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Always san-chôme no yûhi (2005)

Leaving her provincial home, teenage Mutsuko arrives in Tokyo by train to take a job in a major automotive company but finds that she is employed by a small auto repair shop owned by ... See full summary »



(comic), (screenplay) | 1 more credit »
29 wins & 2 nominations. See more awards »


Cast overview, first billed only:
Maki Horikita ...
Hidetaka Yoshioka ...
Hiroko Yakushimaru ...
Kazuki Koshimizu ...
Kenta Suga ...
Masaya Takahashi ...
Kaga Mochimaru ...
Tôru Masuoka ...
The Theatre Manager
Takashi Matsuo ...
The Realtor
Hiroshi Kamido ...
The Postman
Hiroshi Kanbe ...
The Postman
Magy ...
The Butcher
Yôichi Nukumizu ...
The Bicycle Shopkeeper


Leaving her provincial home, teenage Mutsuko arrives in Tokyo by train to take a job in a major automotive company but finds that she is employed by a small auto repair shop owned by Norifumi Suzuki. Suzuki's hair-trigger temper is held somewhat in check by the motherly instincts of his wife, Tomoe, and his young son Ippei immediately bonds with Mutsuko as if she were his older sister. The Suzuki shop lies almost in the shadow of the Tokyo Tower as it rises steadily above the skyline during construction in 1958. Others in the neighborhood also are striving to better themselves as Japan continues to emerge from the shadow of war. Hiromi has just abandoned her shady life as a dancer to start a sake bar. Abandoned by his single mother, young Junnosuke is first handed off to Hiromi but she passes him off to Ryunosuke Chagawa, a struggling writer who runs a candy shop and only manages to sell adventure stories for boys as his serious novels continue to be rejected. Junnosuke is an avid ... Written by Brian Greenhalgh

Plot Summary | Add Synopsis


Drama | Family


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Official Sites:



Release Date:

5 November 2005 (Japan)  »

Also Known As:

Always - Naplemente  »

Box Office


JPY 14,000,000 (estimated)

Company Credits

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Technical Specs

Sound Mix:


Aspect Ratio:

2.35 : 1
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Did You Know?


In the "San Chome no Yuhi", the character of Rokuro Hoshino is a young boy. In this film series, the character is a girl named Mutsuko Hoshino. See more »


Just before opening title, Ippei spins the propeller of his toy plane clockwise. When he releases the plane, the propeller is spinning clockwise. The propeller was powered by an elastic band - releasing it would cause the propeller to spin counter-clockwise. The error was noticed in post production but couldn't be fixed without re-shooting the entire continuous one-shot or re-doing the CGI. They decided to leave it in hoping no one would notice (though they revealed the goof in the director's commentary). See more »


Version of San Chôme no Yûhi (1990) See more »


Performed by D-51
Lyrics by Yasuhide Yoshida
Music and arrangement by IKUMA
Strings arrangement by Naoki Ôtsubo
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User Reviews

Best of the trilogy
9 August 2012 | by (United States) – See all my reviews

This movie is like a folk tale about the '50s Japan when it was experiencing rapid recovery from the carnage of WWII.

Roku-chan (Maki Horikita) is a newly graduate of high school. She's coming to Tokyo to find a job from Aomori. She finds a job at Suzuki automobile shop where she meets Norifumi, and Tomoe. Ryunosuke Chagawa is an aspiring novel writer. He's aiming to win the prestigious Akutagawa award, but for the time being, runs the candy store he inherited from his grandmother and writes novels for the boy's magazine. The story revolves around Roku-chan, the Suzuki family, and Chagawa, in the back alleys of downtown Tokyo.

This is the best made of the trilogy (so far) in terms of story, and production. Acting is the most natural, and special effects and props, most restrained.

Based on a comic by Ryohei Saigan, the story is about people's life in the Showa period of Japan. It's like watching a museum of that era with live people moving about it.

The actor who was doing the role of Chagawa seems to be over acting, and all the characters seems to be just wearing the Showa mask except for Hiroko Yakushimaru who played Tomoe. I can feel realism from her acting. Shinichi Tsutsumi was also over acting, and Maki Horikita didn't convey flesh and blood country girl who came out to Tokyo no matter how much she spoke the Tohoku dialect.

So I couldn't shake the feeling that I was watching a museum display in action. Everybody tried too hard to make it look like the Showa period which made it look unauthentic.

But out of the three movies of this title, this one is the best made of the bunch.

6 of 7 people found this review helpful.  Was this review helpful to you?

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