Woman in Witness Protection (1997) [Film Review]

Woman in Witness Protection; or, See no Evil, Hear no Evil
     It’s fine. It’s called acting.
The late director Juzo Itami always crafted his movies around the topical concerns which troubled society, and Woman in Witness Protection is no exception. This time, the main heroine (as always played by Itami’s wife, Nobuko Miyamoto) finds herself on the run from a vicious cult. As a matter of fact, Itami focused on the issue of religious cults as early as 1988 in A Taxing Woman’s Return, where an IRS agent investigates an insidious religious group that is suspected of tax evasion.

Release Info

Directed by: Juzo Itami Starring: Nobuko Miyamoto, Masahiko Nishimura, Takehiro Murata

Language: Japanese Original Title: マルタイの女 Runtime: 131 min

Synopsis
In Woman in Witness Protection, we follow Biwako Isono (Nobuko Miyamoto), a shallow and spoiled movie star. All of a sudden, she witnesses a gruesome murder of an anti-cult lawyer and his wife. In order to protect the actress from religious fanatics, the police provide her with specially trained witness protection officers until the trial. In the meantime, Biwako has to deal with various means of harassment and attempts to tarnish her public image.

All the World’s a Stage
To put it in simple terms, Woman in Witness Protection is Juzo Itami’s middle finger towards Aum Shinrikyo. By means of his usual black comedy style and brutal satire, the director exposes the fallacies of the cult and how it engages in domestic terrorism. The premise of the story is actually based on the real-life murder of Tsutsumi Sakamoto and his family. In addition, Itami can’t help himself but name Aum and Asahara in one of the interrogation scenes when police officers try to disprove the might of the glorious “Guru” by stating that he actually can’t levitate.

The movie is divided into appropriate sections (the murder, the investigation, the arrest, etc.) in order to present the sequence of events and how the law enforcement works. In the midst of all that we have Biwako Isono who is not entirely sure how she should behave as a witness, yet she has to maintain her acting profession while the cult is targeting her.

I believe that the closest equivalent of Woman in Witness Protection is Itami's Minbo (1992). That is, both films tackle controversial topics and have huge shifts in tone (comedic scenes are crosscut with dead serious sequences).

With regard to performances, Nobuko Miyamoto aces it once again by playing a highly energetic, outspoken, yet complex heroine. Words of appreciation also go to Masahiko Nishimura and Takehiro Murata as policemen protecting Nobuko’s character from numerous dangers. In addition, Masahiko Tsukgawa, another Itami’s regular, has a small but interesting role of Biwako’s love interest.

Recommendations
All in all, Woman in Witness Protection is a very clever comedy drama, but this is not to say that the film is free from ghastly sequences. In a Tarantino-like manner, Itami underlines the fact that nothing will stop religious fanatics from accomplishing their goals (even if it means threatening, bribery, or killing). It is quite a shame that this was the director's last movie before his untimely demise.Overall score: 7/10

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Cure (1997) [Film Review]

Cure; or, The Ultimate Treatment
     Doctor, can I tell you something? All the things that used to be inside me… now they’re all outside. So, I can see all of the things inside of you, Doctor. But the inside of me is empty.
When thinking about the revival of the J-Horror genre, people often mention such movies as Ring (1998), Audition (1999), and Battle Royale (2000) as responsible for reigniting the interest in scary tales made in Japan. However, I believe that Kiyoshi Kurosawa should not be excluded from receiving the credit. Apart from giving us a ghostly Pulse (2001), he also directed a mystery horror called Cure (1997) with Koji Yakusho in the leading role.

Release Info

Directed by: Kiyoshi Kurosawa Starring: Koji Yakusho, Masato Higawara, Anne Nakagawa

Language: Japanese Original Title: キュア Runtime: 111 min

Synopsis
Detective Takabe (Koji Yaskusho) is investigating a series of strange murders. The culprits are caught after the act and they claim not to know what pushed them to kill a person that was close to them. Every case has one thing in common, the victims died from blood loss resulting from a wound made in the shape of X mark. Suddenly, the police detain a man called Mamiya (Masato Hagiwara) who suffers from memory loss. Takabe is convinced that Mamiya is responsible for the killings because he possesses an extraordinary hypnotic power...

