Metro ni Notte THX (DVD) (Premium Edition) (English Subtitled) (Japan Version) DVD Region 2
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YesAsia Editorial Description
Based on Asada Jiro's bestselling novel, Metro ni Notte, a.k.a. Riding the Metro, plays with both fantasy and psychological elements, jumping constantly between past and present as the protagonist journeys through time. Director Shinohara Tetsuo (Heaven's Bookstore and Yokubo) uses the time-traveling premise to bring new layers to classic family drama themes of spite and reconciliation. Like the acclaimed Always - Sunset on Third Street, which Tsutsumi Shinichi also appeared in, Metro ni Notte gives viewers a nostalgic glimpse of days gone by, traveling through forty years of time as reflected in the life of Shinji's father, played by popular actor Osawa Takao (Crying Out Love, In the Center of the World). The film also co-stars Tokiwa Takako (The Mamiya Brothers) and Okamoto Aya (Moonlight Jellyfish).
The Premium Edition comes with the following special features:
|Metro ni Notte THX (DVD) (Premium Edition) (English Subtitled) (Japan Version) Metro ni Notte THX (DVD) (Premium Edition) (英文字幕) (日本版) Metro ni Notte THX (DVD) (Premium Edition) (英文字幕) (日本版) 地下鉄（メトロ）に乗って ＴＨＸプレミアム・エディション THX プレミアム・エディション Metro ni Notte THX (DVD) (Premium Edition) (English Subtitled) (Japan Version)
|Tsutsumi Shinichi | Okamoto Aya | Tanaka Min | Sasano Takashi | Hojo Takahiro | Yoshiyuki Kazuko | Tokiwa Takako | Osawa Takao 堤真一 | 岡本綾 | 田中泯 | 笹野高史 | Hojo Takahiro | 吉行和子 | 常盤貴子 | 大澤隆夫 堤真一 | Okamoto Aya | 田中泯 | 笹野高史 | Hojo Takahiro | 吉行和子 | 常盘贵子 | 大泽隆夫 堤真一 | 岡本綾 | 田中泯 | 笹野高史 | 北条隆博 | 吉行和子 | 常盤貴子 | 大沢たかお Tsutsumi Shinichi | Okamoto Aya | Tanaka Min | Sasano Takashi | Hojo Takahiro | Yoshiyuki Kazuko | Tokiwa Takako | Osawa Takao
|Shinohara Tetsuo 篠原哲雄 篠原哲雄 篠原哲雄 Shinohara Tetsuo
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|2 - Japan, Europe, South Africa, Greenland and the Middle East (including Egypt) What is it?
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篠原哲雄 (監督) / 堤真一 / 岡本綾 / 常盤貴子 / 浅田次郎 (原作)
公開年 : 2006
Other Versions of "Metro ni Notte THX (DVD) (Premium Edition) (English Subtitled) (Japan Version)"
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- Metro ni Notte THX (DVD) (Standard Edition) (English Subtitled) (Japan Version) DVD Region 2
- Out of Print
- Riding The Metro (DVD) (English Subtitled) (Taiwan Version) DVD Region 3
- Out of Print
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YumCha! Asian Entertainment Reviews and Features
Professional Review of "Metro ni Notte THX (DVD) (Premium Edition) (English Subtitled) (Japan Version)"
This professional review refers to Metro ni Notte THX (DVD) (Standard Edition) (English Subtitled) (Japan Version)
While some Japanese filmmakers, like Toshiaki Toyoda in films like Hanging Garden, are examining the fractures that make up the family unit as a reflection on Japanese society as a whole and speculating on where it is going to lead, the more mainstream filmmakers are showing a tendency to reflect their dissatisfaction with the current state of affairs by looking back on the past with the rosy glow of nostalgic ideal - almost certainly illusory - for when times were simpler, and the family unit was a secure and stable environment. No more so than during the feudal system, where everyone knew their place, be it ever so humble, and the virtues of honour, loyalty and duty where adhered to unquestioningly. This is proving to be the more lucrative ground for this rather conservative filmmaking trend, these values being promoted in bland samurai movies such as Twilight Samurai, The Hidden Blade, and When The Last Sword Is Drawn.
