Train Man (2005, Densha Otoko) is the film version of a supposedly true story of an internet love connection. The tale was a massive pop culture hit in Japan, spawning a tv show, manga, a book, and of course, this quick turnaround commercial flick, made and released within the span of a few months.

The story concerns a geek, the Japanese term which has also been appropriated by US anime/manga fans, is otaku. Like many negative terms, otaku went from being a put-down to a positive definition used to peg those who are obsessively concerned with arrested development interests like comic books, video games, and general geek culture pursuits. Anyway, our socially awkward otaku (Yamada Takayuki- Waterboys, Dragon Head) briefly bursts out of his shell by coming to the defense of a lovely young woman (Miki Nakatani- The Ring/Ringu 1&2, Rikidozan) who is being harassed on a train by a drunk businessman.

Being a 22 year old virgin whose existence consists of keeping to himself at a cubicle at work, turtling up and never making contact/conversation when out in public, and a life of collecting action figures, reading comics, and watching movies, this is his first interaction with a girl and he is clueless what to do. He turns to the internet for help (the true tale supposedly took place on Japanese largest chat site 2channel) where he goes by the name Train Man. The justification for their continued correspondence and meeting is that she mails him a gift for his help, a set of posh Hermes tea cups, which is the name we know her by, Hermes.

Through the internet, Train Man gets his crash course on dating, help in changing his appearance, picking spots to go to, conversation, much of it coming from the chat site people, represented in the film by a lovelorn nurse, a brooding teen, a distant married couple, and the guys who get the most airtime, a trio of videogame geeks. The chatters realize what a big deal it is for Train Man, how being successful in breaking out and forging a connection with this Hermes is a life-changing event for him, and the chatters become emotionally invested in every step Train Man takes.

Okay, despite being grounded is supposed reality, the film makes no qualms about painting the scenario in strictly romantic fantasy terms. Train Man is a stuttering, naive mess, and even though he cleans himself up with some fresh duds, a swank haircut, contact lenses, and keeps conversation notes on his Palm Pilot always on hand, it is a gigantic leap to think a cultured girl like Hermes would have any attraction to him. She is the perfect geek figment, someone pretty, good-natured, warm, and sweetly tolerant of his awkward nature. Sort of through luck, he becomes her fancy dining companion, one of her hobbies. And, of course, when he gushes over The Matrix, despite not being big on movies, she is enthralled enough by his talk to go to a video store and rent the movie. (Sorry, but if being savvy with cinema nerd knowledge got you chicks, I would have gotten laid more than Wilt Chamberlain). But, again, its fantasy, furthered by things like the wardrobe, which is like a uniform, Hermes always in demure cream colored dresses, Train Man in either his geek Gundam t-shirt and green windbreaker or his try to be cool outfit of a hip blazer and jeans.

So, the two don't seem like a likely pair to gel in reality, but, as I said, this is strictly fantasy where wealthy beautiful girls with expensive tastes see some kind of charm in twitchy nerds who unconvincingly try to wear the camouflage of a cool kid. The real problem I had with the plotting was the finale cop-out. Of course, like all romantic films there is a third act stumbling block (a weepy moment with our poor love struck hero in the rain, of course) and then a grand reveal where they pledge their love for one another, share an kiss, and walk off into the sunset. The cop-out is that while you can clearly see why he'd be attracted to her, aside from him being nice, you don't see why she would go for him, and the writers chose a last minute, seemingly tacked on bit where she explains why she likes him, including many things we were never shown. The writers almost get positive points for having him literally shed his cooler guy exterior and face her in full geek glory at the end, but the execution was extremely smarmy.

Dammit, this is just not my kind of movie. In general, I'm a cynical fucker and these kind of chick flicks just don't fly with me. But, I had, like many people, terrible teen years, including about two years where was I was so socially awkward I had zero, that's right zero, friends. Of course, once I opened up that all went away and I had friends, girls, best buds, enemies, and all the normal social drama. Also, as a pre-teen I collected comics, still own a handful (or two) of action figures, and have many geekish interests, but since I consider 98% of anime and comics to be crap and would rather buy an art book or a new guitar pedal rather than own all the Simpsons figures, I'm hardly an otaku. Yes, I'm the kind of geek, content in my geekdom because I know there are people ten times worse. That said, I can relate. So, despite the prickly bastard within me that sneers at nerds like Train Man and has contempt for saccharine romance flicks,... well, I actually found my defenses a little broken down by Train Man. It isn't my kind of movie, I think its total bunk, but I realize the need some people might have for a genuinely warm and effective sentimental fantasy. And, I'm not so pigeonholed in my taste not to realize Train Man is a spiffy production with decent characters (as unreal as they may be) and engaging actors.