The Beast Within
I have seen Cure while I was on my binge trip through the hallmarks of Japanese Cinema a few good years ago. I went in completely cold without having read anything about the storyline, and I was absolutely amazed by how gripping Kiyoshi Kurosawa’s picture actually is.

First of all, the screenplay is fantastic. From the first few scenes you think that the film is going to play out like an ordinary police procedural, but all of a sudden, things make a U-turn, and we get a morbid tale as if cooked up by Stephen King himself. After the movie ends, you just can’t help but think about all the plot twists! The whole affair is told in a slow, sparing manner, so the viewer really needs to bring all the pieces together.

The cinematography is another interesting aspect. Most of the shots are very static and encompass more than one character in a frame. It reminded me greatly about Memories of Murder (2003) and, after doing some reading, I was surprised to discover that director Boon Joon Ho cites Cure (1997) as one of major inspirations that made him pursue filmmaking.

What is more, I like that Kurosawa does not rely in his movies on overt gore or jumpscares. The unsettling feeling of Cure lies within its mood and themes. The movie provides a brilliant mix of psychoanalysis and hypnosis grounded very neatly within the Japanese convention. In a society that thrives on hierarchy and team work, it is disheartening to see the main protagonist looking after his mentally-ill wife.

With regard to performances, Koji Yakusho evidently dominates the screen with his presence of a righteous cop, but Masato Higawara as the illusive Mamiya is just as awesome. The late Anne Nakagawa is also memorable as Takabe’s wife. I also give a shout out to Tsuyoshi Ujiki as Sakuma, the psychiatrist. His character may be there for exposition purposes only, but he also has a super crazy dream sequence.

Recommendations
If you are in the mood for a psychological examination of the Japanese collective psyche, then I recommend Kiyoshi Kurosawa’s Cure. Three years ago, the movie was released in Europe on DVD as well as Blu-Ray. When it comes to deep dives into the dark corners of the subconscious, then Cure will not let you down.
Overall score: 9/10

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Made in Hong Kong (1997) [Film Review]

Made in Hong Kong; or, The Days of Being Dangerous
     Mom was right when she said that everything is predestined. Ever since Sylvester picked up those two letters, bad things have been happening one after the other. Weird things that no one can explain! They just happen.
I have been meaning to watch Fruit Chan’s The Handover Trilogy (Made in Hong Kong (1997), The Longest Summer (1998), Little Cheung (1999)) for a few years now, but just recently, I decided to give it a go. In this review, I take a look at the first film of the trilogy, Made in Hong Kong, which is actually the first independent movie (made out of leftover film tape) released in Hong Kong after the transfer of power from the United Kingdom to China.

Release Info

Directed by: Fruit Chan Starring: Sam Lee, Neiky Yim Hui-Chi, Wenders Li, Amy Tam Ka-Chuen

Language: Cantonese Original Title: 香港製造 Runtime: 108 min

Synopsis
The story of the film focuses on youngsters who are social outcasts. The main protagonist, Autumn Moon (Sam Lee), is a good for nothing misfit who collects debts for the triads. He frequently protects his friend, Sylvester (Wenders Li), who is mentally-challenged. Together, they meet Ping (Neiky Yim Hui-Chi), a resident of a public rental housing estate. The trio accidentally gets into possession of letters written by a certain Susan (Amy Tam Ka-Chuen), a high school girl who committed suicide. The friends try to deliver the letters to respected addressees. At the same time, Autumn Moon is tired of being a loser and makes an attempt to become someone in Hong Kong on the verge of change.

