Let’s talk about the plot, Hideki, a businessman is trying to balance many things at a time. For starters, he is balancing work practices while simultaneously thinking of settling down with his girlfriend, Keiko, who also happens to be his colleague. He also has plans of expanding his business into Montana by proposing to his superiors about making a trip to a ranch there. Once Wada, who is the spokesman for the company, gets approval, they both fly to Montana. However, due to an accident, Wada gets hospitalized, and Hideki gets down to business. While there, he makes multiple business pitches to the locals, but sadly most of his ideas get shot down. Even when it seems all hope is gone, he meets a local farmer named Javier who slowly introduces him to the unknown place and lets him introspect, not only about himself but about everything.
Despite the fact that the concept of self reflection in a new place is somewhat clichéd, “Tokyo Cowboy” certainly is not just an uninspired repetition of such motifs, since it is such a constructive piece, where culture shock is balanced with accurate representation of human weakness. The characters are believable and the absence of a hero or a villain of the story helps a lot: conflict exists but there are no evil characters, only people struggling with their problems and using their problems to get closer to one another.
The depiction of humanity is honest and heartfelt, the central idea which is self discovery and is something more complex than simply asking someone what he does with his life, rather how he utilizes his life and the people around him, both at work and at home. As much as the work touches on various topics of human emotion from mundane to breath taking, such as introspection, embracing one’s uniqueness and wishing to become a better person, a calming undercurrent that runs through it all is certainty that the audience has felt all of these emotions at some point in the past. It is one of those works that are not overdone or overly simplistic in order to appeal to a wide audience.
The film encapsulates the cultural diversity embedded in language, tradition and everyday practices without resorting to derogative caricatures. From Tokyo Cowboy, one can vividly comprehend that active stereotype subversion has been achieved by intertwining different languages, but the meaning isn’t lost, since some sections have subtitles while others are cut-off tantalizingly on purpose inviting viewers to experience the story from a character’s perspective. The cross cultural amalgamation, which in essence epitomizes the reality of the world, in joining Hideki’s path towards self-realization, consumes an extensive range of stereotypes embedded in the cultural structure. In a similar vein Tokyo Cowboy reinforces what all its viewers are, hard working competent perseverant humans that have the potential of changing the world or the reality that surrounds them.
Furthermore, the film has its entertaining bits. There are so many different forms of media that poke fun at the complications that arise with global travel and turn it into a cheap and cringe comedy however that is not the case of the screenplay. Instead, the viewer is provided with stinging, witty, and subtle jokes. And this joke is funnier to those who know what it’s like to go to a new country and wear different clothes and use different gadgets. For example, there are funny illustrations of the process of getting used to a different way of life as Hideki gradually gets used to life in the village.
Everything from the visuals to how the A-List cast delivers their performances helps inject life into the characters, making them genuinely pleasing to viewers. Adding to the emotional complexity of Hideki’s character, Arata Iura puts forth a stunning performance, and his breakdown scene during a house party brilliantly encapsulates his prowess as an entertainer. He has good chemistry with Javier as well, and Goya Robles helps enable this earnest friendship with her own unique life experiences that are bound to resonate with viewers. As Hideki’s lover, Ayako Fujitani is an impressive Cast who portrays Keiko, a soft romantic character who has the emotional toughness to perfectly suit her character. The chemistry between her and Iura is wonderfully conveyed, especially with their expressive faces. Jun Kunimura leaves the audience laughing with his over-confident Wada Antics. His antics have the potential of causing him trouble but instead make him memorable. While the ranch owner Peg is an overused trope whom most writers make the primary antagonist, the writers stray away from that when depicting the character as a strong and stern individual. Robin Weigert’s performance is what takes Peg to the next level. Not only is Peg’s character memorable, but so too is the side character, the japan loving inn receptionist Cindy, played by Scout Smith, whose goal is to immerse herself into Japan’s culture and linguistics.
Place is a fundamental aspect of the story so in the making of “Tokyo Cowboy” the production crew put in every effort to make the film aesthetically pleasing. There might be intended visual focus in the two dominant settings in the film. The contemporary of Japan is cheerful and technologic enhanced and the close modest setting of Montana is casual yet full of life not only because of the people and animals but because of the nature that surrounds it such as vast fields and mountains. The colors of the film go hand in hand with Oscar Ignacio Jiménez delightful images. The music composed by Chad Cannon is quite nice and the theme song “Tokyo Cowboy” sang by the singer Mai Fujisawa is tonally and pleasingly gentle t the ears.
From the beginning to the end, the film “Tokyo Cowboy” is a story about finding oneself served with dry humor and a hint of drama. The plot is engaging due to superb acting and smart writing. The film manages to avoid turning culture shock into successive stereotypes, and instead imbues warmth, enabling the viewer to sympathies with the protagonists. Moreover, the emotional scenes appear natural with the emphasis on the exploration of human vulnerability, as the scenes don’t seem overly affected. Everything is wrapped up rather well thanks to the direction which seems impressive and the script which seems even better than that of Marc Marriott’s, Dave Boyle’s and Ayako Fujitani’s.
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