But, for a guy like me, it still would have been neat if they pinned on an extra bit where Hermes see's Train Man's apartment for the first time and shudders in horror.

Conclusion: A sappy true fantasy, Train Man makes no pretensions and wears its sugar-coated story proudly. It is the kind of superficial commercial vehicle that could only be called offensive in its utter inoffensiveness.

Timid I.T. worker Tsuyoshi exists in his own cloistered world where computers and anime are more important than real human contact. His only real link to the outside world is his regular visits to a chatroom where his sobriquet is 'Train Man' and where he can maintain friendships in a controlled environment. Despite his nervy, almost cowering demeanour makes him practically invisible on the streets of Tokyo, he finds himself reticently coming to the rescue of a damsel in distress on a city train, an act that changes his life forever. Not only do the bystanders applaud his bravery at confronting the drunken brute who is pestering the passengers, but the young woman, Saori, also promises to reward this reluctant hero. Though his online advisors advise him not to take her words too seriously, she does indeed buy him something very special and Tsuyoshi is stunned by her actions. A way out of his self-imposed exile is now offered to him and he plucks up the courage to ask her out to a restaurant. As an unlikely friendship slowly gains momentum, Tsuyoshi realises that he must eventually rely more on his own personality than the counsel of his cyber-friends.

The opening shots of Murakami's Masanori's 'Train Man' set the ambience for the rest of this progressively rewarding work; the sprawling cityscapes dwarf our hero while he goes about his monotonous daily routine and the busy Tokyo inhabitants rush past him with little interest in his existence. Masanori uses these brief cut scenes to develop our sense of sympathy for Tsuyoshi, but also to show what a pariah he really is - the moment when he is ignored by someone handing out samples of men's aftershaves is an obvious and yet very effective way of highlighting just how pathetic people view him. Tsuyoshi is also festooned with stereotypical uber-geek clothes and apparel, from long unkempt hair to token anorak. Though these elements are not especially subtle, 'Train Man' is never a film that mocks its hero nor uses his eccentricities for cheap laughs. There's very little doubt as to whose side the director is on.

The beauty of 'Train Man' is also, initially, a frustration. The development of the characters is purposeful and as cautious as the gentle lead, while the background players are roughly sketched in the earlier stages. This implies a lack of care on the part of the director and screenwriter, but 'Train Man' is a film that requires some patience before the facets under the surface begin to reveal themselves. Such a statement also explains why such an unlikely romance is possible; the two main protagonists are poles apart in terms of personality, but the gradual revelations that emerge make their relationship much more believable.

'Train Man's narrative pacing verges on the ponderous at times though it builds to a captivating finale where Tsuyoshi and Saori declared their feelings for one another. This is a predictable generic convention and hardly deviates from the typical rom-com denouement, but the unconventional 80 minutes prior to these grand scenes make the viewer particularly eager to see this outcome. Director Masanori also uses this ebullient ending to remind us how important some of the incidental moments of the story are; this proves to be a master-stroke, superbly delivering a delicate message of how vital the seemingly unimportant moments are in a relationship.

As the narrative unfolds from the eponymous character's perspective, it takes time for questions to be answered, though even then certain aspects are ignored. Alongside a few examples where the style overcomes the substance, this is the weakest part of an otherwise triumphant production. 'Train Man' thrives when the romance is the focal point and begins to struggle when there is too much emphasis on Tsuyoshi lengthy consultations with his allies. Thankfully the film gains confidence in its leading pair as the narrative progresses; the second half of the story is a more introspective and therefore far more touching continuation of earlier themes.

With a genuinely affectionate central romance, a captivating female lead and a hero who is believable, bewildering and ultimately winning, 'Train Man' is certainly to be commended. The zany Japanese quirkiness may be over-emphasised at times, but beneath the surface this is a sweetly observed rom-com that delights far more than it exasperates. Few genre productions can take convention and make it appear so fresh and so very appealing - this, perhaps, is the perfect summary of a work that punches well above its weight.

Although I've never seen the actual threads (or probably wouldn't be able to read them anyway since they'd be in Japanese), nor have I seen any of the other publications, I can't compare the film. The movie sheds light to all those shy people out there that have a hard time finding a girl. It was interesting to see the movie not only follow the young man and woman, but also some of the viewers as they feed him advice. Sadly, this is also the down-point in the movie, because I felt some of the supporting characters were rather annoying and even sometimes confusing (mostly the three young guys). Regardless, the movie is an interesting and original look at love and where it can take us. Although it doesn't necessarily tug at one's heart like other Romances, it does deliver the audience a nice kind-hearted story. I'd recommend it for those looking for something a little diferent in terms of romances.