Young and Depressed
In Made in Hong Kong, Fruit Chan explores the lives of people at the very moment of great political transformation. The British are leaving and the Chinese have not arrived yet, the people of Hong Kong are left to themselves and they are actually deprived of identity.

Autumn Moon tries to do anything in his life, literally anything, like becoming a killer for the triads, but he is unable to kill anyone. Fruit Chan stated in an interview that Moon desperately wants to live but he is incapable of living in such a world, Ping also wants to live, but she suffers from cancer, Sylvester is unable to live because of his limitations, whereas Susan kills herself because she can’t think for herself.

In a desperate attempt to avenge the passing of one of his friends, Moon confronts the triad leader, and while pointing a gun at him says: “I remember that you said that the world is now ruled by the young. Now, I’ll show you!,” and he kills the gangster. In her essay about Made in Hong Kong, the author Vivienne Chow thinks that this one scene is the prophetic foreshadowing of the attitudes represented by modern-day protesters in Hong Kong.

With Made In Hong Kong, the director successfully provided an insightful study of youth living at the margins of society in the time preceding the transfer of sovereignty over Hong Kong, but he also managed to emphasise that Hong Kong is essentially a parentless state. Loss of identity takes place because it is neither British nor Chinese. The only way for Hong Kong to move on is to forget about its ambiguous roots.

It has to be noted that director Fruit Chan really has an eye for visuals. One could think that there is nothing appealing in small apartments, huge high-rises with courtyards, or cemeteries, yet the dream-like atmosphere of Made in Hong Kong combined with these images is truly captivating.

With regard to performances, Fruit Chan worked on each entry of The Handover Trilogy with nonprofessional actors and actresses. Allegedly, it took them months of rigorous rehearsals before the crew could start shooting. Nevertheless, all of the performers involved did a fine job. In fact, the movie marks the debut of Sam Lee who, thanks to his memorable performance of Moon, went on to have a successful career. He also appeared in Fruit Chan’s subsequent movies.

Recommendations
I definitely recommend Made in Hong Kong if you want to experience some Hong Kong-related food for thought. My advice is that you should grab the HD release of the movie, instead of a standard DVD. In order to commemorate the 20th anniversary of the film, L’Immagine Ritrovata made a 4K restoration of the film which looks absolutely outstanding. I hope that I will be able to review the remaining entries of The Handover Trilogy soon.
Overall score: 8/10

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The Morbid Side of Idol Industry: Analysing Satoshi Kon’s Perfect Blue (1997) [Editorial]

Disclaimer: This article contains spoilers for Perfect Blue. Do not read it if you have not seen the film.

 

      It's all right. There is no way illusions can come to life.

Perfect Blue is one of the rare Japanese classics that need no introduction. This animated psychological thriller directed by the late Satoshi Kon still enjoys a cult following, 23 years after its release. The mesmerising spectacle of ambiguity and insanity where reality mixes with fantasy to date generates a multitude of disparate interpretations. In this small piece, I attempt to provide my own thoughts and reflections on the legendary anime feature. Without further ado, let’s prepare our karaoke gear and dive into the sublime shades of Perfect Blue.

First of all, some introductory information about the production is required. The animation was, in fact, inspired by the novels of Yoshikazu Takeuchi: Perfect Blue: Complete Metamorphosis and Perfect Blue: Awaken from a Dream. Although Satoshi Kon was already an experienced professional in the anime industry (he worked as an assistant artist on Akira (1988), layout designer on Patlabor 2: The Movie (1993), and co-showrunner on JoJo Bizarre’s Adventure OVA (1993)), this movie was supposed to be his live-action debut feature. Nevertheless, due to the infamous Kobe Earthquake in 1995, the studio significantly reduced the budget, leaving just enough financial resources to make original video animation. Consequently, Satoshi Kon went ahead with this approach, having significantly changed the screenplay because he felt that the original story was boring. Ironically, the director was right as the live-action version of Perfect Blue received unfavourable reviews upon its release in 2002.

