User:Paonin/Always2

Always: Sunset on Third Street (ALWAYS 三丁目の夕日) is a 2005 film co-written and directed by the Japanese filmmaker Takashi Yamazaki, based on Ryōhei Saigan's long-running manga Sanchōme no Yūhi.

Plot summary
The story picks up relatively close to where the first installment left off, and begins with a shock sequence of the Suzuki family evacuating their home in response to an attack on Tokyo by Godzilla, who proceeded to destroy the newly-built Tokyo tower with the iconic blue energy blast. The sequence is quickly revealed to be a writing attempt by Chagawa, which continues the trend of ambiguous association of characters with important icons in Japanese culture, i.e. Suzuki Auto and The current day Suzuki car company, and Chagawa as the originator of Godzilla story. However, Junnosuke quickly dispels this myth by criticizing Chagawa for merely ripping off the Godzilla story.

Just as in the first installment, several major and minor story arcs were woven together. The first of which begins with the continuing attempt by Junnosuke's father to reclaim his son from Chagawa. Though Chagawa was initially able to rebuff Junnosuke's father, his relentless attempt, the rising price of rice, and a brief school reunion eventually forced Chagawa to admit his own immaturity and financial inadequacy to raise Junnosuke. Unlike in the first movie, Junnosuke did not write anything in this movie, and was seen doing most of the housework. Junnosuke's seeming sacrifice of his writing time for housework, and lunch money for the rice collector's bill suggests a deteoriating state of Chagawa's household. Forced into a corner, Chagawa decided to straighten up, and temporarily close up his thrift shop to focus exclusively on winning the acclaimed Akutagawa Literature prize, which had launched his career earlier on when he was named a finalist, though he did not win then.

At the Suzuki's household, Roku has returned to work and the whole family gets along happily. It was soon announced that Mika, Ippei's second cousin, will live with them briefly after the recent bankruptcy of her once-rich father. Due to Mika's previous wealth, she had a hard time fitting in at the Suzukis, whom she often rejects with snobbish attitude. However, Ippei's childish and playful retaliations and reverse psychology worked wonderfully, and Mika eventually warmed to both Ippei and the family. Mika begins to become very attached to Tomoe in substitution to her mother, who has passed away before the film started. Throughout the movie, the Suzukis appears to be much better off financially, and Norifumi's generosity and kindness for Chagawa on many occasions, and generally-good attitude has seemed to propel him from the once intimidating neighbor to the popular pillar of the community on third street.

Comprising the slightly minor story arcs is the appearance of Takeo, Roku's childhood friend and mild crush from her hometown. Takeo was fired from his apprentice ship as a cook, and has fallen in with a con man. Free from works, he nervously visit Roku on several occasions intending to ask her out on a date but never had enough courage to do so. Eventually, his involvement led Norifumi, Chagawa, Roku, and a few others losing their money to Takeo's conman boss, who pretended to be one of the Akutgawa judges.

Meanwhile, Hiromi is now working at a strip show as Asaoka Betty and is being wooed by a rich customer from Osaka, who was once observed wooing her to be his second wife by Chagawa, who did not show himself due to Hiromi's apparent reciprocity toward the rich man, and his own lack of confident. Though she kept up his hope as he is an important customer, she clearly pines for Chagawa. When Chagawa was announced as one of the likely contender to win the Akutagawa prize, she was extremely joyful and proceed to buy his novel. However, constant pessimistic comment from another one of the dancer, convinced her that he is now too good for her. She decided not to read the book and to leave for Osaka. Hiromi went to visit Chagawa one last time, though they missed each other as Chagawa also went to visit Hiromi at the dance club. After waiting a long time for Chagawa, she left despite constant pleas to stay from Junnosuke.

The movie reaches its climax when the entire street gather at the Suzukis expecting a big party for Chagawa, whom they all believe to win for sure.

The plot takes place in a small community in post-war Tokyo, and follows the interweaving story threads of a number of the community's residents over the course of a single year as Tokyo Tower is being built.

Norifumi Suzuki, consistently called "Suzuki Auto" by several of the other characters, runs a small auto repair shop, where he lives with his wife, Tomoe, and son, Ippei. Mutsuko Hoshino, a young girl from Aomori prefecture, comes to live with them and work as Suzuki's apprentice, having applied for the position as a one-year work opportunity. Though Mutsuko is initially shocked and upset at finding Suzuki Auto to be nothing like her expectations - a small auto repair shop where she's expected to do manual labor rather than a large company where she would be doing white-collar clerical work - she soon comes to enjoy her new life. Consistently called "Roku" (an alternate reading of the character for "Mutsu") by the Suzukis, she quickly becomes like a family member to them. Later in the film, she is given train tickets back to Aomori for the new year as a Christmas present, but she does not want to go back believing that no one in Aomori wants her to return. However, Tomoe reveals to her the letters she has been receiving from Mutsuko's mother and have kept secretly in accordance with the mother's wishes. Touched, Mutsuko chooses to return home to Aomori excited to be seeing her family again. She happily waves to the Suzukis, whom she thanks for a great year while leaving.

