Young Thugs: Nostalgia
Young Thugs: Nostalgia (岸和田少年愚連隊・望郷, Kishiwada Shōnen Gurentai: Bōkyō) is a 1998 Japanese film directed by Takashi Miike. It is based on the autobiographical novel Kishiwada shōnen gurentai: Bōkyō written by Riichi Nakaba. It is the prequel to the 1997 film Young Thugs: Innocent Blood. PlotRiichi's life begins with his father Toshi winning money betting on the gender of his child, then naming him after a move in the game of Japanese Mahjong. When Riichi wins a fight, his family gets him drunk and the next day he vomits into his recorder during class. His teacher Miss Itō visits his home and witnesses his father Toshi abusing his mother. Toshi begins sleeping with the stripper Akemi. Cast
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ReceptionReviewer Grant Watson of Fictionmachine called the film "an act of nostalgia looking back to Miike’s own childhood as much as Riichi’s. It is a somewhat loose and messy film, without a particularly strong narrative through-line, but when it does work it is marvellous. It’s scattershot but amiable, and absolutely sparks with Miike’s own distinctive style."[1] Reviewer of Asian Movie Pulse called it a "touching and heartfelt portrayal of childhood and growing up".[2] Reviewer John Charles of Digital HK Movies wrote, "The narrative is leisurely but involving, thanks to the characters’ peculiar interaction and the setting, which contrasts the student riots in Tokyo with the local excitement over the Apollo 11 mission" and that "one leaves NOSTALGIA feeling fulfilled, thanks to the estimable performances (the children are particularly good) and Miike’s deft approach, which is evident in almost every scene."[3] Michael Den Boer of 10kbullets.com called it "a character driven film that really showcases Miike’s talents as a director."[4] Calvin McMillin of LoveHKFilm.com called it "a strangely endearing coming-of-age story from the always interesting Takashi Miike" and "far more compelling than most films of its type."[5] In his book Agitator: The Cinema of Takashi Miike, author Tom Mes wrote that the film "is the apogee of Miike’s depiction of the childhood idyll."[6] References
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