The animation tells the story of Mima Kirigoe who is an idol singer and a part of J-Pop group called CHAM! When she decides to give up singing and become a full-time actress, her fans as well as a personal agent, Rumi, are not entirely impressed. Mima’s transfer to the realm of Television results in the change of her image from a pure, innocent idol to perverse drama actress. Soon after, Mima starts receiving strange letters, somebody sets up an internet site and pretends to be her, and crewmembers associated with the drama are murdered in mysterious circumstances. Mima gradually loses her grip on reality, not certain if she is a pop singer, actress, or a schizophrenic…

Perfect Blue seems to be a perfect companion piece to David Lynch’s Lost Highway (1997) and Mulholland Drive (2001) because the storyline can be approached from different angles. Satoshi Kon masterfully creates the suspenseful world of voyeurism and consumer-driven obsession in which an idol is nothing more but a commodity on display. It is not breaking news that the showbiz industry in Japan suffers from a fair share of malpractice and exploitation: the artists always have to be cool and happy in front of cameras, they are also given stringent daily schedules, have to participate in questionable photo sessions, and follow a strict regimen. Since the 1980s, they are effectively bullied into depression, which often results in commiting suicide. Unfortunately, in view of the abundance of recent news about untimely deaths of Japanese actors, musicians, etc. it cannot be said that ethics in the industry have improved.

Satoshi Kon tackles the issue of rotten showbusiness through the character of Mima. As a J-Pop singer, she was so cute and perfect that she could almost be a pocket cinderella, dancing on a hand of her stalker.

However, Mima quickly “falls from grace” when she rebrands herself. She is marked as “a traitor” and an idol vision of herself states that Mina has become “a filthy woman.” Indeed, participating in a drama is not a pleasant experience for the heroine because she has to perform a rape scene and also pose for a NSFW photo session. During these harrowing moments, the boundaries between real and unreal become blurred. Is Mima really a singer? Is she an actress? Perhaps she is neither? Maybe she is truly a victim of rape who lost her mind? The uncertainty concerning her identity becomes apparent in a key scene when the characters of Rumi and Eri tell her in alternate realities (the apartment/drama set) that “There is no way illusions can come to life.” Satoshi Kon’s tendency to frame Mima within the confines of 4:3 format is not helping either. Mima is literally trapped inside the chassis of a CRT TV.

It is very easy to assume that Mima is a schizophrenic, or even more so, to declare that Mima does not exist at all because everything what we see on the screen is a work of fiction devised by Satoshi Kon. However, let’s assume for the sake of the argument that Mima is a real person and functions as a symbolic representation of the oppressed idol stars. How the story unfolds from this perspective:

Indeed, Mima used to be a recognisable J-Pop singer. She did transfer to acting which greatly unsettled her agent. No, she did not murder people who were repsonsible for violating her pure image (a screenwriter, photographer, and a representative of the agency). The villainous figure responsible for meddling with Mima’s mental health is Rumi herself. She carried out the killings, wrote threatening letters, and set up “Mima’s Room” webpage (Ironically, as it is later revealed, Rumi’s room is a perfect copy of Mima’s own room). In all probability, Rumi approached Me-Mania stalker, giving him all the merch and tips about when and where Mima will appear. Rumi desperately desired to become the idolised version of Mima. We can only suspect the reasons: Perhaps she tried to become an idol in the Showa era? Maybe her career was short-lived or never really took off because of her looks? This may be the reason why she became a talent agent.

In the animation’s climatic finale, we see Rumi and Mima fighting each other on a street. After surviving the ordeal, Mima not only defeats her delusional mentor (who ends up in a psychiatric hospital) but she also rejects her showbiz persona. There is no longer Mima the singer and Mima the actress. As the heroine breaks the fourth wall in the last shot and says to the audience: “I’m very much real!” she embraces her own individuality. When M-VOICE’s Season song kicks in, we can be sure that Mima has received a happy ending (providing that she was real...)

