This drama wouldn’t work so well without the one-two sucker punch of a mini-version of the Yui-Ryo characters OTP. She just wants so much dough she can hand select her greasy European hottie, have her own private jet (this very important to Wakaba), and a penthouse apartment in Manhattan. Dart out of the door and start calling every major firm in Tokyo and lining up interviews. In case it’s not obvious, Hinata lurves Emitaro, Shota’s equally doofy son. Wakaba has work to do, so Shota gladly offers to watch Hinata at his place of employment along with other kids. She gives it her all, and there is no possibility or room for failure in her vocabulary.
that was is what high-schoolers go through these days??? She later spams him with text messages about how she won’t give up on their love and all that sad, desperate sh*t, and even tries to lure him back into the library hoping to trigger memories of their lusty little interludes in the General Reference section, but he never comes!!! And then there’s something about Mika discovering Hiro’s blue diary (!!! Few productions can out-makjang the makjang, but Koizora manages to do just that! This doesn’t mean that the societal evils and hot-button issues tackled in Koizora do not exist; my beef is with the overweening treatment these topics are given in the film: there’s no real gut-wrenching gravitas to the story, only a glib artificiality to the plot contrivances – as if the writer were pulling randomly from a grab bag of Horrible Things, hoping to meet some sick boo-hoo quota.
Back in my time all me and my chums ever did after school was hang out at the benches under the trees discussing books or our favorite alt-rock bands, or we’d hie off to the nearby mall to play Whac-a-Mole at the gaming arcade before blowing our allowance on Dairy Queen Blizzards and The Mighty Ducks collectibles. Back at school, Mika sees Hiro in the library aka the Room of Unprotected Nookie. ) filled with pictures upon pictures of her, and Mika looking at the sky smiling, and origami birds on a train. The problem with this type of narrative – and melos/makjangs in general – is that it desensitizes the viewer to the multiple whammies (gang-rape! This kind of melodrama-pastiche treatment also cheapens the true-to-life experiences of people in the real world who been victimized by gang-rape, or battled an incurable disease, or lost a stillborn child.
Hold your thoughts on the matter; all I’m going to say is that soon, very soon, Miura and I are going to have a very, very long chat. In both movies, Miura romances the female protag (played by Aragaki Yui and Tabe Mikako, respectively), first as a bleached-haired badass biker boy in Koizora, then as a high school Prince Charming in Kimi ni Todoke.
Although Koizora and Kimi ni Todoke are hugely different movies in terms of material and themes explored, the one thing they do have in common is the pretty.
So she goes through a little adolescent angst, gets her heart broken for the first time, experiences the requisite coming-of-age pangs of Puppy Love? Our naïve little heroine finds love, all right – plus a whole sh*tload of complications, some even of the criminal variety (tsk tsk). The movie starts out innocently enough: A twenty-something Mika (Aragaki Yui) looks out the window of a train reminiscing her First Love, who may or may not still be alive, but whom we can safely infer is no longer in her life.