Based on writer/artist Yazawa Ai's best selling "Shojo" (girl's) manga series which ran in the Japanese publication "Cookie" (Ribon), "Nana" had all the makings and elements of a hit movie - A young and attractive cast (check), a cool music soundtrack (check), trendy fashion (check) and an overly romantic "chick" friendly storyline (check and check). It's the type of movie Hollywood producers dream of and I wouldn't be surprised if someday, it gets remade by Disney with "High School Musical" alumni like Vanessa Anne Hudgens or Ashley Tisdale.
Yet, while Yazawa Ai's "kawaii" characters and melodramatic story does have its universal appeal and won many manga fans, the movie's success is in large part attributable to its magnetic and alluring star, Nakashima Mika.
When she debuted in 2002, her powerful vocals and ethereal songs garnered many adoring fans and sold even more albums. With her lanky "Olive Oyl" figure and striking good looks it was not long before she found herself starring in a movie.
In Otani Kentaro's (Travail, Avec Mon Mari) "Nana", Nakashima's first major film role, she plays it safe by portraying the title character of Ozaki Nana, a "sexy tomboy beanpole" singer who fronts the Japanese punk rock band "BLAST" (AKA The Blackstones), who are less like The Sex Pistols, Clash or The Ramones and more akin to Gwen Stefani and No Doubt than anyone else.
Lead singer Nana and lead guitarist Honjo Ren (Matsuda Ryuhei) were longtime lovers since their garage band days in Hokkaido, up until Ren's fateful decision to leave Hokkaido for bigger opportunities in Tokyo, a move which literally broke Nana's heart.
Two years later, wanting to follow her dreams of becoming a rock star, Nana decides to go to Tokyo as well to make a name for herself. By a chance coincidence she meets up with another young country girl who is also heading to Tokyo.
The hopelessly cute Komatsu Nana (Aoi Miyazaki), with her long boots, girlish pastel colored wardrobe and giddy personality is the complete opposite of the brooding, dark Nana O., yet by uncanny coincidence they share the same first name and age. Nana K. is heading to Tokyo to be with her boyfriend Endo Shoji (Hiraoka Yuta) who is going to art trade school there.
Nana K. and Nana O. part ways when they get to Tokyo but soon find themselves reunited again while out searching for an apartment. The two agree to share a modest, flat which by kismet/serendipity is on the seventh floor (nana kai) and is numbered "707" (Nana Hyaku Nana).
Yet luck is not with Nana K. as she loses her part-time job with a small vintage furniture shop as well as her boyfriend to another girl, the squeaky voiced, Lolita-like Sachiko(Saeko). Nana O. comforts Nana K. and they begin to form a special bond and friendship. Nana O. even gives Nana K. the complementary pet name "Hachi" (eight).
Nana O. also hits some rough spots. She reforms her old garage band from Hokkaido and begins playing at various small gigs. Yet Nana O. still can't forget her former lover Ren, who she discovers has since become a popular guitarist for the pop/rock band "Trapnest" fronted by Japanese- American vocalist Layla/Reira Serizawa (Hawaii local and J-Pop idol Ito Yuna), and it's up to Nana K. to help Nana O. by helping her get back together again with Ren.
This is Nakashima Mika's movie and she seems born to play the part of Yazawa's spunky heroine. Nakashima's confident and natural acting style is fun to watch and she brings a lot of charm and likability to her role. She seems at home with her character's rough n' tough punk persona which is all the more amazing since her real life J-Pop persona is completely different.
Miyazaki Aoi (Gaichu, Su-Ki-Da) is so darn cute in her role as naive Nana K. From her stylish girly clothing, to her all-too-sweet personality, she seems like a anime girl come to life. Yet Aoi makes it work and so the results are less irritating and contrived and more endearing and enchanting. She's the type of fantasy girl "otaku" boys would love to have as a girl friend.
Matsuda Ryuhei (Akumu Tantei, Gohatto, Cutie Honey) is also good in his role as Honjo Ren bringing the necessary coolness factor to his rocker role. His scenes with Nakashima are genuinely romantic and they have the right chemistry. One can't help but want to see their characters hook up.
The soundtrack for the film is awesome particularly the edgy "Glamorous Sky" produced by L'Arc En Ciel's front-man "Hyde" which has become Nakashima's signature song. Ito Yuna's tearful love song/power ballad "Endless Story" is also a definite winner and a personal favorite of mine.
While Otani's "Nana" is no "Purple Rain", it does share a lot in common with Prince's movie and other rise-to-stardom films such as the brilliant film "Once". Nana O's struggle to find fame seems to play a backseat to the romantic elements of the story. At its heart, "Nana" is a fairy tale for the MTV reared generation - a story about beautiful people, falling in love and finding happiness and fame. While the music adds to the film's mood and tone,"Nana" isn't a film about the art of making music or the creative process.
While manga purists may be find the movie's truncated story a bit irritating they can take some comfort at the 2006 anime TV series faithfulness to Yazawa's manga.
