Noriko no shokutaku

If enjoy for example, the filmography of Takashi Miike but want something a bit more sophisticated I would advise you this is a must see. On the spectrum of those type of 'shock films', I would actually rate this a 10 star rather than an 8. It is probably the most disturbing Japanese film I have seen, and despite what the movie poster suggests, that is accomplished without any graphic depictions of sex, violence, or gore (excluding the last scene). All this to say, it is a very intense movie that left my jaw hanging open throughout the entire viewing thinking "What the f***? What am I watching?". Great movie!

This was a film that I'm pretty sure intrigued me back in college when it and it had been sitting on my Netflix list since then. I finally got it in the mail and decided to check it out. I came in pretty blind aside from that and didn't realize until I started it that it was from Sion Sono and technically a prequel, running concurrently and a kind of sequel to Suicide Club, a film I haven't see yet, but is on my short list. The synopsis for this one though is a teenager runs away from her family to Tokyo, where she gets involved with a strange group of people.

We start off learning one of our main characters, Noriko Shimabara (Kazue Fukiishi) has run away from home. She's from a small town of Toyokama, Japan and she flees to Tokyo. The movie is not told in a linear way and is broken up into 5 chapters. Each one is named after our 4 main characters with a final chapter to bring it all together to an end. Back to what I was saying, Noriko flees from home to Tokyo after a run in with her father.

It fills us in that she's shy and quite timid. Her father is Tetsuzô (Ken Mitsuishi) who is a local reporter. He's strict with her and she tries to impress him, taking on a position with her school's newspaper. One of the crusades she takes on is getting the school to allow them more time on the computer. This turns out to be a bit selfish since her father uses the computer at home. She is trying to find a way to connect through the internet to others. Noriko is unhappy that she wants to go to Tokyo for college but her father forbids it. Her two cousins who went there both came home pregnant and he thinks that will happen to her as well. Her drive to leave is even worse when she meets a former friend from childhood, Tangerine (Yôko Mitsuya), who is no longer going to school, but is something called an 'idol' which I'm assuming is similar to be a prostitute.

In Tokyo, Noriko assumes the identity of Mitsuko, her username for a site called Haikyo.com. She tries to meet with someone from this site as she doesn't know anyone else. Her name on there is Ueno54. Noriko goes to meet her at Ueno Station and after some investigation learns the number is for a locker. This brings her to meet Kumiko (Tsugumi) along with her family. It turns out not to be the case though. Noriko then learns some information about her new friend.

It's around this point where we learn how this ties into Suicide Club. 54 girls jump in front of a subway train to commit suicide. The other chapters in this are that Noriko's sister Yuka (Yuriko Yoshitaka) looks into what happened to her sister which also brings her to Haikyo.com. She disappears as well, but she leaves clues for her father to follow. She predicts what she thinks he will do. Tetsuzo does some of them, but he also loses his mind to find out what happened to his daughters as his family falls apart. This brings them all into world underneath to find out the truth.

Now I have to say that I'm a bit upset with myself for not doing a bit more research into this movie before watching it. I would have sought out Suicide Club first and then this. I did watch an interview with the writer/director Sono after completing the movie which made me feel a bit better that it doesn't really affect the story here. It really just seems to explain some aspects a bit more for the other movie.

Something I really liked about this movie is all of the social commentary that we're working with. I kind of want to break down the 4 main characters as each one really seems to be tackling a different issue with some overlap. This first chapter follows Noriko. What translate here according to Sono and I also do agree, is that she's growing up in a small town with a strict father. There aren't a lot of young women around her that she can connect with so she goes online. Even as a male, I did feel lost after college and it took me getting into this hobby of reviewing horror films which led me to podcasts that I really found my place and brought enjoyment to my life. I feel horrible for Noriko as she wants to go to college in Tokyo, but her father doesn't want her to as he doesn't understand. He thinks what happened to her cousins will happen to her as well. Playing off of this though, she's a bright girl with a thirst for knowledge. The strictness of her father really causes her to run away and into the situation she finds herself.

