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Go-Con! Japanese Love Culture (2000)

 -  Comedy | Romance  -  10 March 2000 (Japan)
6.4
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Ratings: 6.4/10 from 107 users  
Reviews: 4 user | 2 critic

Go-Con is a fashionable Japanese-English word often used by young and trendy Japanese. It means hanging out in a new age matchmaking style that suits the Japanese, especially the ones who ... See full summary »

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Cast

Cast overview, first billed only:
Ryuta Kawabata ...
Taichi Sekine
Ryoji Ando ...
Hiroshi Naruse
Kazuhito Kosaka ...
Kai Eguchi
Rina Uchiyama ...
Jun
Tae Kimura ...
Miyuki
Chôsuke Ikariya ...
Chef
Taketoshi Nagahori ...
Okura
Mari Hoshino ...
Umeda
Toshiya Tôyama ...
Cook with Glasses
Chizuru Iguchi ...
Yuko
Tomo Taniguchi ...
Erika
Takanari Michimata ...
Matsuo (Assistant Cook #1)
Yûsuke Kamiji ...
Assistant Cook #2
Yutaka Hiyama ...
Waiter A
Yoshiaki Yoza ...
Waiter B
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Storyline

Go-Con is a fashionable Japanese-English word often used by young and trendy Japanese. It means hanging out in a new age matchmaking style that suits the Japanese, especially the ones who are shy and reserved. Three young layabouts use a cafe as a meeting place for their go-con affairs. Initially, they enjoy their trysts with all kinds of women who include high school girls, office ladies, air stewardess and divorced housewives. Even the chefs in the kitchen get into the thick of the action by taking bets on which girl the three horny kids will finally pick up. But things started taking a turn for the worse when an old flame signs up for the go-con. Written by L.H. Wong <lhw@sfs.org.sg>

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Comedy | Romance

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10 March 2000 (Japan)  »

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User Reviews

Japanese cultural history of arranged marriage meetings gets a modern makeover
25 August 2004 | by (Sarnia, Ontario) – See all my reviews

GO-CON! Japanese LOVE CULTURE (2000) D: Shintani Nobuyuki. W: Yoshihiro Izumi. Satisfying comedy-drama about three single guys (Ryuta Kawabata, Ryoji Ando, Kazuhito Kozaka) who organize Go-Con parties to meet girls from a broad spectrum of Japanese life: older women, high-school girls, automatic club hostesses, bored housewives, monster chicks (homely girls so named for their lack of better things to do at Christmas) and others. Since the girls are always invited in groups of four, the boys add a fourth member to their own side of the table, always a loser to make them look better by comparison and to better their odds of getting hooked up.

Meanwhile, in the kitchen, the cooks bet on each night's proceedings, which at best lead to hurt feelings, soulless toilet sex or for the most part, going home alone. In essence, the parties supplant meaningful relationships, but as a wizened old cook points out to a waitress (herself a member of the climactic Go-Con group) at film's end, these youth have simply taken a long Japanese cultural history of arranged marriage meetings and modernized it. And like so many things in the life of a modern Japanese single, it all boils down to competition: to get into good schools, to get good jobs. After all, admits one character, 'what's the point of competing if it's not winning.'

In essence, the filmmakers are saying that modern Japanese men have lost the ability to simply ask girls out, preferring to see what gels out of a group setting, a not unfamiliar concept in many Asian cultures. True or not, its presentation here is uniquely Japanese. Despite being set largely in one room (the restaurant dining room, with occasional asides in the kitchen, the bathroom and the street) that would seem to betray the film's origins as a play (although I'm not certain), the dialogue is pretty sharp and the character dynamics are well-observed, particularly during the climactic Christmas Go-Con, in which a mousy former participant (reinvited because of her 'monster' status) brings along one guy's ex, a pretty-but-vapid bar hostess she pays to play a classmate, and one of the restaurant's waitresses, (Rina Uchiyama) who knows what pigs the guys are but secretly admires one of them. I give it an 8.


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