Without a doubt, my interpretation is not a definite explanation of what happened in the movie. The charm of Perfect Blue is that you can deconstruct it many different ways. However, I felt I needed to let out and structure my thoughts about this wonderful masterpiece which is still relevant today. It is not surprising that to date it inspires filmmakers across the globe; see for instance Darren Arrofosnky’s Requiem for a Dream (2000) and Black Swan (2010). Satoshi Kon was truly an artist ahead of his time. «Enjoyed this post? Never miss out on future posts by following us»

Welcome Back, Mr. McDonald (1997) [Film Review]

Welcome Back, Mr. McDonald; or, The Time of Radio
     Radio drama has something TV doesn't. For example, if you do sci-fi on TV, in order to compete with Hollywood movies, you need expensive special effects and computer graphics. But in radio, a narrator can just say "outer space", and there you are, out in space! With radio you can go as far as the imagination itself!
The film Welcome Back, Mr. McDonald marks the cinematic debut of Koki Mitani, after having directed theatre plays and TV shows. The movie is not only a love letter to immortal radio dramas, but it also serves as an homage to the movies of Juzo Itami. Unsurprisingly, it won three Japanese Academy Awards upon its release.

Release Info

Directed by: Koki Mitani Starring: Kyoka Suzuki, Toshiaki Karasawa, Keiko Toda, Masahiko Nishimura

Language: Japanese Original Title: ラヂオの時間 Runtime:103 min

Synopsis
Miyako Suzuki (Kyoka Suzuki) is a housewife who won the Radio Benten Drama Competition (actually, she was the only contestant). She wrote a screenplay for a romance drama called The Woman of Destiny. The radio managers intend to make a premiere of the drama as a live broadcast due to start at midnight. Everything seems to be in order and the general rehearsal is flawless. However, the main actress, Nokko Senbon (Keiko Toda), demands that the name of her character should be changed from Ritsuko to Mary Jane. This ridiculous request sets in motion a chain of numerous rewrites. As a result, Miyako together with director Kudo (Toshiaki Karasawa) and the rest of the cast and crew make stuff up just as the show is on the air. The Woman of Destiny becomes a drama about an ambitious lawyer from Chicago torn between the love for two men: Heinrich and Donald McDonald.

Drama Magic
I have to say that I saw Welcome Back, Mr. McDonald a few years ago first time round, but only after revisiting the film recently, I realised how much I love it. Movies about the charm of radio times constitute an entire genre of their own (most obvious examples, Radio Days (1987) and Radioland Murders (1994)), and Koki Mitani’s movie definitely occupies a top place among them.

You brag about Sam Mendes who filmed 1917 (2019) in such a way that it looks like one, continuous shot? In that case, watch the first scene of Welcome Back, Mr. McDonald which, indeed, is a real single shot which lasts 5 minutes! Even though the film’s setting is the same for the majority of the story (the recording studio), the wacky screenplay provides enough of dynamic pace and exciting twists to make it an entertaining flick. 

Maybe it is just me, but I have an affinity for stories about people working late in empty offices. Huge advantage of the film are heart-warming characters who make stuff up as they go along. All in all, the subplot about mysterious pilot/astronaut Mr. Donald McDonald has to receive some kind of closure!

In addition, you can spot such nods to Juzo Itami as a small cameo from Nobuko Miyamato herself and the return of Yaro, a truck driver from the film Tampopo (played by the great Ken Watanabe). There are also Yoshimasa Kondo and Masahiko Nishimura (both of whom appeared in Itami’s Marutai no Onna (1997)).

Needless to say, the final act of the film is so epic that it made me do an air punch. Welcome Back, Mr. McDonald may be primarily a comedy, but it is also a thoughtful commentary on the show business and how one’s passion influences creativity.

