Takashi Miike’s First Love (Hatsukoi in Japanese) is a brilliant film that incorporates tragedy, comedy, romance, and action all packed into a mere 108 minutes. There is something for everyone in this movie (assuming you are at least 18) and the themes are refreshingly bright in this drug-fueled yakuza, or Japanese mafia, world.
The narrative follows Leo (Masataka Kurota), a promising boxer with a not-so-promising future. Leo lacks motivation in his boxing and in his life, but this changes when he encounters Monica (Sakurako Konishi), who is being chased by corrupt police officer Otomo (Nao Omori). Leo delivers a swift yet comical punch to Otomo’s face, and suddenly finds himself tangled up in the messy dealings of the underworld. Simultaneously, Kase (Shota Sometani) cooks up a plan to make big bucks from inside the fading yakuza. He partners up with Otomo to steal drugs from the yakuza. However, Kase quickly runs into a lot of obstacles in his pursuit of fortune, and his quick-thinking to achieve his goal is nothing short of a thrilling ride.
There are so many commendable attributes to First Love, including the acting, the cinematography, the action, and the themes. The variability in the acting is extensive, from comical and extravagant to subtle and refined. Kurota has excellent control in delivering suppressed and muted emotion, a style akin to a still ocean that snaps into storm at any given moment. Sometani is a master of dramatic facial expressions. He can warp his face into a myriad of reactions in mere seconds. Konishi does a splendid job portraying the wide-eyed damsel in distress, and her progression in making her own decisions and confronting her fears is performed with alarming precision. Seiyo Uchino, who plays the yakuza boss, Gondo, asserts the cool sternness of a gang leader while he commands the attention of both the characters and the audience alike. All of the actors in the film perform with such commitment to their characters and it pays off. Mind you, there are quite a few characters in this film, but the movie is able to pace each new face in a digestible manner. Important characters are given distinct traits and habits that make them easily memorable, and minor characters end up dying soon anyways, so you won’t have to worry about memorizing every face.
The cinematography is realistic, focusing on the exchanges between characters and creating an in-world experience for the audience. The vibrancy of Tokyo nights provide for beautiful shots with a grunge edge so every scene is visually interesting. The film does use animation for one scene to depict a contradiction of physics, but it does so in such an over-the-top manner that the film acknowledges its own silliness. The short animation is similar to the pop art style and is filtered with bright neon colors, which adds a measure of relief after one of the most anxious scenes in the film.
The action scenes are executed so well that each fight sequence is given its spotlight instead of being drowned in slashes and gunfire. The action in the film’s climax is a beautiful whirlwind of guns, swords, and hand-to-hand combat to the point where it borders on the edge of dance. The themes are remarkably profound for a film that also focuses on heavy action. The film does a wonderful job of wrapping up loose ends. In a way, every character finds closure in death, revenge, or meeting a face from the past. One central theme in the film is learning to live like there is no tomorrow. The main character grows past his lukewarm attitude and begins to find true meaning in his life, letting go of his uncertainties and fears of failure, which is a lesson we can all implement in our own lives.
Another important aspect of the film is its characterization of the antagonists. The film’s antagonists are glorious scumbags who the audience can clearly identify as bad people. But, Miike also makes sure to humanize the antagonists and give them some sympathetic qualities. When Kase’s plan starts to spiral out of control, the audience can’t help but feel a little bad for him. The film really tries to make the villains relatable, and the result is convincing.
One incredible choice Miike makes is how he portrays the yakuza. He does not glorify them or signal a rebirth of a new age of organized crime. He does, however, give them dignity, which is a nod to the years of history yakuza has played in Japan’s past. The falling out of the members and the suppression from the Chinese mafia shows how the yakuza has regressed from its glory days, now selling drugs to support the syndicate. But despite its shortcomings, the core of the yakuza maintains its integrity, which is a beautiful metaphor for the persistence of ancient cultural traditions in an age of constant change. Across the board, First Love knocks down every category in style, message, and execution. The characters are glamorous and well-written, and the film somehow manages to stay clear of disorganization in its complex narrative.
5/5 STARS
