Over a decade after the Second World War left Japan in ruins, the inhabitants of a small suburb that lies in the shadow of the construction of the new Tokyo Tower piece together their day-to-day lives. The disparate families and individuals are sewn together by their reliance on one another and the small businesses in the area. Into the community comes young Mutsuko (Horikita) who has accepted an apprenticeship with 'Suzuki Auto', a company she envisages as one of the new powerhouses of the resurgent Japanese economy. Mutsuko is somewhat dismayed, therefore, when she discovers that Suzuki Auto is merely a small garage on Third Street with no connection to the vast automobile empire of a similar name.

Meanwhile Ryunosuke Chagawa (Hidetaka Yoshioka), the atrabilious store owner who dreams of being a 'serious' novellist, continues to reluctantly hone his craft by writing cliched adventure stories for a boys' comic book. Mocked by all of the other Third Street residents, Chagawa spends his days waiting for inspiration for his future masterpiece while his nights are occupied by drinking at a bar owned by the attractive Hiromi Ishizaki. Ishikazi finds herself in the unusual position of having to look after the abandoned son of one of her former friends, a situation where she uses Chagawa's intense affection for her as an advantage. Using her feminine wiles on lovestruck and none-too-bright Chagawa, Ishikazi persuades him to look after the boy, Junnosuke, until his mother wants him back. The writer of pulp fiction is dismissive of his young charge, providing him with only the most basic care. Yet a bond forms between the fragile Junnosuke and his unenthusiastic guardian when the youngster discovers that he is staying with the very author of his favourite comic books.

As this surrogate family becomes to form, the local doctor remembers the wife and daughter he lost in the war. Still imagining them to be waiting for him at home, he faces heartbreak each night when he discovers he is all alone. This remains a reminder that, despite the reconstruction of the city around, the wounds the war left are unlikely to heal anytime soon.

When one imagines Japanese cinema dealing with the fallout of the Second World War and the subsequent development of its miraculous recovery, one immediately thinks of the work of Yasujiro Ozu. The great auteur of Eastern cinema examined the society that was forming around him in the 40s and 50s, a country that was attempting to create a new identity while also resisting the cultural imperialism left by the reconstructionist U.S.A. His works very complex musings on the clash between the Japan of his generation and the one that was to emerge. 'Always: Sunset On Third Street' brings back memories of Ozu, but is a very superficial piece in comparison. Not that Takashi Yamazaki's film is without considerable enjoyment, yet it is clearly a sweeping drama intended to tug the heart-strings rather than a masterpiece to stand the test of time.

The director's intention is clear from two book-end scenes that are intended to create a swoon of admiration rather than a lasting impression. The story opens with a 'look what we can do' crane shot of the neighbourhood, full of CGI-recreated period detail and epic in scale. It ends, after a not insubstantial two hour duration, with the completion of the iconic, Eiffel-inspired Tokyo Tower observed in awe by all of the characters we've come to know. It's little surprise that the structure is used as a rather heavy-handed metaphor for the society it benevolently looks down upon and such a device is too calculated, proving to be as subtle as a knock on the head from an iron cosh.

'Always: Sunset On Third Street' is unashamedly sentimental and not intended to be a serious examination on the tribulations faced by a post-war Japan, though hints are thrown in hither and thither. As a glossy, big-budget soap opera, this is an often captivating, sometimes irritating production that is peopled by familiar characters. At times this is larger-than-life - especially with Mr. Suzuki's farcical anger problems - well-acted work that, when one ignores its more blatant emotional machinations, succeeds in entertaining for most of its 130 minutes. It's episodic in nature ensuring that the weaker sub-plots never become an overt distraction as stronger moments are just around the corner. The friendship between Chagawa and Junnosuke is often touching despite a needlessly exaggerated finale between the two. Hidetaka Yoshioka picked up a best actor award for his performance as Chagawa and he grows into the role as the story progresses. Maki Horikita is equally charming with a more simplistic character while Koyuki displays an enviable range as the troubled Hiromi.

This sumptuous work was lauded on its release and in this reviewer's mind was not derserving of quite the reception it got at the Japanese Academy awards. Nevertheless, though it may not trouble Ozu's reputation as one of Japan's foremost film-makers, it sweeps the more forgiving viewer along with its energy.

Movie: Set in Tokyo in 1958, Always - Sunset On Third Street takes place primarily on 3rd street and follows the lives of some of the residents living there. The film starts off with a young woman from the countryside named Mutsuko Hoshino (Maki Horikita) arriving in Tokyo via train to start her new job at an automobile company. At the train station, Mustuko meets her new employer Norifumi Suzuki (Shin'ichi Tsutsumi) and soon finds out where she'll really be working much to her surprise. Mr. Suzuki does not actually own an automobile company, but merely owns and operates a small, car repair company out of his home called "Suzuki Auto". Mustuko ends up moving in with Mr. Suzuki, his wife Tomoe (Hiroko Yakushimaru) and his young son Ippei (Kazuki Koshimizu). After some initial confusion and some harsh words exchanged, Mustuko (who's now called Roku by the family) settles down and works side-by-side with Mr. Suzuki repairing automobiles.

Right across the street from Suzuki's lives Ryunosuke Chagawa (Hidetaka Yoshioka) the owner of a toy/candy store. Ryunosuke is a writer who's fallen on hard times and instead of writing fine literature, he writes children stories for a monthly publication. This has led him to not only be shunned by his family, but made fun of by some of the other residents on 3rd street. One night Ryunosuke finds himself at the local bar down the road swooning over the beautiful bartender Hiromi (Koyuki). Hiromi has recently been entrusted with a young boy named Junnosuke (Kenta Suga) whose mother has abandoned him. After a little too much Sake and some eye-batting by Hiromi, she manages to convince Ryunosuke to watch over Junnosuke. The next morning Ryunosuke wakes up to find Junnosuke in his home and immediately regrets the decision. Before long Ryunosuke discovers that Junnosuke is a fan of his writings and the two grow closer together.

The remainder of Always - Sunset On Third Street deals with both families, their neighbors and everyday life on 3rd street. Seasons go by and it becomes obvious that times are changing in Japan. Throughout the film in the background, the Tokyo Tower is slowly being built. Technology and Western influence are invading everyday life in Tokyo where televisions, refrigerators and Coca-Cola are becoming household items. Despite being just 13 years after the war, effects are still being felt in Toyko by its residents. In the end Always - Sunset On Third Street is a nostalgic "slice of life" that is uplifting, fulfilling and very entertaining. At some points Always - Sunset On Third Street seems to go a little overboard with melodrama, but never quite feels overwhelming. Whatever minute shortcomings the film has seems insignificant to what it ultimately delivers, lasting quality entertainment.

Much of Always - Sunset On Third Street success has to do with the fine performances turned in by many of its actors. Kenta Suga and Kazuki Koshimizu are a few of the best child actor's I've seen in some time. Hidetaka Yoshioka, Maki Horikita and Shin'ichi Tsutsumi also turn in wonderful performances and really help bring you into the film. Of course none of this would have possible without the passion that director Takashi Yamazak brought to Always - Sunset On Third Street. Back in 2002, Takashi Yamazaki impressed me with his sci-fi action romp, The Returner . While it was hardly unique and had several shortcomings, the film made great use of CGI (including Transformer like planes) and was ultimately very entertaining. With Always - Sunset On Third Street, Yamazaki has taken his visual effect knowledge and integrated it perfectly into a traditional setting. The recreation of Tokyo circa 1958 is breathtaking as elaborate sets and CGI blend together to provide an enthralling backdrop. I for one can't wait to see what Yamazaki tackles for his next project.