I loved "Nana" and it is easy to see why both the manga and film adaptation has found such a loyal fan following not only in Japan but around the world. Its universal appeal is a clear testament about the power of love, music and friendship, which needs no translation.
Yet, while Yazawa Ai's "kawaii" characters and melodramatic story does have its universal appeal and won many manga fans, the movie's success is in large part attributable to its magnetic and alluring star, Nakashima Mika.
When she debuted in 2002, her powerful vocals and ethereal songs garnered many adoring fans and sold even more albums. With her lanky "Olive Oyl" figure and striking good looks it was not long before she found herself starring in a movie.
In Otani Kentaro's (Travail, Avec Mon Mari) "Nana", Nakashima's first major film role, she plays it safe by portraying the title character of Ozaki Nana, a "sexy tomboy beanpole" singer who fronts the Japanese punk rock band "BLAST" (AKA The Blackstones), who are less like The Sex Pistols, Clash or The Ramones and more akin to Gwen Stefani and No Doubt than anyone else.
Lead singer Nana and lead guitarist Honjo Ren (Matsuda Ryuhei) were longtime lovers since their garage band days in Hokkaido, up until Ren's fateful decision to leave Hokkaido for bigger opportunities in Tokyo, a move which literally broke Nana's heart.
Two years later, wanting to follow her dreams of becoming a rock star, Nana decides to go to Tokyo as well to make a name for herself. By a chance coincidence she meets up with another young country girl who is also heading to Tokyo.
The hopelessly cute Komatsu Nana (Aoi Miyazaki), with her long boots, girlish pastel colored wardrobe and giddy personality is the complete opposite of the brooding, dark Nana O., yet by uncanny coincidence they share the same first name and age. Nana K. is heading to Tokyo to be with her boyfriend Endo Shoji (Hiraoka Yuta) who is going to art trade school there.
Nana K. and Nana O. part ways when they get to Tokyo but soon find themselves reunited again while out searching for an apartment. The two agree to share a modest, flat which by kismet/serendipity is on the seventh floor (nana kai) and is numbered "707" (Nana Hyaku Nana).
Yet luck is not with Nana K. as she loses her part-time job with a small vintage furniture shop as well as her boyfriend to another girl, the squeaky voiced, Lolita-like Sachiko(Saeko). Nana O. comforts Nana K. and they begin to form a special bond and friendship. Nana O. even gives Nana K. the complementary pet name "Hachi" (eight).
Nana O. also hits some rough spots. She reforms her old garage band from Hokkaido and begins playing at various small gigs. Yet Nana O. still can't forget her former lover Ren, who she discovers has since become a popular guitarist for the pop/rock band "Trapnest" fronted by Japanese- American vocalist Layla/Reira Serizawa (Hawaii local and J-Pop idol Ito Yuna), and it's up to Nana K. to help Nana O. by helping her get back together again with Ren.
This is Nakashima Mika's movie and she seems born to play the part of Yazawa's spunky heroine. Nakashima's confident and natural acting style is fun to watch and she brings a lot of charm and likability to her role. She seems at home with her character's rough n' tough punk persona which is all the more amazing since her real life J-Pop persona is completely different.
Miyazaki Aoi (Gaichu, Su-Ki-Da) is so darn cute in her role as naive Nana K. From her stylish girly clothing, to her all-too-sweet personality, she seems like a anime girl come to life. Yet Aoi makes it work and so the results are less irritating and contrived and more endearing and enchanting. She's the type of fantasy girl "otaku" boys would love to have as a girl friend.
Matsuda Ryuhei (Akumu Tantei, Gohatto, Cutie Honey) is also good in his role as Honjo Ren bringing the necessary coolness factor to his rocker role. His scenes with Nakashima are genuinely romantic and they have the right chemistry. One can't help but want to see their characters hook up.
The soundtrack for the film is awesome particularly the edgy "Glamorous Sky" produced by L'Arc En Ciel's front-man "Hyde" which has become Nakashima's signature song. Ito Yuna's tearful love song/power ballad "Endless Story" is also a definite winner and a personal favorite of mine.
While Otani's "Nana" is no "Purple Rain", it does share a lot in common with Prince's movie and other rise-to-stardom films such as the brilliant film "Once". Nana O's struggle to find fame seems to play a backseat to the romantic elements of the story. At its heart, "Nana" is a fairy tale for the MTV reared generation - a story about beautiful people, falling in love and finding happiness and fame. While the music adds to the film's mood and tone,"Nana" isn't a film about the art of making music or the creative process.
While manga purists may be find the movie's truncated story a bit irritating they can take some comfort at the 2006 anime TV series faithfulness to Yazawa's manga.
I loved "Nana" and it is easy to see why both the manga and film adaptation has found such a loyal fan following not only in Japan but around the world. Its universal appeal is a clear testament about the power of love, music and friendship, which needs no translation.