The story of a shy girl, looking for her prince. For some reason not entirely clear to me Christmas Eve is considered the most romantic time in Japan. The entire story of Jesus' birth is lost for many adult women here amidst the desire to find that elusive Mr Right in time for the 24th December. In this movie this is made more complicated by the heroine Sayuri's fetish for a manga set in Lisbon, Portugal, hence the 24th street of the title. This is a fairly standard romantic comedy with most of the genre's boxes ticked along the way: Bride has last minute doubts at the altar, heroine spends what seems like hours rushing through the streets of Nagasaki after a last moment change of heart about That Man. Viewers of recent Japanese box office offerings will also recognize clichés amongst the cast of supporting characters. The movie is partially redeemed by its cinematography, with truly heart-warming shots of both cities previously mentioned. It may well have a witty and moving script- alas this reviewer's Japanese doesn't stretch to the subtleties of Japanese dialogue. But a Japanese Bridget Jones Diary this is not, though it does a moments seem like it is trying to be. If you wish to see a truly Christmassy movie this winter season, I suggest The Nativity Story.
3 Reviews
lacking in spirit, Christmas or otherwise
LunarPoise2 December 2006
Toho's attempt to cash in on the Christmas market crashes horribly in this excruciatingly unfunny film. Quite simply, the whole thing tries too hard to be cute and heart-warming, like a tacky plastic gift dressed up in expensive wrapping paper. Nakatani as klutzy Honda is at her most convincing in this Cinderella tale when she gets to dress up and go to the ball. Before that, we are supposed to believe that she is plain simply because they stick a pair of spectacles on her and have her fall down a lot. The woman is stunning; pinning her hair up didn't make Gwynth Paltrow less beautiful in 'Possession,' and having Nakatani squint through a pair of prescription glasses doesn't work here, either. Did nobody learn from the make-up job that was done on Cameron Diaz in 'Being John Malkovich'?
The manga references are cute enough; little CG crowns and tiaras marking out the 'chosen ones' in Honda's daydream-filled universe. Some of the actors do decent work here, particularly Abe as the brother, and Sato as Honda's forlorn suitor. There is a lovely little sequence when he hands a flick-comic to Honda, and asks her to provide the ending. But such moments are fleeting; instead the sickly sweet Christmas message (Japanese-style - think Valentine's Day with mistletoe) gets layered on over and over again. Sato, when he should be conflicted over his decision to help the love of his life achieve her goal, instead turns toward camera, and in extreme close up, says "Merry Christmas." Just when you think that is the worst possible line, a minor character whose cheating ways are exposed turns to camera and says, "Oh my Jesus." For the first time in a long time, I blushed furiously in a darkened theatre. I think the other four sagging patrons did, too.
This overcooked turkey never stops. There is a wedding scene where three characters take it in turn to deliver speeches that are merely soliloquies, and extended ones at that. Even when Cinderella gets to kiss her prince, we have more exposition through soliloquy - the only time I heard anyone in the theatre titter. Some of the sequences look as if they were edited with a spoon. There are also a couple of irritating dream characters, a Grandpa and Grandson, who turn up at the oddest times. They are meant to be Portuguese, I think, because they wear Portugal football tops and wave a little Portuguese flag. Still, that doesn't explain why the Grandpa looks Egyptian and the Grandson Thai. Maybe I missed something.
Nakatani is always pleasant on the eye and she does her best with some pretty lame material. There is no chemistry between her and Osawa - the kiss, when it comes, has to be one of the most tepid in screen history. The commercial Christmas songs slap you around the head continuously. The comedic talent of YOU, a woman we know can act thanks to Nobody Knows, is wasted. And it is all a bit of a shame, because the story premise is not bad, and the Lisbon location could have been used to so much better effect. I am not aware of the director's background, but this one smells of TV director failing to cross over. Two stars just for Nakatani giving it a go.
The manga references are cute enough; little CG crowns and tiaras marking out the 'chosen ones' in Honda's daydream-filled universe. Some of the actors do decent work here, particularly Abe as the brother, and Sato as Honda's forlorn suitor. There is a lovely little sequence when he hands a flick-comic to Honda, and asks her to provide the ending. But such moments are fleeting; instead the sickly sweet Christmas message (Japanese-style - think Valentine's Day with mistletoe) gets layered on over and over again. Sato, when he should be conflicted over his decision to help the love of his life achieve her goal, instead turns toward camera, and in extreme close up, says "Merry Christmas." Just when you think that is the worst possible line, a minor character whose cheating ways are exposed turns to camera and says, "Oh my Jesus." For the first time in a long time, I blushed furiously in a darkened theatre. I think the other four sagging patrons did, too.
This overcooked turkey never stops. There is a wedding scene where three characters take it in turn to deliver speeches that are merely soliloquies, and extended ones at that. Even when Cinderella gets to kiss her prince, we have more exposition through soliloquy - the only time I heard anyone in the theatre titter. Some of the sequences look as if they were edited with a spoon. There are also a couple of irritating dream characters, a Grandpa and Grandson, who turn up at the oddest times. They are meant to be Portuguese, I think, because they wear Portugal football tops and wave a little Portuguese flag. Still, that doesn't explain why the Grandpa looks Egyptian and the Grandson Thai. Maybe I missed something.
Nakatani is always pleasant on the eye and she does her best with some pretty lame material. There is no chemistry between her and Osawa - the kiss, when it comes, has to be one of the most tepid in screen history. The commercial Christmas songs slap you around the head continuously. The comedic talent of YOU, a woman we know can act thanks to Nobody Knows, is wasted. And it is all a bit of a shame, because the story premise is not bad, and the Lisbon location could have been used to so much better effect. I am not aware of the director's background, but this one smells of TV director failing to cross over. Two stars just for Nakatani giving it a go.
the romantic formula with colorful twists
j_eyon25 August 2011
colorful quirky romantic comedy about an ugly duckling woman who wonders thru Nagasaki thinking of Lisbon - filled with manga inspired dreams of princes and princesses and romance - and yearning for the attractive man who once said something encouraging to her
well acted - especially by Miki Nakatani as the duckling
funnily - its set during the Christmas season and the soundtrack is full of Xmas music sung in English - the only odd note coming at a wedding scene with the bride and father marching down the aisle to "O Christmas Tree"
fast paced at the start - slows appropriately as the story deepens - the plot turns more conventional towards the end - but by then - the spell had been cast
well acted - especially by Miki Nakatani as the duckling
funnily - its set during the Christmas season and the soundtrack is full of Xmas music sung in English - the only odd note coming at a wedding scene with the bride and father marching down the aisle to "O Christmas Tree"
fast paced at the start - slows appropriately as the story deepens - the plot turns more conventional towards the end - but by then - the spell had been cast
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