NANA Standard Edition (Japan Version) DVD Region 2

NANA's success over the past six years has been quite astounding; having covered just about every known media from comic books and multiple CDs to video games and movie adaptations, its success has undoubtedly been phenomenal. Today the manga still thrives and it seemingly has yet to show any signs of slowing down. I have to confess at this point that I have never read the manga, and I'm willing to bet that very few people outside of Asia have been enjoying this series on the same level as the Japanese have been. Going into NANA then on a more personal note is an easy task; there's no sense of trepidation, wondering if it does its source material justice. Quite frankly, I don't know if it deviates from its original publication or if it's a rousing success. What I can tell you is that in this world of ever profusely flowing romantic dramas and teen angst tales, NANA is a fairly solid addition. Of course we must take into account that the film is a starting point, with a sequel already in the planning stages, and so I don't imagine that NANA the film can possibly cover anywhere near as much ground as the series of books undoubtedly has. I'm actually somewhat surprised that Yazawa's creation hasn't been adapted into an anime or TV drama, though at this stage I wouldn't be surprised if we see either at some point. With that said, we still end up with something that concludes on a nice note, not necessarily claiming itself to be a prelude to later events, and I imagine that prior to its theatrical run there was no such intent for expansion.

NANA is first and foremost a shojo comic. This means that for all intents it's geared toward a young female audience. These comics are usually stereotypical affairs, filled with plenty of melodrama and sappiness, and presumably this title would have been just the same. Judging the film, it seems as if Yazawa was onto something more. The most immediate standout is its sense of style, something that Japan has always managed to embrace on some bizarre level, from the swinging sixties up to more recent times that have seen Ganguro girls take the streets of Tokyo by storm. I’m not quite sure how to categorize NANA's appearance however; it's a fusion of Western and Asian ideas that can be identified by just about any viewer in some form or another. Certainly they're exciting and lavish and manage to individualize each player, giving a strong insight into their various lifestyles. Nana Komatsu dresses prim and proper as if to suggest an upper class citizen, yet she's from a humble background and carries the most bubbly and infectious personality that we could ever wish to see. Nana Osaki and the few friends around her inhabit more typical garments that are readily associated with the rock music that they play, i.e. lots of leather. Then there are various supporting characters that range from wearing patchwork threads or casual jumpers and jeans, to semi-Rastafarians and cowgirls. Indeed NANA has a visual flair that immediately separates it from some of the modern efforts of late, but that's not the only thing that it excels at in being a little wayward.

Yazawa presents us with two girls who are linked by a single number, that being seven (Nana). Not only do they share the same name, they also end up living in an apartment numbered 707. Of course, what goes on to be prevailing is the sheer number of amazing coincidences that take place from start to finish. People often say that the world is a small place and in NANA it most certainly rings truer than ever. Nana and Nana first meet on a train, they separate and meet in the same apartment by chance; Nana Komatsu's boyfriend Shoji is an art student studying oils, who meets a new girl at his work place who also just happens to be an art student specializing in oils. Later, Komatsu just so happens to win a pair of front row tickets to see Ren's new band TRAPNEST! Director Kentaro Otani helms his biggest hit to date with a keen sense of pacing, which is remarkable given how much actually hits us onscreen. Despite these glaring plot devices, Otani manages to weave them together very well, while still finding time to flesh out his protagonists. He does so by first of all telling us the story through Nana Komatsu's point of view, as foretold via narration. Nana Osaki, on the other hand, is explored through a series of flashbacks, which we see during her quieter moments of reflection. This makes things a little more interesting for the viewer, as neither character is able to fully open up to one another until much later. What's important is that, above all, they care for each other in their own way and provide the necessary space that they require. Still, Otani is left with the dilemma of choosing who to focus on and when. As we approach the final thirty minutes, much of NANA concentrates on Osaki, whereas just about a full hour prior sees Komatsu deal with problems brought on by her loved ones and herself. Although the title is NANA, which presumably signifies both characters, the film comes across as a main focal point for Osaki, largely due to Komatsu's narration which heaps praise upon the friend that helped in turning her life around. In the end though, we definitely see that both have become pillars of support for one another.

