Always san-chôme no yûhi

This movie is like a folk tale about the '50s Japan when it was experiencing rapid recovery from the carnage of WWII.

Roku-chan (Maki Horikita) is a newly graduate of high school. She's coming to Tokyo to find a job from Aomori. She finds a job at Suzuki automobile shop where she meets Norifumi, and Tomoe. Ryunosuke Chagawa is an aspiring novel writer. He's aiming to win the prestigious Akutagawa award, but for the time being, runs the candy store he inherited from his grandmother and writes novels for the boy's magazine. The story revolves around Roku-chan, the Suzuki family, and Chagawa, in the back alleys of downtown Tokyo.

This is the best made of the trilogy (so far) in terms of story, and production. Acting is the most natural, and special effects and props, most restrained.

Based on a comic by Ryohei Saigan, the story is about people's life in the Showa period of Japan. It's like watching a museum of that era with live people moving about it.

The actor who was doing the role of Chagawa seems to be over acting, and all the characters seems to be just wearing the Showa mask except for Hiroko Yakushimaru who played Tomoe. I can feel realism from her acting. Shinichi Tsutsumi was also over acting, and Maki Horikita didn't convey flesh and blood country girl who came out to Tokyo no matter how much she spoke the Tohoku dialect.

So I couldn't shake the feeling that I was watching a museum display in action. Everybody tried too hard to make it look like the Showa period which made it look unauthentic.

But out of the three movies of this title, this one is the best made of the bunch.