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Runtime – 108 Minutes
Takashi Miike
Cast – Mami Fujioka
genres – Romance, Comedy
7,1 of 10
Masa Nakamura.
Torawareta kokoro mitsumeteita yo.
え.この曲聴くとすっごく鳥肌たつんだけど笑笑聴いてて感動するし花男思い出すし…これが神曲ってやつか.
Yeah mika is much better with ballad and jazz songs not that rock shit. it’s that i don’t like rock but mika has no business in rock.
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Utada and Shiina.
I love your music and you character, you are such an original artist! <3.
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Ay me recuerda a usagi-sempai y misaki-san jsjsj viejos tiempos.
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この曲聞くと花晴れ思い出して毎回胸がキュッとなる. いい歌花晴れまた見たい.
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First Love (2019)
Humanity.
In this age of movies where storytelling has been almost forgotten and teleplays are collections of gambits emitted by computer programs designed to cause sufficient audience arousal to induce further ticket consumption, First Love is a simple pleasure in its capacity to tell a humane and genuine love story couched in conventions of a Japanese mob thriller.
It works on the theme of the basic mysteries of our lives: birthright, inheritance, desire, health, career and fate in the throes of an absurdly hostile civilized world. Imbued with Miike’s signature violence, in the routine milieu of a warring underworld, his gangs are stand-ins for the monstrous hostility of anonymous industrial civilization.
Miike operates the controls of the genre with a reverie of hope that young love can transcend humanity’s glaring morass of urban blight through nothing more that the essence of self creation. By positing the Platoic aspects of our nature-that there is the True, Good and Beautiful-he creates a metaphysical picture, even as it hews to genre conventions of pulp to provide the audience a mere carnival ride.
This is Saturday matinee enjoyment at the movie theater.
It employs comedy deftly to stay light on its feet, like the protagonist, a young athlete, a boxer, who fights for no other reason than he thinks “it’s all he can do.” This could also be Miike’s regard for is own late career: making movies he does what fate has set forth for him.
This strain of the inevitable feels of a kind to a movie from Miike’s early-career, Rainy Dogs (1997) which cooly observed a specific situation in a society which produces children that nobody wants, as their parents are so preoccupied with their life predicament in industrial churn, they live as nothing much more than beasts in urban cages.
In such environs, crime is a necessarily human activity which grows naturally within the social gradient of a political economy founded in exploitation and rapacious growth with as too many reside within the vast slum machinery of cities.
This theme is taken up in Todd Phillip’s Joker (2019) which is grotesque apolemical critique of late capitalism that offers its audience pure pathos with no pleasures. Luckily for First Love audiences, Miike wisely sees a bigger world with rays of hope.
Miike’s monsters are most certainly Us in some cataclysmic sense of human growth and civilization, where he shows us as societally unhinged but individually harboring the courage to channel divine powers that can improve the tragic dimensions of the commons, even as Miike seems to confide his doubt that we can ever manage anything more than endure life.
Miike lives down on the ground with the riff-raff, not up in some Disney techno tower of wealthy producers and psychic eugenicists.
I’m glad for the Asian auteurs who are still interested in the experience of living, still think there is something to learn in ordinary life. As compared to the ubermensch fetish and alarming fakery of Hollywood.
In this movie and his Rainy Dogs, Miike nods to his enjoyment of the American Western genre, the outlaw hero, vigilante justice, and even back to the Greek theme of Antigone: that justice is an individual pursuit rooted in the contrarian when she fights for the rights and honor of the oppressed. In Miike’s world, love and pride power the conflict and justice demands a sacrifice, which becomes a gift of the dead to the living as an eternal cycle, in the sense of Buddhism.
There are no saviors, but there is something like nobility. Miike presents a preference for honor, and his humor is jest rather than gags.
Along the way there are moments of plain fun. And to make a satisfying capsule of the movie, it ends where it begins.
The movie is not long but it’s biggest glitch is pacing, where action builds in a furious expansion that could have ended with a satisfying pop, but instead the balloon of tension is allowed to just deflate. It’s not unsatisfying but dissipates the movies verve. It also helps the movie seem a tad more magnificent than it’s short runtime should permit, and it wraps on a cheesy blockbuster note appropriate to a popcorn flick and whets your appetite for a sequel that should never occur.
In summary, this fare is slight, but very refreshing compared to the bombastic mayhem that occupies so much screen space in this decade-the garish terpsichore of Marvel or the sordid auteur nihilism of Lars van Trier, even as Miike indulges such traits in himself. There’s a bit of hope here.
Praise for simple enjoyments.

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A chance encounter between a young boxer and a prostitute causes an all out gang war and they are both caught right in the middle of it. Takashi Miike anyone?
When one goes to see a Takashi Miike film one expects certain things. It has to be grotesquely violent, slightly tongue in the cheek and an over the top story that that would never work with anyone else at the helm. FIRST LOVE delivers everything and more. In fact it is a surprisingly coherent, thought through and even touching film that works on many levels. It is drama, it is a comedy, it’s an action film and it’s a thriller, where all elements are a perfect fit.
This is classic Miike with Japanese yakuza and Chinese triad going at each other over nothing. It may be a bizarre and violent affair, but the cut off limbs and heads seem a bit Monty Pythonish, which makes the gore slightly less disturbing.
There’s a lot of fun to be had here, this is a sort of film Tarantino would like (he did praise Miike as one of his favourites) and this film is Miike at his best.
With its jazzy upbeat soundtrack and out there action, this is an energised piece of work that has to be seen to be believed.

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道明寺が川にネックレスを投げ捨てそれを拾いに行く牧野 ↑ここほんと泣きそうになった.
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Wow! What a voice.
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Pinchi Onodera que ahora se hace el difícil, aún cuando en el pasado gritaba a los cuatro vientos que estaba enamorado de Takano. XD.

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花晴れのいいシーンで初恋流れると泣けてくるのがめっちゃいい😭😭😭.
この頃のショートカットいいわ😃.
宇多田ヒカルの歌には少し哀愁を感じます.でもそれが凄く良い.
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そらおとの方がよくね？.
リターンズの道明寺の “お前は俺を1人の男として見たことがあるか” が思い浮かぶ😭😭.
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Kyou, Koi wo Hajimemasu.
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Woaw i like this song, alsoone of the good songs her.
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PLs open a live concert at summer time@ 沖繩🤷Utada Forever babe🧖.
Leaves a faint taste of the bittersweet.