`Kamikaze Girls’ is a toothsome, pop, new, and utterly sweet myth of the friendship between two Japanese girls Momoko and Ichigo. Determined, some fraction of the film’s very disarming charms can be appreciated more with knowledge of unusual Japanese culture, but that doesn’t mean the film should be seen only by the miniature coterie of moviegoers. After all the film’s theme is a universal one.
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First, remember the film’s unique title (and its unique new) is called `Shimotsuma Monogatari’ (The anecdote of Shimotsuma) because this right town that is located in the northern suburb of Tokyo City (about 60 km to the north of the metropolis) is the spot where we meet our cute heroines.
OK, this rural town is the site where Momoko (meaning literally `peach-child’ in Japanese) is living. She loves wearing glowing, girlish (and expensive) clothing (usually referred to `Lolita’ or `Lolita Fashion’ in Japan) and in order to bewitch them she goes all the method to Tokyo. One day, she thinks of a intellectual conception to bag money. Following the `business’ of her ex-yakuza father, Momoko sells false designer clothing on the pick up.
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Only one customer shows up. It is Ichigo (literally meaning `strawberry’), a teenage girl clad in a long coat (signature of Japanese teenage motorcycle gangs), and riding a ridiculously decorated pink-colored scooter. Somehow this incongruous pair of girls gets friendlier to each other, and Momoko, confirmed loner, finds there is something precious that she cannot consume, more precious than the cherish dress that she is wearing.
[DELIGHTFUL] The incredibly charming film is not so distinguished about the legend as the two incredibly charming characters Momoko (Kyoko Fukada) and Ichigo (Anna Tsuchiya) . From the exaggerated cartoon-ish style of introduction, we immediately fell in appreciate with these heroines, whose new outlook on life and new code of behavior perfectly matches their equally novel and unique fashion. Actually, Momoko’s costumes are one of the assets of the film, which will be valid inspiration for designers.
Unfortunately, some humorous scenes might be lost on non-Japanese viewers, which heavily rely on the linguistic differences between some regions in Japan. Please remember this. Momoko’s father is from Kansai site, of which dialect is more down-to-earth and slightly earthy than the words Momoko usually uses with a posh speak, who loves the French rococo fashion. Momoko’s always gramatically lawful speech makes a astronomical dissimilarity with Ichigo’s frequent verbal slip-ups when heard in Japanese. And as to the several amusing episodes about selling untrue goods, they are very exaggerated, but not totally fictional.
But you don’t have to concern about the languages, because the joy of `Kamikaze Girls’ means its laughable visuals and portraits of the likable heroines, Momoko and Ichigo. The only thing I disagree with `Kamikaze Girls’ is its misleading English title. Why not call it simply like `Momoko and Ichigo’ or something? Otherwise it is an absolutely charming film with these cute, pleasing, and inimitable heroines.
By the intention, contrary to the impression you might have from the role of Ichigo, Anna Tsuchiya started her career as fashion model.
One of the few delicious movies I’ve seen in novel years is this quirky adaptation of Novala Takemoto’s unusual. Dreamer Momoko Ryugasaki feels stranded in Shimotsuma in Ibaraki Prefecture, north of Tokyo, i.e. the boonies. She feels more at home in France’s opulent Rococo period (1715-1770), cutting quite a figure dressed in her pink Lolita dress, white parasol, and white platforms. She is the main character and narrator, occasionally speaking to the camera.
Momoko lives with her loser father and grandmother in a shabby hut, a far yowl from her birthplace, the bustling bargain hunters’ paradise of Amagasaki in Hyogo Prefecture–a suburb of Osaka on the northeast shore of Osaka Bay. She has an individualistic come to life, at one point not hesitating to vow made up stories of a classmate in effort to earn money to remove her expensive Lolita clothes, leading her father to yowl in sympathy and fork over the cash. “So what if I was deceitful? My happiness was at stake. It’s not cross to feel well-behaved. But actually my soul is ghastly.” A retread of that 60’s mentality of if it makes you contented, do it.
Enter Ichiko Shiyayuri, a tough-looking, rough-talking, sometimes hot-tempered member of the ladies biker gang The Ponytails who occasionally spits, to the disgust of the more refined Momoko. She is astounded and appreciated at being able to take a bogus Versace jacket for only 2000 yen ($20), and there starts the beginning of the one of the most unlikely friendships ever. Ichiko’s more down-to-earth and more connected to people than Momoko and when the latter makes a comment that really pi**es her off, headbutts her.
Ichiko wants to procure a legendary embroiderer named Emma in Tokyo’s Daikanyama dwelling. Turns out that Akimi, the fierce but handsome leader of the Ponytails is retiring and Ichiko wants to present her gratitude by having some special stitching done on her long kamikaze coat. However, they need money and bad Momoko is hijacked by Ichiko to a pachinko parlour.
Scenes not in the book: some surreal humour when Momoko buys a cabbage then hands it to Ichiko. “This is your original friend.” Another is a low-ranking yakuza named Ryuji whose hairdo has to be seen to be believed–hint, his nickname is Unicorn Ryuji. The dual branding scene of tying in Universal Studios and Versace has a comic side, when to mock the copyright violation done by Momoko’s dad on his false goods, the words “Versace” and “Universal” are bleeped to build them “Ver*ch” and “Uni*sal Studios.” Also satirized are people who feel proud to do money at Jusco–Japan’s Walmart, and pose like in brochures, cheesy smile and all–”this polo shirt cost me only 800 yen.” “These people are bent,” says a disgusted Momoko with a sour expression on her face.
Shimotsuma Monogatari benefits from the dynamic performances of Kyoko Fukada as Momoko and half Japanese/half Russian Anna Tsuchiya as Ichigo. Fukada’s very fetching in the supercute Lolita costumes, which do a nice job of contrasting her tanned complexion and milk-tea coloured hair. Her expressions are toothsome from her cute babyishness to when her eyes widen. Tsuchiya herself has some comical moments, when she clowns around in the Aristocratic Forest café trying to attract Fukada’s attention. But there is a poignant moment when she gets heartbroken, showing her to be more human than Momoko. Tsuchiya is definitely the better actress, having won more awards for this film than Fukada.
Included in the eclectic soundtrack are the Petula Clark-ish “Lucie Est Amoreuse,” the dejected Lisa Loeb-ish “She Said,” the slamming power pop of “Time Machine wa Onegai,” and Yoko Kanno’s get, ranging from sweet violin, ragtime piano, and French café accordion melodies.
One other theme is finding one’s niche. Momoko feels at home wearing her Lolita clothes and is titanic at embroidery. Ichiko’s joyful fixing bikes at a mechanic’s shop in Tsuchiura, but doesn’t want people telling her what to do. Also, settle your bear style over the cheap and casual–Daikanyama’s Baby The Stars Shine Shiny boutique over Jusco.
Watching Shimotsuma Monogatari inspired me to visit the Ushiku Buddha and Shimotsuma itself during my Japan hump. The interior of the Shimotsuma region has been altered from the novel, no tremendous camouflage TV, but the platform where Momoko is seen waiting for her snarl is suitable.
Shimotsuma Monogatari is a droll off-the-wall cult comedy that will be appreciated by Japanophiles, particularly those keen in the youth and fashion scene. One complaint: why Kamikaze Girls? What’s dismal with the modern title?
This review sponsored by Ver**ch and Uni**al.
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