Recommendations
If you like the movies of Juzo Itami and Koki Mitani, then you need to check this film ASAP. It is a superb movie that will certainly warm you up inside during Autumn evenings. If you will happen to grab the Japanese DVD edition, then you are in for a bonus commentary track from the director himself. All things considered, Welcome Back, Mr. McDonald is just fantastic!Overall score: 10/10

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Odoru Daisousasen TV Specials [Bayside Shakedown] (1997-2012) [Drama Review]

     In order to never lose sight of myself... I fervently adhered to rules. I thought that was the right thing to do. But... I guess there are many ways of doing things. After all, we're different, you and me.

     No. You're wrong. We're both police officers.

If you have no idea what Odoru Daisousasen is, then please head over to my drama review here.

 

Following the success of eleven kickass episodes, Odoru’s creative team, consisting of Katsuyuki Motohiro (director), Ryoichi Kimizuka (screenwriter), and Chihiro Kameyama (producer) decided to carry on with the show and devised in 1997/1998 three TV specials following the adventures of our favourite Wangan Station officers. Nevertheless, due to Bayside Shakedown becoming such a smash hit in Japan, more (big and small) specials were made after 1998. Below, I have made an attempt to create a chronological list of all the special episodes with broadcast dates, original and English titles, as well as descriptions along with my short comments.

• 1997 December: Year-End Special Alert (Saimatsu Tokubetsu Keikai SP 踊る大捜査線　歳末特別警戒スペシャル)- Aoshima’s back... or so it would seem as he is still an ordinary street officer. Muroi notices that and arranges for an immediate transfer of Aoshima back to Wangan. The chiefs are not all too happy to see Aoshima so they assign him to the Traffic Section. There, driven by his reluctance, he ends up helping a school teacher find a vandal who destroyed a school project. Aoshima is unaware that the vandal is actually a drug-addicted killer. By complete coincidence, the killer gets hold of a gun and takes everybody hostage at the Criminal Section. Thrilling and entertaining episode with a big reference to Die Hard.

• 1998 June: Wangan Police Station Female Police Officers' Story (Shoka no Koutsuu Anzen SP 踊る大捜査線番外編　湾岸署婦警物語)- Contrary to the previous one, this special episode features main Odoru characters only in cameos, whereas the real heroine of the story is a newcomer Natsumi (Yuki Uchida) who is beginning her career at WPS as the traffic officer. Under close supervision of officer Kuwano (great Eri Watanabe from Shall We Dance? movie), we see Natsuki trying to learn the police job. Yet, her defiance of Kuwano’s strict conduct leads to a conflict between them. Some at the station even compare her to Aoshima. Still, Natsuki gets an opportunity to show her true value as she attempts to apprehend a dangerous criminal. Very entertaining episode and my personal favourite.

• 1998 October: Autumn Campaign for Crime Eradication (Aki no Hanzai Bokumetsu SP 踊る大捜査線　秋の犯罪撲滅スペシャル)- Aoshima, Sumire, and Mashita are ordered to escort a woman who paid to kill her boyfriend. However, the woman manages to escape and Sumire is suspected of harbouring her. A sick game of suspicion begins as Muroi orders Mashita and Yukino to follow Aoshima who follows Sumire. How will Aoshima prove Sumire’s innocence? More importantly, who is the fugitive: a criminal or a victim? Engaging story with a twist towards the end. It perfectly develops the Aoshima/Sumire relationship and builds upon Muroi’s ambiguity.

• 1998 October: Late Night at Bayside: The Worst Three Police Officers* (Shinya mo Odoru Daisousasen SP 深夜も踊る大捜査線 湾岸署史上最悪の3人!)- This is basically a mini-series of five 10-minute episodes about the follies of the WPS chiefs. These were aired for five nights before the premiere of Bayside Shakedown: The Movie. They are available at PandoraTV but without any subtitles.

• [Chronology] 1998 October: Bayside Shakedown: The Movie

• 2001 September: Big Dance in Seoul* (踊る大ソウル線)- I stumbled upon this one by complete accident. Any English site about Odoru does not mention it at all! Only at odoru.org I found a short description that it’s a quasi-special episode, but in reality, it is an advertisement of Seoul for prospective tourists. We follow Sumire, Mashita, Waku, and the chiefs on their journey around the capital of South Korea. No English translation exists. Treat this only as a trivia.