Ryūnosuke Chagawa is a dried-up novelist who lives across the street from the Suzukis and runs a small toy and candy shop out of his house. He writes a series of serial novels called "Shōnen Bōken-dan" (or "The Young Boys Adventure Club"). Though proud of his profession, he seems to be rather down on his luck (or talent) whenever he submits his works to be published or writing contests. Meanwhile, Hiromi Ishizaki, Chagawa's love interest, newly opens a bar nearby and is unpleasantly surprised one day when a man brings a young boy named Junnosuke to her shop. He tells her that his mother abandoned him and since Hiromi and the mother were friends -- though Hiromi protests that they were hardly that close -- Hiromi should take care of the boy. Hiromi reluctantly takes Junnosuke in for the time being, but is determined to find him another place to stay at. Later that same evening, Chagawa, comes to the bar to drown in his sorrows and Hiromi decides to give Junnosuke to him. Unable to resist Hiromi's charm and persuasion, Chagawa ends up taking charge of Junnosuke. In return for his allowing Junnosuke to stay with him, Hiromi would come by and visit them.

At first, Chagawa is very cold to Junnosuke since he does not really know how to be a proper parent to the boy, but he begins to warm up to him when he discovers that Junnosuke is actually a big fan of his work Shōnen Bōken-dan and the boy is equally awestruck and delighted that the author to his favorite series is right before his eyes. Over the course of the film, both become quite close and Junnosuke begins writing and even ends up having one of his own stories published in the Shōnen Bōken-dan serial.

The relationship between Hiromi and Chagawa also develops over the course of the film, as Hiromi suggests that she could move in and help raise Junnosuke. He eventually proposes to her on Christmas Eve, albeit with an empty box as he cannot yet afford a ring. Touched, she accepts his proposal, but then disappears the following day, seemingly gone from the neighborhood, and thus from Chagawa's life, forever. Her shop is put up for rent and it is revealed that she's "sold" herself off due to the inability to pay off a huge debt.

Somewhere along the way, Junnosuke gets a hold of his mother's whereabouts and tells Ippei about it. Both boys set off to find her, but their attempt ends in failure. Despite this, a wealthy businessman appears one day and claims to be Junnosuke's father. He tells Chagawa that he plans on adopting Junnosuke into his family and reclaim him as the heir to his business empire. Chagawa sends the boy off, thinking that Junnosuke would be much better off with his real father in a wealthy home than with him. After all, Chagawa is quite poor, and does not consider himself a good parent; he feels particularly lost in this matter without Hiromi. Junnosuke escapes, however, and returns to Chagawa, insisting, despite the writer's violent protests, that he would much rather stay with him.

The film is also filled with light-hearted moments which evoke a sense of romanticized nostalgia for 1950s Tokyo, a sub-genre or aesthetic which is quite popular in recent years in Japanese media. Though the Suzuki auto shop is quite small, the family earns enough money to obtain a modern electric refrigerator, and a black-and-white television, which is first switched on in front of the entire community, which has gathered in and around the house. Despite the serious and dark elements of the plot lines, and the overall difficulties of the characters' lives, episodes such as these give a feeling of the nostalgic idea of life in an easier time, a post-war Japanese "good old days".

Reception
The film ranked 15th at the Japanese box office in 2005, and won 12 prizes at the 2006 Japanese Academy Awards, including the awards for Best Film, Director, Actor and Screenplay.

Cast
The cast includes Maki Horikita (Mutsuko Hoshino, the apprentice), Hidetaka Yoshioka (Ryunosuke Chagawa, the writer), Shinichi Tsutsumi (Norifumi Suzuki, the mechanic), Koyuki (Hiromi Ishizaki, sake bar owner), Hiroko Yakushimaru (Tomoe Suzuki, the mechanic's wife), Kazuki Koshimizu (Ippei Suzuki, the mechanic's son) and Kenta Suga (Junnosuke Furuyuki, the abandoned boy).

Sequel
A sequel, Always Zoku Sanchōme no Yūhi, was released in Japan in November 2007, it features Tohos Godzilla in a What-If? Dream Sequence.

Notes and references
Category:Toho films Category:2005 films Category:Japanese films

ALWAYS 三丁目の夕日