"She isn't a bad girl, just high-spirited," says someone of Naomi, the heroine of John Williams' "Firefly Dreams," a coming-of-age drama nominated for a HIFF Golden Maile award this year. Ant-like aspirations
HIFF FACTS
By Scott Vogel
svogel@starbulletin.comAs veteran watchers of independent films are aware, this is not a promising piece of dialogue. In Hollywood, a line like that is a sort of code, indicating a rebellious young girl who must be taught life's hard lessons as a prelude to shedding her rough edges.
In Japan, a line like that appears to indicate the exact same thing, which means that "Firefly" unfortunately contains few surprises, its arc and structure almost identical to American films in this genre. Still, the plot and situations are at least nominally Japanese and the film is blessed with strong performances as well as a breathtaking scenic backdrop, both of which serve to mitigate its creakier aspects.
Seventeen-year-old Naomi (Maho Ukai) seems poised for a life of trouble, skipping school, partying heavy and (perhaps) selling topless photos of herself at 40,000 yen a pop. (It's a pity she couldn't be paired up with the kid in "The Day Toshi Was Born" -- see page 28. They might have made a wonderful Sid-and-Nancy-type duo.) This is one of those rare cases when a divorce turns out to be a good thing, as Naomi's parents split and she is sent to live with relatives in Ikeba, a small resort town.
"Firefly Dreams"
Screens at 6:30 p.m. Wednesday and Thursday at Signature Dole Cannery 18 Theaters, 735 Iwilei Road
Needless to say, the streetwise Nagoyan native clashes with the country jakes who take her in, Naomi's dyed blond hair prompting one local to compare her to an orangutan. And to her credit, Naomi remains stolid in her distaste for rural life for quite some time (until, that is, the screenplay finally wears her down).
The catalyst for change turns out to be Mrs. Koide (Yoshi Minami), a delicate and frail old woman who nonetheless is still capable of capturing, killing and plucking chickens with ease. Thanks to Minami's beautiful performance, the character is much more than an adage-aggrieved Yoda, however. An expert at dismissing Naomi's peccadilloes with a withering glance, she just as easily melts with sympathy at the young girl's plight. And when the actress' eyes light up -- as when she thinks back to her former love of dancing -- the tight close-up perfectly performs its task of illuminating the soul.
One wishes that the film wasn't otherwise so static, both story-wise and photographically (the camera rarely pans or zooms). Naomi's home life is given the schematic treatment (e.g., parents who rail against her skimpy clothing) and her rebellions (e.g., drinking booze) are tossed out with little regard for their narrative impact. It's as if the director himself couldn't wait to flee the claustrophobic commercialism of Nagoya for the serenity of the outlying areas.
Once there we witness a rather predictable flirtation between Naomi and a sharp-tongued local boy, as well as a personality clash with her cousin Yumi, a bashful, less worldly girl with whom Naomi has nothing in common. A rapprochement between the two later in the film is a laughable stretch and only serves to highlight the script's mechanical construction.
Nevertheless, "Firefly Dreams" is a worthy introduction to intergenerational conflict in Japan as well as the demands and consolations of history. And when its screenplay falters, as happens frequently, there's always that gorgeous scenery to keep you interested.
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