Always, Sunset on Third
Street (Always--3-chome no Yuhi)
Director: Takashi Yamazaki
Year: 2005
Running Time: 133 minutes
Production Company: Toho
It’s 1958 and the city is Tokyo. It is still
a jumbled patchwork of distinct tiny neighborhoods, small personable stores,
narrow winding streets and a sense of community among the people who live
there. Thirteen years after the end of the war, the country is finally
pulling itself out of its depression and the economic miracle that is to
come is just on the horizon. As a sign of its emergence into the modern
world, the Tokyo Tower is under construction and hangs over the film as
a symbol of pride and hope of things to come. Director Takashi Yamazaki
couldn’t have made a film more different than his pop sci-fi exercise,
Returner (2002), with this sweet nostalgic look backwards at a simpler
time when a neighborhood would turn out en masse to watch a new black and
white television set showing Rikidozan in a wrestling match, a fountain
pen was a magical Christmas gift, doctor’s made house calls and everyone
knew their neighbors by name. This film touched a sentimental nerve with
audiences in Japan with a big box office turnout and a near sweep of the
Japanese film awards by winning twelve of the possible thirteen categories.
For many this old fashioned very mainstream film will likely prove too
sentimental, too soft, too tender, too clichéd but somewhere along
the way I fell under its warm butterscotch optimism and it made me long
for simpler times as well.
The film focuses on a few particular characters
though others waft through it such as the ice delivery man who sees his
profession being eased out by technology – the refrigerator (my grandfather
was in the same line of work, but he unfortunately died before I was born).
A young girl Mutsuko (Horikita Maki) is on a train coming from her small
village to work in Tokyo. She has been hired to work at the Suzuki Automobile
Company and is excited at the thought of working for a large company and
dreams of being a secretary to the big boss in his upscale office. She
is personally met at the station by the President of Suzuki, Norifumi (Tsutsumi
Shin'ichi) and he drives Mutsuko to her work place – which much to her
dismay is a small auto repair company and she discovers to her shock that
she is expected to repair cars! Norifumi had misread her resume – car repair
for bicycle repair - and complications and accusations ensue.
Across the street is a dusty not very bustling
candy store that is run in desultory fashion by Chagawa Ryunosuke (Yoshioka
Hidetaka), a mop headed irritable fellow who prefers to immerse himself
in his writing. He writes children stories but hasn’t made much of a success
at it and seems annoyed at everyone and everything in his perceived failed
life. One evening while in his drinks at the local bar, he tries to falsely
impress the new pretty barmaid, Hiromi (Koyuki - "The Last Samurai"), with
his liking for children and the next he knows he is drunkenly agreeing
to take in Junnosuke, a young boy who was abandoned by his mother and was
just
recently stuck with Hiromi. Hiromi is a former hostess trying to get away
from that life and feels in no position to handle a boy. When he wakes
up the next morning and finds this silent boy watching his every move he
just wants to be rid of him “we aren’t relatives, not even friends”, but
is pleased when he discovers the boy is an avid reader of his submissions
to the magazine “Boy’s Adventures”.
There is no specific narrative thread to the film.
It simply follows the lives of these people for a period of time and the
emotional touch points along the way. Mutsuko becomes a near member of
the Suzuki family as they (father, mother, son) take her into their hearts,
mom gets the holy trinity – television, refrigerator and washing machine
– Ryunosuke discovers his humanity in caring for a little boy, Hiromi dreams
of having a family someday, the neighborhood doctor dreams of his wife
and daughter who died in an air raid and life goes on – and in the background
the Tokyo Tower raises itself from the ashes of the war pointing to a better
tomorrow. Of course, the film leaves you wondering whether that better
tomorrow has actually arrived with the onslaught of technology and wealth
and it seemingly pines for those days when the country was just getting
back on its feet and the future looked so hopeful. If you have a heart
and a penchant for the sentimental, I would be surprised if this film didn’t
touch it. It is based on a Manga.
My rating for this film: 7.5