IMDb-BEWERTUNG
7,0/10
4246
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuA chance encounter between two girls of the same name, "Nana," triggers a series of events and relationships.A chance encounter between two girls of the same name, "Nana," triggers a series of events and relationships.A chance encounter between two girls of the same name, "Nana," triggers a series of events and relationships.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 2 Nominierungen insgesamt
Mickey Koga
- Satô Kôichi
- (as Mitsuki Koga)
Bengal
- Editor in Chief
- (as Bengaru)
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Nana may suffer from being a condensed version of an expansive Manga universe, but it also knows exactly how much time to spend on individual plots strands. Nana is a coming of age, female friendship film that handles immature and young emotions with absolute maturity. The most impressive aspect was creating a relationship between one of the protagonists boyfriends and another girl. It easily could have made him a villain, but instead took an unbiased look at how the relationship came to be. Luckily, for a film focused on bands, the music is relatively good. Nakashima and Miyazaki both inhabit their roles well and build up a believable friendship. Highly enjoyable, even if it doesn't quite feel complete.
An IMDbian recommended this and underlined that it is an adaptation of a popular "shoujo manga" (girlie/chick comics). The NANA sensation can be compared with the craze caused by Densha otoko (Train Man) in Japan. Even the American girls find time to flip through it. Well, as the last page of chick comics said goodbye to me some twenty years ago, and my old bones cannot hold much dross energy for punk or rock n' roll music after work, sorry, not much interest shed in the first place. Besides, Nana was never heard to me. Just that the very last rental ticket was idling so I grabbed the VCD without much expectation... but it turned out to be a delightful surprise.
The names of the two Nanas and their room 707 are very interesting. "Seven" in Japanese is pronounced as "na-na", a universal lucky number. Two Nanas live together in a "na-na-tse-row(zero)-na-na" room, they rob all the luck of the world! The family names of the Nanas exhibit tellingly their characters. Nana KOMATSU, the traditional Nana who only longs for getting married was born with a last name means "a small (ko) pine tree (matsu)". Imagine a tiny pine tree in a traditional Japanese still and quiet landscape painting, not a grand view, right? And the modern Nana, Nana OZAKI who is independent and strong enough to brave any storms in her life, is given by Heaven a grandiose label, "a huge (o) mountain summit (zaki)". Comically, Mount Everest sprang from my head when I made the analogy. Their names are so self-explanatory, so graphic, so vivid.
Two namesakes of paradoxical personalities live under the same lucky-lucky roof in harmony, both traditional and modern qualities exist, fuse inside one body (Room 707) without causing any conflict. On the contrary, they are helping and inspiring each other. They happily found each other. That is the ideal of the original author Ai Yazawa: the attitude, the attribute, the bearing, the idiosyncrasy of 21st century Japanese feminism (woman figure).
While watching it and laughing at the lousy English lyrics of the loud songs, I remembered two other movies: "La double vie de Véronique", which is right now stirring a little hot talk in town intriguingly. (It really beats me a lot why it suddenly becomes so popular in its second coming after its first screening in 1991???) Two identical Weronika/Véronique live their separate lives in France and Poland. She came across/found her so accidentally in a commotion and they got connected in a mystic way. They are actually searching for each other and found though a little late.
Another is Ingmar Bergman's Persona. Destruction, selfishness, atrocity, tragedy... are fitting negative words to depict this one, though. Elisabeth Vogler ("Vogler" -- Old German "Bird-catcher") a self-made-mute actress (Liv Ullmann) who so determinedly and cruelly wills to divorce herself from the pain of her own existence/façade which she has been playing for a long time and is now fed up with. She transfers absolutely her "self" (identity) on to Alma ("Alma" -- Spanish "Soul") a nurse (Bibi Andersson), who somehow envies her, and causes her collapse. The actress tries so hard to dump forcefully the pain she dislikes onto a weaker partner to make her like herself. A stronger "her" tortures the weaker "her" inside a dead quiet remote country house.
And how wonderful it is to see the 22-year-old Ryuhei Matsuda (bass guitarist Ren) has grown into fuller manhood and has shrugged off the enigmatic androgynous air he displayed in Gohatto (1999). (Gosh! He looks like neither boy nor girl... though with an enticing face.) Another good discovery.
The present day Japanese women are struggling with the pulling forces of the traditional and the modern feminist values, some may have found it, some still groping, some in the mid-way of a tunnel, some in a cul-de-sac. May every Japanese woman's identity be successfully located so as to achieve an inner "harmony", a pillar idea of the Japanese society and culture.