NANA could be classed as a celebration of having ambitions and taking the chances that are handed to you. Two of its main driving points are the aforementioned relationship studies and the dominant usage of music. Here the lives of everybody involved are waiting to be turned around by the one thing that they all share in common - enthusiasm for rock and roll. NANA quickly demonstrates the true power of song as Nakashima Mika belts out "Glamorous Sky," while Yuna Ito - in her debut - wistfully sings "Endless Story." With these being the film's main signature pieces, Otani does well to utilize them as essential narrative devices, as both have a strong emotional resonance when pitted with the central characters. Rather than relying on potentially fatal and melodramatic music cues, we have powerful anthems that challenge the viewer's senses and ultimately bring home a greater sense of fulfillment, especially when witnessing each respective character's reaction to said music as we learn that it's everything that they live for.

Crucial to NANA's success are the performances from its two leads. Miyazaki Aoi approaches her role with plenty of sincerity; after all, her Nana is the audiences' gateway into the film. Her narration is appropriately delivered, illustrating key points throughout, while keeping to a respectable minimum. Whilst onscreen she imbues her character with a great zest for life. Her bubbly, not overly bright, yet sweet persona makes for a likeable character, despite the inherent flaws that has seen loved ones distance themselves from her. Miyazaki is an actor who can instantly win over an audience with a smile that's enough to make the viewer feel safe and cozy. As an initial contrast, Nakashima Mika's Nana is an introverted, laid-back soul who bottles up her emotions by masking them with her outward appearance. Though her style is part of who she is, Osaki uses it as an extra means to shut herself out. She maintains a cool façade that her boyfriend Ren also employs in order to give himself a better reputation, whilst the reality is that she envies her new friend in many ways, and vice versa. Nakashima, who I know best for being a pop singer, has often experimented in the past, from catchy numbers to ballads and even adding extra spice in the form of jazz for a couple of numbers. In NANA she's given an opportunity to branch out and go the rock route with numbers penned from superstars such as HYDE, allowing her powerful vocals to extend beyond what she might be best known for doing. In both respects, as a singer first and foremost and an actor, Nakashima puts in a very commendable performance, and between herself and Miyazaki a heart-warming relationship is formed. The rest of the cast make do with what they have. Most notably perhaps is Ryuhei Matsuda as Ren (son of the late Yusaku) who isn't given much more to do than look broody, though he does keep things largely understated. The energetic Nobu, played by Narimiya Hiroki (who looks like he belongs in a band) elicits a positive, outgoing vibe that helps to keep his friends close. Above all, the casting is inspired, with enough authenticity from its performers to see things coast along breezily.

DVD
Panorama Distributions: the name might strike fear into many, and that wouldn't be the least bit surprising, all things considered. For this review I've been sent the single disc edition of the film, which isn't exactly a top-drawer release, being an entirely bare bones affair. Neither is the audio and visual side as solid as it could be. There is a special edition also available from the company, which comprises of two discs and a DTS soundtrack, which has curiously been omitted here.

A/V
Presented in an anamorphically enhanced aspect ratio of 1.85:1, NANA has only that to recommend it. While detail is generally pleasing and flesh tones appear natural, black levels aren't deep enough and contrast and brightness appear to be slightly boosted. In addition we have compression artefacts such as edge enhancement and macro blocking and an interlaced transfer that exhibits both combing and ghosting. All this on a double-sided DVD-9 makes this highly disappointing.

Japanese DD2.0 Stereo and DD5.1 Surround tracks are available, the latter of which marginally makes up for the relatively poor transfer. Of course the most important aspect is the film's soundtrack, which is given a nice workout, though it doesn't feel as charged as it probably should. That said the music segments are lively enough, with a few decent surround moments, and the film's dialogue never poses any problems. Optional English subtitles are also available and for a Hong Kong DVD translation these come across very well, with no dodgy grammatical or timing errors.

Overall
NANA surprised me a lot more than I expected it to by providing a story that doesn't go over the top with melodrama and actually presents characters in a realistic manner, each of whom have flaws and desires to be closer to those who can fulfil their perfect ideals. It's also a nice look into Japanese youth culture today, backed by a rousing soundtrack and charismatic performances. While a few niggles here and there suggest it might not be all too perfect, NANA is nonetheless an entertaining film. Shame then that Panorama Distributions hasn't done a great deal to honour it.

by Kevin Gilvear - DVD Times