The appeal of such films is not hard to identify, the economic and social difficulties of the nation at present being washed away with the memory of when the nation was once a great empire. Inevitably, in line with such a reactionary and revisionist viewpoint, it would only a matter of time before this longing was translated into an actual desire to go back in time and correct the mistakes of the past. On the surface, Metro Ni Notte's time-travel storyline might seem innocent enough - a reflection on the past that allows one man to make a belated reconciliation with his father - but the ideology that lies underneath it gives us a fascinating glimpse into the current state of the psyche of the Japanese people today.
Based on a novel by Jiro Asada, Metro Ni Notte's reflection on the past follows a pattern familiar from other adaptations of the author's work like Poppoya, Failan, and When The Last Sword Is Drawn. Here Shinji has long had a difficult relationship with his father, to the extent that he has even legally separated himself from the family, changing his name from Konuma to his mother's maiden name of Hasebe. Although he works in the same business line as his father, as a salesman for a small clothing firm, his father's approach to business is much more ruthless and on a grander scale; the name Sakichi Konuma is famously associated with big business scandals and corruption. Although he doesn't see it, Shinji is perhaps rather more like his father than he would like to think, displaying a certain amount of cold-heartedness and having disowned to some extent his own family. This fact is pointed out to him, not a little ironically, by his mistress, Michiko.
One day however, a meeting with an old school teacher in the Tokyo underground is a catalyst that propels Shinji quite literally back into the past. Believing that he has seen his brother Shoichi, who died in 1964, Shinji follows him out of the underground station to find himself back in time on the fateful day when his brother died in October 1964. Can his intervention change the past? Or, as subsequent trips indicate, does he need to go back further and confront the real root of the problem - his father?
Although it is not particularly clear what instigates these sudden time jumps, the time travel episodes are intriguing from a psychological viewpoint as well as being an interesting plot device that allows Shinji to examine his own personality and gain a better understanding of his father by seeing the factors that influenced the man he would later become. What is more intriguing is the significance of the dates that Shinji jumps back to in time, which suggest a longing to return to the glory times of 1964, the year Japan was proud to host the Tokyo Olympics, as well as the war and immediate post-war years when everything went wrong for the nation. Shinji's journey to reconciliation with his father then could also be seen as a needing for the Japanese to come to terms with their past, and that's also an intriguing proposition.
Unfortunately, like the similarly themed Yamato, rather than revisiting the past in an attempt to come to terms with it, Metro Ni Notte displays a rather unsettling nationalistic tendency to idealise it and thus render it much more palatable for modern audiences. Like Junya Sato, as a director Tetsuo Shinohara also displays little in the way of imagination in his rather theatrical treatment of genre clichés. The transitions to the past are illustrated each time by an unimaginative flow down an underground tunnel in the Tokyo metro system, into a past where Shinji and Michiko's anachronistic appearances and disappearances in the rather stagy-looking pasts are never really questioned by the people they come into contact with. Shin'ichi Tsutsumi and Aya Okamoto deal with the subsequent contrivances gamely as Shinji and Michiko, bringing some measure of human interest to the situation but Takao Osawa's every appearance on the screen as the father Sakichi is incredibly mannered, each gesture a calculated attempt to put on a star turn.
Having seen what had to be endured during the war - in this idealised and forgiving light - Shinji is rather conveniently able to be reconciled with his father, who nevertheless remains the overplaying monster he always was. Presumably, this glossy, superficial return to the past is also meant to strike a feel-good cord with its Japanese audience, urging them for the sake of the family and the nation to be more tolerant and understanding of the abuses of the patriarchal system. It's an unconvincing proposition all around.
The film comes with a choice of Dolby Digital and DTS 5.1 mixes, both of which are well employed for the sounds, music score and directional effects with a fullness of tone and clarity, although it's not particularly heavy on the lower-frequencies. Dialogue, mainly on the centre channel, has a tendency to distort on louder exchanges.
by Noel Megahey - DVD Times