The names of the two Nanas and their room 707 are very interesting. "Seven" in Japanese is pronounced as "na-na", a universal lucky number. Two Nanas live together in a "na-na-tse-row(zero)-na-na" room, they rob all the luck of the world! The family names of the Nanas exhibit tellingly their characters. Nana KOMATSU, the traditional Nana who only longs for getting married was born with a last name means "a small (ko) pine tree (matsu)". Imagine a tiny pine tree in a traditional Japanese still and quiet landscape painting, not a grand view, right? And the modern Nana, Nana OZAKI who is independent and strong enough to brave any storms in her life, is given by Heaven a grandiose label, "a huge (o) mountain summit (zaki)". Comically, Mount Everest sprang from my head when I made the analogy. Their names are so self-explanatory, so graphic, so vivid.
Two namesakes of paradoxical personalities live under the same lucky-lucky roof in harmony, both traditional and modern qualities exist, fuse inside one body (Room 707) without causing any conflict. On the contrary, they are helping and inspiring each other. They happily found each other. That is the ideal of the original author Ai Yazawa: the attitude, the attribute, the bearing, the idiosyncrasy of 21st century Japanese feminism (woman figure).
While watching it and laughing at the lousy English lyrics of the loud songs, I remembered two other movies: "La double vie de Véronique", which is right now stirring a little hot talk in town intriguingly. (It really beats me a lot why it suddenly becomes so popular in its second coming after its first screening in 1991???) Two identical Weronika/Véronique live their separate lives in France and Poland. She came across/found her so accidentally in a commotion and they got connected in a mystic way. They are actually searching for each other and found though a little late.
Another is Ingmar Bergman's Persona. Destruction, selfishness, atrocity, tragedy... are fitting negative words to depict this one, though. Elisabeth Vogler ("Vogler" -- Old German "Bird-catcher") a self-made-mute actress (Liv Ullmann) who so determinedly and cruelly wills to divorce herself from the pain of her own existence/façade which she has been playing for a long time and is now fed up with. She transfers absolutely her "self" (identity) on to Alma ("Alma" -- Spanish "Soul") a nurse (Bibi Andersson), who somehow envies her, and causes her collapse. The actress tries so hard to dump forcefully the pain she dislikes onto a weaker partner to make her like herself. A stronger "her" tortures the weaker "her" inside a dead quiet remote country house.
And how wonderful it is to see the 22-year-old Ryuhei Matsuda (bass guitarist Ren) has grown into fuller manhood and has shrugged off the enigmatic androgynous air he displayed in Gohatto (1999). (Gosh! He looks like neither boy nor girl... though with an enticing face.) Another good discovery.
The present day Japanese women are struggling with the pulling forces of the traditional and the modern feminist values, some may have found it, some still groping, some in the mid-way of a tunnel, some in a cul-de-sac. May every Japanese woman's identity be successfully located so as to achieve an inner "harmony", a pillar idea of the Japanese society and culture.
Two very different 20 year old women meet on a train to Tokyo. Other than the fact they're both named Nana, they have very different pasts and personalities. Despite this, they're destined to become very big parts of each other's lives.
Based on the very popular anime and manga of the same name, this is a fun adaption. The musical aspects of the story are kept, and are as nearly as important to the story as the relationship between the two Nana's. Speaking of, the actresses chosen to play the two title characters are great, and the story is as interesting for guys as it is the girls who are the original audience.
NANA was a good movie, I liked it. Obviously it's more recommended for people who are already familiar with the source material, but even NANA newbies should enjoy this.
Based on the very popular anime and manga of the same name, this is a fun adaption. The musical aspects of the story are kept, and are as nearly as important to the story as the relationship between the two Nana's. Speaking of, the actresses chosen to play the two title characters are great, and the story is as interesting for guys as it is the girls who are the original audience.
NANA was a good movie, I liked it. Obviously it's more recommended for people who are already familiar with the source material, but even NANA newbies should enjoy this.
I liked the freshness in the first half of 'Nana'. The two girls Nana (Nakashima) and Nana (Miyazaki) meet and are reunited by 'coincidence'. Then they decide to move in together and we are shown glimpses of their worklife and lovelife. However, in the second half, as the film shifts to Nakashima's Nana's lovelife, it gets painfully slow and boring. The film was slow to begin with but the first half managed to stay enjoyable. The 'reunion' in the end looks rushed.
The instrumental pieces in the background score add to the freshness and winter season. However the songs are quite bad. Cinematography's quite adequate. From the two Nana's, Miyazaki is the better actress. Even though she frequently shows her toothy smile, she brings out Nana's naivety, vulnerability and cheerfulness with tremendous ease and makes her character very likable. Conversely, Nakashima is mostly wooden. She pretty much has one expression on her face throughout the whole film. The supporting cast ranges from adequate to wooden.
So to speak, 'Nana' could have been very enjoyable had the second part received more consideration. This film may appeal more to the younger generation.
