Ever since he was born, Hajime possesses a significant advantage over his peers. For starters, Hajime is far from ever being ready on time and in that aspect, his dedication to being punctual is for people much unlike himself. Such traits of his make driving a principal bottleneck for him which also explains why he transitioned from a mail delivery position to a post office counter one. He has a sister, who is a Ganguro enthusiast, and he often contacts the talk radio to vent about his life, sometimes his sister and mother tune in and voice their thoughts on his posts, especially when he professes disdain for himself for being incapable to secure the love of a woman. Nonetheless, things seem to turn for the better when he meets Sakurako, a famous singer whom he doesn’t quite seem to get along with at first, yet, it becomes apparent to him that Sakurako does seem to feel an instant attraction towards him.
Reika on the other hand, is simply described as “boring” with no interesting attributes to her name ends up being one of the last people to get ready, and barely even manages to hold a conversation. As a result goodbye never crosses their friendship. Reika only started visiting Hajime’s dedicated Post Office station after she developed the ramifications of her obsession with collecting stamps, and even now, when she pins for just about the most tepid of stamp designs, I refuse to engage with her, nor have I any remembrance of her prior visits.
Nobuhiro Yamashita’s first part features Hajime and goes down deeply humorous directions with the cast, the protagonist’s eccentric, and his self-deprecating attitude all leading to amusing jokes. Yes, at certain points the comedic relief does switch to the eccentric side, almost like Vietnamese comedy, but the character’s intricacies being sort of sorrow plus the positive addition of Sakurako balance it out, making it quite the enjoyable experience If I do say so myself. Now and then, indeed, the comedy does dip into the ‘goofy’ side, but it does work well to accentuate specific moments.
Yamashita Yamaguchi adds a weird romance twist that comes fully unexpected, as well as a handful of heart throbbing plot throws, specifically the scene where, as well as the ones that include Reika’s life narrative and her bonding with Sakurako, it dives deeper and deeper alongside the protagonists past montage. Given that the extraneous and the other corner stroke of the Japanese letters’ concept is integrated here. As for the second section, it delves into Reika’s storyline and Sakeruko’s life lingering aftermath in a greater depth.
Looking at it from the angle of more than one person, the phenomena which is decisively Mixes completely dilutes the quirkiness which can be granted only to the movies created by Micuku Yamashita. The movie’s stylistic inclination is unwaveringly clad in eccentricity and self-induced absurdity. The post credits history also contains all the elements of romantic comedy, over the top drama but now it seems that this genre works to their strengths. The loose ends of romantic comedies that are linked with anime hardly stand in the medium for the characters make ‘Name 123’ out to be the best thing since sliced bread.
The clear and lustrous cinematography emoted by Yoichi Kamakari is blended perfectly with the general style of the movie and also a few images such as the night images along with the beach images strike the eye quite perfectly. Also, since then the way the post office is presented in both image and context is one of the more fascinating features of the film. The editing done and directed by Takashi Sato creates a fast pacing film yet again making sense in terms of the approach to the narrative. Though some cutting in the last portion would definitely aid the film as in 119 minutes its a bit too lengthy. Note, however, that the movie is indeed slightly overlong and that cuts toward the end would be helpful Masaki Okada as Hajime plays the likable clown with gusto, particularly in the first half crusted around a certain boundary which I think he should have crossed.
And now the two roles of those, Kiyohara apa Reika is more focused and less exaggerated appearing to be a more credible counterpoint to Hajime whom she seems to be nervous with. She was also great even when the character was dared too much but was just enough criticism in the less comic instances Plano Yuigahama of Rion Fukumuro as Sakurako gives yet another excellent performance in this film by being able to beautifully intertwine the two aspects of her character.
“One Second Ahead, One Second Behind,” for all its shortcomings such as lagging, its duration, and the fact that the story does not stand up to any sort of scrutiny, is, after all, a rather interesting film to watch, especially because of how it treats the genre of romantic comedy.
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