Chapter 2 then follows her sister Yuka. She ends up following her sister to Tokyo. What I found interesting here is that Noriko thinks of her as the golden child, but when we see from Yuka's point of view, she really admires her sister. We don't get that at all in the first chapter. Yuka does fit into the system a bit more though Japan is really known for their family ties and not dishonoring them. Yuka sees what Noriko does to put her down this path. She wants her father to find them though. She left clues like this is a mystery novel which is interesting. Seeing this from multiple points of view is a great way to build the story.

Next we then follow Kumiko who as I said, we thinks she shows up to Ueno Station with her family. We learn through this interaction that for work she will send people, including herself, to live out fantasies with the clients. The people that she shows up there with aren't really her family and they're pretending with another example is Noriko and her go to a man's house to pretend to be rebellious sisters for a lonely man who acts as their father. I found it interesting that this is something these young women could for money, but going back to how strong family ties are there. If you don't have family, you're probably lonely and would pay for the feeling that it brings.

The fourth chapter follows Tetsuzo as he tries to figure out what's going on. He follows clues that were left for him by Yuka and using the skills as a reporter it leads him to this suicide club. The movie does fill in a lot of things behind the scenes from it and from things in Suicide Club, which includes the major event of that movie. Tetsuzo is to blame for his daughters leaving and what happens to his wife, Taeko (Sanae Miyata). She can't handle her daughters leaving either. Tetsuzo also admits he chose his job over family and there's also a gap in the generations. He either cannot see that Noriko was unhappy or he willfully ignored it. He isn't connecting with his children and doesn't see the truth. It's sad to be honest and seeing how everything ends up as well.

I want to shift gears and take to this over to the pacing. I do think that we have some slight issues here if I'm going to be honest. It just runs too long. The runtime clocks in around 159 minutes and I think there's quite a bit that could be cut out without sacrificing anything with the story. What I found interesting was that this is a based off of a novel also written by Sono. During his interview he talks about would he adapt other writers work and he was hesitant. It feels like he adapted everything from the novel and didn't want to cut anything out which hurts the flow in my opinion. That's not to say that I hated this, as that's far from the case. It made me feel quite anxious for a good portion of it and the mystery worked. I even like the ending. It isn't how I prefer normally, but it works for how things play out. It really does feel the tone.

As for the acting, I thought this one of the strongest parts of the movie. I like how it established Fukiishi from the timid girl we see in the beginning to where she is when working with Kumiko in Tokyo. There's a drastic change and we see her living out her emotions with clients who aren't really her family. It all comes to a head with the climax for sure. Mitshuishi is also intriguing as we get growth from his as well. He is the crux of what causes all of the bad things to happen to his family and he hits rock-bottom in order to fix things. This is redemption story of sorts, but not necessarily with a happy ending. Toshitaka I thought was really good as well. Tsugumi is interesting as she is villainous, but I still feel bad for her. She's broken young woman who's hurting others, but also giving them a family that they desire. There are some deep seeded issues there that she's ignoring with herself as that's all she really wants. She has just dealt with bad things that she put up a wall and refuses to feel. I would say that the rest of the cast really does round this out for was needed as well.

This movie is a bit lighter on the horror than I was expecting. I bring this up as there's not a lot in the way of effects. The horror from this is the underworld that this family ends up dealing with. The blood we get does look good. We get images of what I'm assuming is Suicide Club. The climax has some blood, but that's all I can think of. The cinematography though was well done. We're delving into the past so it has that hazy look to it. I thought it was effective and the movie is shot well overall.

The last thing to cover would be the soundtrack. My favorite selection as used on the DVD menu. It is a classical sounding song that is just unnerving when coupled with things that we're seeing on the screen. It isn't horror in the traditional sense. It's the anxious driving feeling of seeing the things this family is dealing with for sure. I thought the score really fit there for what was needed.

Now with that said, this is an intriguing film. I'm a bit upset that I watched this before the original, but again, from what I read it doesn't affect it too much. I think this is an interesting social commentary of what these characters are dealing with. The acting really helps to bring this to life along with the soundtrack that fits very well. There's not a lot in the way of effects and if I have any negative things to say, it is just that this movies runs a bit too long so it does get repetitive. Not enough to ruin this though and I still enjoyed what I was seeing.

