Crying Out Love, In The Centre Of The World (Hong Kong Version) VCD

The film then shifts perspective to 1986 and focuses on the budding romance between young "Saku" (now played by Mirai Moriyama) and Aki Hirose (Masumi Nagasawa), an intelligent "girl next door" type with a radiant smile and personality to match. Besides getting into a variety of adventures, the two eventually find themselves "dating" by recording messages for each other on cassette tape and exchanging them at school.

The narrative intercuts between the past and the present as we then follow the elder Sakutaro returning to his hometown, visiting old haunts, and eventually finding the cassettes Aki left for him. But it seems that Sakutaro isn't the only one who has returned. Ritsuko, too, seems to wander the same areas as her fiancé. But to what purpose? That question is tabled until the film's final act, but in the meantime, the audience is treated to a refreshingly well-drawn teenage love story, albeit, one that harbors a tragic secret.

It's not hard to understand why Crying Out Love in the Center of the World was such a box office smash. Although Takao Osawa and Kou Shibasaki are competent in the lead roles, the fate of the film really hangs on the performances of the two young actors, and they both pull through magnificently. Mirai Moriyama does a fine job as the young Saku, using his unique manga-like mug to great effect for scenes of comedy, romance, and tragedy and imbuing his character's journey from awkward teen to mature adult with a surprising sense of realism. Masami Nagasawa is a revelation as Aki Hirose, and a fine choice to play a character who so effectively changes her loved one's life. Able to convey intelligence, humor, and grace all at once, Nagasawa is a charming screen presence, able to change the tone of scene with little more than a smile. The romance presented here is of the chaste variety, and although some may question the believability of such a thing in the face of impending doom, the actors pull it off extraordinarily well. If anything, this movie is an old fashioned romance made relevant for a contemporary audience.

Ultimately, Crying Out Love in the Center of the World is a film that celebrates the bloom of youth and the thrill of first love. Even so, the film isn't just about nostalgia, but about finding peace and starting over. In a world where real closure is hard - if not impossible - to find, the bittersweet Crying Out Love in the Center of the World provides it in spades. If liking this movie makes me a sentimental fool, so be it.

By Calvin McMillin - LoveHKFilm.com

The film's premise and rather soppy titling does conjure images of mushiness and glib melodrama, but it ultimately reveals itself to be a very skillfully metered and sincere romantic drama. The narrative of the film begins by centering on Ritsuko, who mysteriously decides to leave her house and go on a "trip", but then shifts its focus permanently to her fiancé, Sakutaro, and his quest to find her and the reason why she left. He then follows her trail - a trail full of questions and many many audio tapes. Once this background has been established, the story then splits into two separate timelines; that of the present day and that of a remembered 1986. The film then employs a concept common to Asian romance films - that of a divisional barrier across which love must survive (as seen in such films as Il Mare, Ditto and Bungee Jumping Of Their Own). However, this film utilises it in a more esoteric and clever form by connecting the two lovers again through the use of audio tapes and an approaching typhoon.

Yukisada has every opportunity to pump those cellos and let the tears flow, but proves he is better than that, and allows the sentiment to delicately hover unspoken for the audience to respond to in their own way. Yes, there are strings and tinkling ivories on occasion but there is a calculated restraint and genuineness running throughout the film, particularly in the first half. Yukisada's direction is exceptional with unobtrusive handheld camerawork and a particularly skillful long-take-turned-tracking-shot that is quite powerful. His experience as an Assistant Director for Shunji Iwai shines almost transparently through this production with its use of "diffused light" in its cinematography and the occasional touches of piano scoring. Based on these common creative elements alone I would recommend this film to fans of Iwai.

The cast is quite exceptional. Takao Osama, who has appeared in some Iwai films and is one of Japan's more versatile actors, pulls off a memorable and sincere performance as the "present day" Sakutaro. Despite this, he is still dwarfed by the heartfelt acting of both of the main actors in the "1986" story, who really make the film a true gem.

Unfortunately, the film begins to falter slightly about three-quarters of the way in. A third element is introduced to the story with a minor twist that comes across feeling a little contrived and the ending felt as if it was dealt with a little carelessly. Apparently both of these elements are extraneous to the original novel and were perhaps not a wise addition to the film.

While the film runs quite liberally over the two hour mark, the pace never falters and never feels too long. There is plenty of story to tell and it's told from the heart. Just remember to keep some tissues handy.

8.5 Sony Walkmans out of 10

by Christian Were - heroic-cinema.com