MOVIE REVIEW . Always - Sunset on Third Street

by Chris   ⋅   November 19, 2006   ⋅   Comment now   ⋅    RSS

Okay, I’ll admit it. I initially picked up Always - Sunset on Third Street (aka: Always san-chôme no yûhi) because of star Koyuki (Kairo, Last Samurai, Antique Cake Store). Usually when I pick up a film due to its featuring an attractive star I’m endlessly disappointed, but much to my delight, I found Always provided a truly wonderful film-watching experience; well acted and well directed, with an engrossing, emotionally engaging narrative that completely eclipsed my initial interest in stargazing.

Late 1950’s Japan. It is a time of change and growth for both Japan and its citizens. Having finally shed the shame of occupation and defeat, Tokyo makes renewed efforts toward modernization. Its citizens bask in the blessings of exciting new technologies; televisions, refrigerators, and washing machines becoming household necessities. A monument to this movement, Tokyo Tower, is being erected mid city. It is amidst this backdrop that Always weaves its sweeping tale of a country girl, a literary enthusiast, an automotive entrepreneur, and a beautiful bar hostess, and their year long journey toward self improvement and discovery.

From the initial 1950’s era color Tohoscope logo to the film’s snowy New Year’s closing, Always is an absolute joy to watch. The wide-eyed earnestness of the characters, each with their own individual musical theme, helps to lend the picture quite a “Live Action” Miyazaki feel — which makes sense, given that the film is an adaptation of a manga by Ryôhei Saigan. Furthermore, each character is brought to life perfectly by their respective actor. You really get involved with these characters, from Hidetaka Yoshioka’s Ryunosuke and Maki Horikita’s Mutsuko, to Koyuki’s Hiromi and Shin’ichi Tsutsumi’s Suzuki, to the point where you no longer identify with the actors playing the parts, but the characters themselves. As an added bonus, the film itself is laced with references to classic Japanese films, most recognizably Ozu’s Good Morning, with which Always shares a similar sort of soft humor.

Sure, the cynics out there will find endless things to nitpick. “The film’s too naïve, too nostalgic, too straightforward.” But such criticisms fail to understand the essence of the film. Always is a throwback to days where unbridled optimism was the norm, where every chance meeting was an opportunity in disguise. As such Always stands in sharp contrast to the self important cynical brood-fests our hip young cineastes thrive on. A beautiful film, with a beautiful heart, Always - Sunset on Third Street is definitely worth a look.

About the Author

Chris Nelson has been a film fanatic since age six. A former film and English major, he is now a Software Engineer and contract Technical Writer living in the Silicon Valley.

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