A middle-aged businessman has become unhealthily obsessed with a schoolgirl with whom he shares his daily commute. When he tries to make a direct connection with her, it creates dire complications.

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Cast

Credited cast:
...
Anko
Yutaka Mishima ...
Masua Ota
Rest of cast listed alphabetically:
Nahoko Amahisa
Ayako Hirai
Megumi Hirano
Tomisaburô Horikoshi
Kayo Mishima
Atsushi Mizuno
Akihiko Murata
Ryô Narukami
Ayumi Sakamoto
Masaya Takahashi
Chika Uchida
Satoshi Wada
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Storyline

Masuo is a hapless salaryman: squat, homely, with receding hairline and few social graces. He lives with his parents and looks older than he is. He has masturbatory fantasies about Anko, a schoolgirl who rides the same train as he. Pictures of her fill his wall. His sister and her boyfriend encourage him to tell Anko how he feels; otherwise, they say, he's a stalker and a pervert. Masuo puts a transmitter in a teddy bear and contrives to give it to Anko along with a note. Now that he has ceased to be anonymous, how will he handle her response? Is the film an examination of a culture's tolerance for older male fantasy and younger female passivity or just the story of one loser? Written by <jhailey@hotmail.com>

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Comedy | Drama

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28 January 2005 (Japan)  »

Also Known As:

Raw Summer  »

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1.78 : 1
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Burusera, sera, whatever will be, will be.
11 July 2014 | by (Hampshire, England) – See all my reviews

In her iconic sailor-style uniform, the Japanese schoolgirl has long been a common fantasy figure for middle-aged businessmen from 'the land of the rising sun' (so much so, that public vending machines once dispensed used schoolgirl panties along Japan's major commuter routes!). Raw Summer deals with one such pervy bloke, an unattractive, podgy, balding loser named Masuo (Yutaka Mishima), who allows his fantasy to become reality when he takes his unhealthy infatuation with Anko (Sola Aoi), the beautiful schoolgirl with whom he shares a train every morning, to the next disturbing level.

Given the touchy subject matter, I fully expected Raw Summer to be an out-and-out piece of deviant Pinku filth; instead, director Keisuke Yoshida delivers a surprisingly thoughtful, sometimes tender, and only occasionally shocking study of obsession. The film moves at a fairly sedate pace, but never bores thanks to its economic 56 minute running time and an unpredictable plot-turn midway; it also leaves the viewer thinking with a surprise twist ending that reminded me of that old Twilight Zone episode 'An Occurrence At Owl Creek Bridge'.


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