Riri Shushu no subete (2001)

Director:

Shunji Iwai

Writer:

Shunji Iwai (writer)

Release Date:

6 October 2001 (Japan)

Genre:

Crime | Drama | Music | Thriller

Tagline:

Pain can take you in prison. The ether can set you free.

Plot:

Life isn't easy for a group of high school kids growing up absurd in Japan's pervasive pop/cyber culture...

Plot Keywords:

Japan | Violence | 2000s | Teenage Girl | Rape

Awards:

4 wins

Cast

Hayato Ichihara	...	Yûichi Hasumi
Shûgo Oshinari	...	Shusuke Hoshino
Ayumi Ito	...	Yôko Kuno
Takao Ôsawa	...	Tabito Takao
Miwako Ichikawa	...	Shimabukuro
Izumi Inamori	...	Izumi Hoshino
Yû Aoi	...	Shiori Tsuda
Kazusa Matsuda	...	Sumika Kanzaki
Ryo Katsuji	...	Terawaki Shioske
rest of cast listed alphabetically:
Takako Baba	...	School girl
Yuki Ito	...	Kamino
Tomohiro Kaku	...	Yuichi's friend
Hideyuki Kasahara	...	Kyota Shimizu
Yôji Tanaka	...	Teacher

Also Known As:

All About Lily Chou-Chou (International: English title) (USA)
Lily Chou-Chou no subete (Japan) (alternative transliteration)

Runtime:

146 min | 157 min (original cut)

Country:

Japan

Language:

Japanese | Ryukyuan

Color:

Color

Sound Mix:

Dolby Digital

Certification:

South Korea:15 | Australia:MA | Singapore:NC-16 | UK:15

Company:

Rockwell Eyes

Trivia:

Ayumi Ito spent weeks training on the piano in order to do all of her scenes without a double. She became so obsessed with Debussy's "Arabesque No. 1" that she made it her cell phone ring tone.

Quotes:

Yuichi's friend: That's so lame!

Movie Connections:

Referenced in Kill Bill: Vol. 1 (2003)

Insolent Salt

I don't know why I bother with Hollywood when there are so many rich projects like this hiding in corners. The problem of course is finding them. The most significant benefit I get from writing IMDb comments is that readers lead me to them. That happened in this case.

If you are an ordinary viewer , you probably won't like this. Its yet another dip into high school angst, overly long and structurally a bit too cute.

I think you'll have to train yourself to watch films lucidly, but if you do, this will be quite effective. You will fall into it and really be influenced, much more viscerally than say "There Will be Blood," where there is no path for us to enter the world we watch.

The matter of this concerns teen alienation, particularly through how we/they take things that happen and weave them into whatever simple, grand narrative is available — usually through commercial pathways. Its a simple chord to strike, but one we all know, both from when we were that age, and from how we live now, which is only a half degree separated.

You'll encounter death, teen prostitution, rape. Gang dynamics involving intense humiliation. Clueless adults of course. Sexual drives and identity vacuums of course, but subordinated to the more overwhelming urge to be part of a cosmic story. Usually, we ignore this in film, because sex and role are inherently more cinematic. Less true, but easier to show as true.

Its the multiply nested structure that makes it work. The scenes are presented non- linearly. The overriding narrative is not what we see, but a collection of instant messages exchanged among the characters we see. These evoke the images we see, perhaps not as they happened, but as they are recalled. There's an overarching cosmos that these text messages reference, an abstract, perfect world of ethereal dynamics conveyed through a goddess, a girl singer. The slightest nuance from, the smallest bit of news about, the slightest rumor concerning this singer provides ledges for a life, for a whole gaggle of lives bumping up against each other.

In the center of this thing, you have a radical departure. All of a sudden, instead of the camera anchored in the test messages, we have a camera rooted in reality. Its literally footage from video cameras from the core teen boys as they go on an exotic vacation to Okinawa. Naturally, the four spindly 14-15 year olds are guided by four of the most appealing older girls in memory. Its colorful, jerky. Full of life, a real, embodied life that by its appearance makes all the rest of the thing seem incredibly sad in its artificiality.

Someone knew what they were doing when they put this together. Someone deep and true and of the kind we need more of if we are to make it through. Or do I hang my life on commercially available narrative too?

Heh.

Ted's Evaluation -- 3 of 3: Worth watching.