Love it or hate it, 'Noriko's dinner table' is oddly fascinating. Technically both a prequel and sequel to Sion Sono's much more grisly 'Suicide Club,' there are definite connections, and 'Noriko' works to fill in some gaps in the narrative writing of the 2001 film. At the same time, this readily seems like a strong standalone feature, with greater weight and meaning beyond visceral shock and loose threads - this is much less a thriller than it is a psychological drama. I'm not entirely sure what to make of it, but it has a feel all its own, and is peculiarly grabbing.

Far be it from me to employ a tawdry metaphor, but the story in 'Noriko's dinner table' makes me think of a sandwich. What initially impresses as the superficial plotline is reaffirmed more concretely in the end, and between these bookends is considerable substance that truly makes this film what it is. The tale begins as teenager Noriko, feeling uneasy and out of place with her life and family, runs away from home to meet an otherwise unknown acquaintance from an Internet bulletin board, and to seek her own way. It's a simple beginning, but where the narrative goes from there is distinctly captivating. Scenes play out with the actors also narrating the course of events and providing characters' inner thoughts, only further ingratiating the picture to us with its particular style.

With each fiber that comprises the narrative, there's a measure of subtlety to the active plot, while themes of 'Noriko' are much more plainspoken. The movie explores the idea of the lies we live, and what that does to us; the lies we choose, that we find meaningful; disconnection from family, from society, or from our own persons; and in the midst of it all, finding ourselves - or, alternatively, losing ourselves. It's filled with ideas of empathy, and what we can be for other people. More underhandedly, 'Noriko' also touches on notions of everyone and everything having a purpose - how discovering and fulfilling that purpose can bring true happiness, and be gainful in a very existential and philosophical sense. That all these concepts are tied into the darker, more foreboding aspects of the story makes us question ever more deeply what they mean for us.

This is also where it's especially worth mentioning 'Suicide Club,' because 'Noriko' is intended in part to round out some details of its predecessor. In the themes of this feature, and to a smaller extent in elements of the narrative, it does provide us a more complete image of what Sono was doing with 'Suicide Club.' Even so, when more predominantly considering the latter, adding 'Noriko's' contributions into the very mixed bag that the bloodier flick represents also serves to further confuse its plot. Its an unfortunate cycle - the facets of this movie that would bolster its antecedent, failing to fit neatly, then also consequently dampen the narrative here with their inclusion. In whatever ways one ties into the other, that 'Noriko's dinner table' broadly stands so well on its own somewhat magnifies the weaknesses and lesser coherence of 'Suicide Club,' and the kickback with their link is not advantageous.

There are definite deficiencies with this picture, also including camerawork that I don't necessarily find impressive. Yet the broad narrative writing is solid, and fantastic. So it is with the characters, too, and while a little hit or miss, the assembled cast is overall pretty swell as they inhabit their roles. Kazue Fukiishi is a solid lead as chief protagonist Noriko, capably realizing the girl's dissatisfaction, confusion, and shifting sense of identity. Yuriko Yoshitaka, portraying Noriko's younger sister Yuka, demonstrates able skill in a character arc that somewhat mirrors the protagonist's. I'm personally most taken with Tsugumi, who as Kumiko embodies a part requiring notable range, poise, and force of personality, and she deftly maneuvers the nuance. To emphasize these three is hardly to discredit anyone else involved though, and it's also worth mentioning the contributions behind the scenes of hair, makeup, costume design, and set decoration. Everything in this movie looks pretty great to these eyes.

Having watched Sono's 'Suicide Club' and found it enjoyable but wanting, and being vaguely aware of the association with 'Noriko's dinner table,' I wasn't sure what to expect. But I'm genuinely, pleasantly surprised. It's a little bit uneven, and not altogether perfect, but much more so than not it's admirably well-written. While the execution sometimes falters, most scenes are wonderfully orchestrated. The end result is a film that's engaging, entrancing, and not just satisfying, but rewarding. The story and characters are rich and enticing, focal points of a movie I'm happy to say I confidently recommend. If marginally imprecise, 'Noriko's dinner table' is a fun, warped, and pleasing feature, well worth seeking out.

