Hana and Alice (2004)

(There's always something about a Japanese film poster that evokes a certain mood or ambience. The simplicity of the hand-written Hiragana or Katagana strokes convey the minimalist aesthetic that is much associated with Japanese art. Juxtaposed with the coloured image, the effect is evocative, faraway.)

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Hana and

Alice threads a story loosely with a teenage romance plot - two close friends, one of whom falls for a boy on a train, schemes to make him fall for her by enlisting the help of her best friend, which results in a triangle when the boy and the best friend discovers their liking for each other. A rift ensues, the friendship is strained, but eventually resolves. Watching it with the expectation of a narrative-driven film would make you disappointed by its loose and fragmented delivery. But on the otherhand, if you were less attached to the traditional plot-driven film, the film would blow you away with its amazing artistry and inventiveness, a visual poetry executed by director Shunji Iwai in a way that is only unique to him. The loose and non-committal plot is merely the framework for the director to lay out the splendrous scenes, rich and subtle nuances and languid shots that so successfully convey the theme of the film that is simply - youth.

To me, the film is a celebration of youth, a paean to the free-spiritedness, playfulness and freshness of adolescence, not excluding the tender exploration of friendship. Watching the film is like taking one dreamy ride through the carefree, innocent days of one's youth, replete with stunning, washed-out cinematography and evocative instrumental soundtrack. It documents a chapter when friendship was the centre of our lives, superseding our bond with parents - when laughter dominates, when we began to heed our dreams and calling, and of course, inevitably - our first brushes with romance.

This film would appeal to the youth audience, what with the casting of three gorgeous leads - Anne Suzuki, Yui Aoi, Tomohiro Kaku, and the raw depiction of the playfulness and exuberance that comes with being young - going to ballet classes, train hopping, boy stalking,

skipping school, joining a club for the sake of being close to a boy, school carnivals. Like many Japanese films, the love of nature is also prevalent in the film. The director intoxicates one with the lingering shots of characters in naturalistic settings - rowing by the lake, leaning against the leafy tree, skipping by the empty beach, and watering pots of flowers...all depicted in crisp clarity against the backdrop of dreamy landscapes, as if to highlight the exuberance of youthfulness with the freshness of nature.. Perhaps, the director wishes to revive the love for nature among the gadget-driven, computer-obsessed that is the Gen-Y today. By painting a beautiful picture of youth, we are reminded of what it truly meant to be young - to be innocent, mobile, energetic, physical, and most of all, free from the woes and drudgery of adulthood.

The film is like a visual poetry paying sincere homage to the days of school uniforms and unrestrained laughter. Let us go back to the days when we dreamt of wearing a tutu. Must I say, the photographed shots of dancers in ballet class - reminiscent of Degas' paintings - are really artsy and fabulous. Watch it, and giggle again.

Yui Aoi in her ponche. Not a bad line at all!!...I wanna achieve this too. :l