to revisit Cowboy Bebop. I tried to do this a few years ago (during the pandemic), but I tuned out after a couple of episodes, bitterly labelling the show as dated (that’s how hardwired I am in my unconditional love for Outlaw Star). However, now, as a person who is over 30, I looked at the show in a different light.
     I really do not want to nitpick Cowboy Bebop, so let me say that after so many years, this anime is still great fun. I nearly forgot how good some of the episodes were, and the light-hearted storylines really brought a smile to my face, such as Stray Dog Strut, Gateway Shuffle, Toys in the Attic, Bohemian Rhapsody, and Wild Horses. This is exactly the type of cheerful, escapist entertainment I needed.
     As a result, Cowboy Bebop really excels in the fun department and effortlessly hits the same strides as Outlaw Star and Trigun. However, what makes it truly different is the way in which the show handles the serious stuff.
     Evidently, we have stand alone episodes about the tragedies of side characters Spike encounters/has to fight, as in the case of Asteroid Blues, Sympathy for the Devil, Heavy Metal Queen, and Waltz for Venus. Spike confronts these characters in the fashion of 1980s action drama heroes (see Magnum PI) and these interactions, and their unfortunate fates, make him grow as a protagonist.
 
    However, the whole seriousness concerning Spike’s personal past is just so stereotypical that it devours the enjoyment of Cowboy Bebop for me. Yes, I get it. Spike is a cool guy, so he was a criminal in the past, and he was in love, but the villain character of Vicious (to my mind) is way too exaggerated. Indeed, he has a cool introduction in the opera house, but it is all there is to his depth: showmanship. The show never made me care about Vicious. I can understand he was a caricature of John Woo’s bromance-charged villains, but things did get lost in translation, which ultimately renders Spike’s story arc flat for me.
     Nevertheless, Spike’s past is not the only concern of the show. Jet Black faces his own demons in Ganymede Elegy and Black Dog Serenade, and so does Faye Valentine in My Funny Valentine and Speak Like a Child. The way the supporting characters have to deal with their trauma is done perfectly. Time and time again, they try to avoid it, escape it, but the past eventually catches up with them and forces them to evaluate their identity. Jet and Faye really “carry that weight.”
     Still again, what about Spike? He confronts Vicious head on three times in the show, and this ultimately leads to his death. Perhaps the character truly needed this kind of bleak retribution (he wanted to know if he is alive), but I as an audience member did not. Spike choses death instead of carrying his weight (isn’t it cutting corners?), and this ultimately makes the show a downer, especially if you are a 30/40-something adult dealing with responsibilities of life.
     So, here we are. Instead of a typical review, I blurted out my chain of incoherent thoughts about Cowboy Bebop. Thank you for reading, and if you have your own opinions about the series, feel free to share them. Hopefully, next week, I will try to discuss something else. In the meantime, Life is But a Dream and See You Space Cowboys.
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