• 2003 July: Late Night at Bayside 2* (Shinya mo Odoru Daisousasen 2 SP 深夜も踊る大捜査線2)- The same thing as the previous Shinya, but made for the promotion of Bayside Shakedown: The Movie 2. I couldn’t track down these episodes at all.

• [Chronology] 2003 July: Bayside Shakedown: The Movie 2

• 2003 August: Thats! Three Amigos: A Stage Play* (舞台も踊る大捜査線 ザッツ!!スリーアミーゴス)- As the title says, Odoru franchise even hit the theatre. It was played from August 15th to August 17th, 2003 with five performances in total. In terms of the storyline, it is a follow-up to the events from the second movie as the WPS chiefs have their salaries reduced. After the performance-segment, there was a small talk-show section with a different guest each time. Ultimately, live recording of the play was released on dvd. No English translation available online.

• 2005 December: Odoru Legend – The Fugitive, Kijima Jouichirou (Odoru Legend ~ Toubousha Kijima Jouichirou 踊るレジェンドドラマスペシャル逃亡者 木島丈一郎)- A TV movie focusing on the character of Detective Kijima Jouichirou from the spin-off film Negotiator: Mashita Masayoshi (2005). In The Fugitive, Kijima rescues a boy from a kidnapper. However, the boy is reluctant to be returned to his parents, thus Kijima escapes with him. No English fan-subs are available. Nevertheless, it is always awesome to see the great Susumu Terajima in action.

• 2006 October: The Lawyer, Haijima Hideki (Bengoshi Haijima Hideki 踊るレジェンドドラマスペシャル弁護士 灰島秀樹)- Another TV movie, this time made about the character from the spin-off film The Suspect: Muroi Shinji (2005). To me, there was nothing absolutely interesting about it. We get 95 minutes about some prick lawyer without even cameos from the Odoru cast. It might as well have not been part of the franchise.

• 2010 June: Late Night at Bayside 3* (Shinya mo Odoru Daisousasen 3 SP 深夜も踊る大捜査線3)- Another mini-series with the chiefs, made to promote Bayside Shakedown: The Movie 3. I managed to find only two episodes. No English subs, but the episodes look interesting as they are limited to the office space only.

• [Chronology] 2010 July: Bayside Shakedown 3: Set the Guys Loose

• 2012 September: Midnight Odoru Daisousasen: The Final (深夜も踊る大捜査線 THE FINAL)- For the promotion of the fourth and final theatrical movie, Shinya mini-series was not made. Instead, four episodes following Detective Kijima Jouichirou were aired each midnight. Again, no English translation, yet still, it’s quite intense to watch as Kijima and his team defuse a bomb hidden in a huge teddy bear.

• 2012 September: The Last TV (踊る大捜査線 THE LAST TV サラリーマン刑事と最後の難事件)- It is best to watch this episode after seeing the third movie as lot of things have changed at the Wangan Station. Aoshima is now a Section Chief, whereas Mashita, Uozumi and Hakamada head the station. Aoshima. along with his investigative team. is on the lead of a Korean woman who cheats men out of their money. Little do detectives know that the woman is allegedly engaged to officer Wang (a member of Aoshima’s team). In collaboration with HQ, a huge set up is organised in the form of a lavish wedding ceremony. Great stuff to watch and the original cast is at their best.

• [Chronology] 2012 September: Bayside Shakedown 4: The FINAL

All things considered, one can see from the list above how much has Odoru gone through the years. Even though it came to an end back in 2012, it is still a wonderful experience to sit through and watch the drama along with all of these specials. I don’t regret a single minute spent with these brilliant characters. Is there a possibility for a new special or a new movie? Probably not, but still, great franchises are known for comebacks.