The instrumental pieces in the background score add to the freshness and winter season. However the songs are quite bad. Cinematography's quite adequate. From the two Nana's, Miyazaki is the better actress. Even though she frequently shows her toothy smile, she brings out Nana's naivety, vulnerability and cheerfulness with tremendous ease and makes her character very likable. Conversely, Nakashima is mostly wooden. She pretty much has one expression on her face throughout the whole film. The supporting cast ranges from adequate to wooden.
So to speak, 'Nana' could have been very enjoyable had the second part received more consideration. This film may appeal more to the younger generation.
You can rest assured that this is one of the best media adaptations I've seen, and it's the best Manga <> Live Action Movie conversion i have ever witnessed.
All of the main cast looks as if they have come to life direct from the manga, and they feel real and vibrantly true. About the only negative i could say is that Shin doesn't look young enough (mainly because he's too tall, his style however is perfect and natural). About the only character that didn't jive with me was Nobu, but apart from that everything is perfect - from Yasu to the members of Trapnest, to Sachiko to Juu-chan, all perfect, living as naturally as real life.
Full credit has to go to the stylists and costume designers, who took NANA's unique and wild style of clothing and made it a living breathing stunning showcase you want to reach out and touch.
With regard to the story, i have nothing but praise for the authentic adaptation and brilliant pacing of the story. The movie basically covers from where Nana (Hachi) got on the train to go to Tokyo and it ends just after the concert, when Trapnest came over to Nanaes's (plural possessive of Nana) apartment. The ending is one that feels right, and wraps up nicely the threads throughout the movie. It leaves open the possibility of a sequel and most importantly, doesn't change the source material.
For all of you out there who have never read Nana you'll be pleased that for the movie, NO PRIOR KNOWLEDGE OF NANA IS NECESSARY. So you can go and watch it right now.
I've already mentioned how closely the movie follows the source material, and it is a joy to behold the manga come to life and acted out for this 2 hour movie. I have a very short attention span but for NANA i was on the edge of my seat.
With the NANA manga featuring detailed themes of music and bands, a question is how well real life was able to bring to life the exultation of the songs. I wasn't that wowed by the first BLAST track, but the ending was definitely nice to listen too. In particular Trapnest sounded awesome.
I could write on and on singing my praises for this movie,So what are you waiting for, watch it!!!!!!
All of the main cast looks as if they have come to life direct from the manga, and they feel real and vibrantly true. About the only negative i could say is that Shin doesn't look young enough (mainly because he's too tall, his style however is perfect and natural). About the only character that didn't jive with me was Nobu, but apart from that everything is perfect - from Yasu to the members of Trapnest, to Sachiko to Juu-chan, all perfect, living as naturally as real life.
Full credit has to go to the stylists and costume designers, who took NANA's unique and wild style of clothing and made it a living breathing stunning showcase you want to reach out and touch.
With regard to the story, i have nothing but praise for the authentic adaptation and brilliant pacing of the story. The movie basically covers from where Nana (Hachi) got on the train to go to Tokyo and it ends just after the concert, when Trapnest came over to Nanaes's (plural possessive of Nana) apartment. The ending is one that feels right, and wraps up nicely the threads throughout the movie. It leaves open the possibility of a sequel and most importantly, doesn't change the source material.
For all of you out there who have never read Nana you'll be pleased that for the movie, NO PRIOR KNOWLEDGE OF NANA IS NECESSARY. So you can go and watch it right now.
I've already mentioned how closely the movie follows the source material, and it is a joy to behold the manga come to life and acted out for this 2 hour movie. I have a very short attention span but for NANA i was on the edge of my seat.
With the NANA manga featuring detailed themes of music and bands, a question is how well real life was able to bring to life the exultation of the songs. I wasn't that wowed by the first BLAST track, but the ending was definitely nice to listen too. In particular Trapnest sounded awesome.
I could write on and on singing my praises for this movie,So what are you waiting for, watch it!!!!!!
Wusstest du schon
- WissenswertesIn the story, since both main characters have the same first name, to differentiate one Nana to the other, Nana Osaki affectionately called Nana Komatsu "Hachi", because she thinks Nana Komatsu behaves like a dog, faithful but sometimes annoying. This is actually a play of word. The female name "Nana" is a homonym of the Japanese word "nana" that means "seven", and while "Hachi" is a common dog name in Japan, it is also a homonym of the word "hachi" that means "eight".
- PatzerWhen Nobu is playing his tape to Nana the first time, you can clearly hear a bass guitar in the song. This is not possible at that time since Ren left for Tokio long before that and Shin wasn't in the band yet.
- VerbindungenFollowed by Nana 2 (2006)
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Details
- Erscheinungsdatum
- Herkunftsland
- Offizieller Standort
- Sprachen
- Auch bekannt als
- Нана
- Drehorte
- Produktionsfirmen
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Box Office
- Weltweiter Bruttoertrag
- 34.673.880 $
- Laufzeit
- 1 Std. 53 Min.(113 min)
- Farbe
- Seitenverhältnis
- 1.85 : 1
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