A sequel to 2002's cult-status film "Suicide Club", director Sion Sono's "Noriko's Dinner Table" tells the compelling and profound tale of the collapse and reconstruction of the family unit. The story follows Noriko Shimabara (Kazue Fukiishi), a seemingly unhappy teenager who lives with her mother, father, and younger sister. To escape reality, Noriko begins to regularly visit the internet site Haikyo.com, a BBS where she begins to chat with other girls just like her. One of the girls, known only by the title "Ueno54", persuades Noriko to runaway to Tokyo so they can meet in person. Noriko willingly accepts and escapes to Tokyo, wherein she meets the real person behind the mysterious Ueno54 and learns her true name—Kumiko (Tsugumi). What Noriko soon discovers is that Kumiko operates a "family-circle" program, which specializes in taking in young girls and giving them new personalities and families…

With the release of "Suicide Club", a film that explored the disastrous effects that an enigmatic cult had on an entire population of youth, director Sion Sono not only created a memorable horror film, but also provided some social commentary on Japanese youth. And while it was effective in what it was trying to convey, many viewers considered it a gory, albeit somewhat intelligent film. Sono decided to take a different route with "Noriko's Dinner Table", this time around taking out the unnecessary gore and replacing it with a more introspective stance. The film is split up into various chapters, each dedicating ample time to the film's characters. While this might seem distracting for a film such as this, it does the exact opposite—the first-person narrative of the characters allow the viewer to understand some of the decisions they choose, why they choose them, and what they hope to arrive at after the decision has been made. It's through these narrative perspectives that provided the truly captivating moments throughout the film, wanting to see the outcome of characters I have gotten to know.

Probably one of the strongest elements of the film is the cast. Since Sono's attention to detail is so prevalent in this film, the cast had to be right on the mark. And they do a remarkable job. The highlight of the film is Kazue Fukiishi. Her portrayal of Noriko is a sight to behold and her transformation from being a stubborn, rebellious teen to an overzealous, rather detached individual is masterfully done. Noriko's family—her father played by film veteran Ken Mitsuishi and younger sister played by Yuriko Yoshitaka—are fantastic in their respectable roles as well. Actress Tsugumi in her portrayal as the chilling and austere Kumiko also brings to mind the exceptional acting talent so vividly on display here.

While "Suicide Club" showcased a telescopic overview of the shadowy "Suicide Circle" cult, which showed the cult's negative influence on numerous individuals, "Noriko's Dinner Table" portrays, rather successfully, how the mysterious cult affects a single family. It's a film that touches upon various contemplative societal issues such as individualism, family structure, alienation, and mind control on an enormous scale. With the release of "Suicide Club" a few years back, director Sion Sono had something to say. With "Noriko's Dinner Table", he takes it a step further, raising questions to issues that are relevant and meaningful today. A totally absorbing experience, I highly recommend it.

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I used to think of myself as (among other things) a cinephile, someone who had a taste for good cinema, whose Favorite Movies list was topped by some little known films. But I had seen nothing until Noriko's Dinner Table. I haven't seen Suicide Club yet. I hope to see it soon, but in truth it doesn't matter: right now I consider Noriko's my new absolute "best movie ever" and that doesn't depend on what it's part of or what other films has ever directed its author.

There are personal reasons behind that election, of course, but then, isn't every election personal, and what other meaning could hide behind the word "My" in "My Favorite Movies"?

Of course my familiar history or situation is or was extremely confusing, unstable, unhealthy, and unusual. But, maybe roleplaying is more than Japan's main existential issue. Maybe it's our entire culture's main existential issue. "The actor behind the mask", as in "Riding Alone for Thousand of Miles". The hidden heart, clouded in fat and entertainment and busy-ness, entangled in meaningless liasons that produce meaningless families; the confused heart that can only be brought out (exorcised) using a knife. And a camera.

The movie is divided into chapters, one for each of the main characters. And thus the viewer can achieve what the characters themselves can't: understand other people's motives and feelings.

This is my first review BTW, and will probably be the last. I'm not into sharing my views or anything like that... But in this case the impact was extreme and the reviews here weren't doing it justice so far.