Linda Linda Linda (Nobuhiro Yamashita, 2005)

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Michael Kerpan
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#1 Post by Michael Kerpan » Thu Mar 02, 2006 9:56 am

An absolute (albeit low-key) charmer -- in the vein of Isomura's "Ganbatte ikimasshoi" and Jeong "Take Care of My Cat" and the animated series "Azumanga Daioh". A look at high school life that is both intelligent and sweet -- this follows the travails of a quickly re-assembled girl's rock band getting readyu to participate in their high school's annual cultural festival. Bae Doo-na shines as a Korean exchange student who serves as emergency replacement for a lead singer who quit at the last moment over creative differences. But the other three group members are all well nigh perfect as well -- Yu Kashii as guitarist, Shiori Sekine as bass player and Aki Maeda as drummer.

The Japanese DVD, alas , does not have subtitles -- but this should be easy enough to follow all the same (though a few details remain a bit murky after my first viewing).

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#2 Post by Steven H » Thu Mar 02, 2006 11:14 am

Yeah, this one caught my eye as well. I think it was a pretty big hit in Japan, so I'm going to sit out the homegrown DVD and wait for Panorama or a Korean company to decide to put it out with subtitles.

As far as new Japanese goes, I really want to check out The Soup One Morning, but everything I read about it seems to tell me that I should wait as long as I can for a subtitled version.

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#3 Post by Michael Kerpan » Thu Mar 02, 2006 11:21 am

Unfortunately, BAE Doo-na is largely a prophet(ess) without honor in her own country. She isn't considered pretty enough or starry enough to warrant much respect. Her appearance in "Linda x 3" doesn't appear to have garnered a lot of interest in Korea itself, alas.

I am REALLY looking forward to her and SONG Kang-ho (et al) in BONG Joon-ho's upcoming science fiction film (The Host).

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#4 Post by Brian Oblivious » Thu Mar 02, 2006 6:58 pm

Wonderful film that I saw at a press screening for the SF Asian American Film festival running later this month. I can't picture watching it without subtitles; I was so thankful they bothered to translate the song lyrics, as they often added an extra dimension to the on-screen action.

But then, I'm not so committed to the pursuit of Japanese cinema that I've attempted to learn the language myself. Perhaps one day...

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#5 Post by Michael Kerpan » Thu Mar 02, 2006 7:42 pm

Brian Oblivious wrote:Wonderful film that I saw at a press screening for the SF Asian American Film festival running later this month. I can't picture watching it without subtitles; I was so thankful they bothered to translate the song lyrics, as they often added an extra dimension to the on-screen action.

But then, I'm not so committed to the pursuit of Japanese cinema that I've attempted to learn the language myself. Perhaps one day...
I actually sort of figured the lyrics out -- and have found full translation on the web after the fact. ;~}

More than half my movie watchging is probably unsubbed Japanese movies these days. Five or six years ago I would never imagined such a thing happenning.

MEK

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#6 Post by toiletduck! » Tue Dec 12, 2006 2:43 am

What a delightful little film! I just caught it at Facets here in Chicago and I couldn't think of a better way to spend a dreary rainy December night. Also worth mentioning is the very effective (and subtle) score by James Iha of the Smashing Pumpkins.

And who was the actress who played the senior girl who played guitar to help stall at the end (the characters name was Tomoko, perhaps? I can't find any info...)? We may just have the Japanese heiress to Scarlett Johansson on our hands.

-Toilet Dcuk

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#7 Post by Michael Kerpan » Tue Dec 12, 2006 10:20 am

toiletduck! wrote:What a delightful little film! I just caught it at Facets here in Chicago and I couldn't think of a better way to spend a dreary rainy December night. Also worth mentioning is the very effective (and subtle) score by James Iha of the Smashing Pumpkins. /quote]

This lovely film has proved to be quite expensive musically. So far, we've bought not only the soundtrack album (yes, Iha's music is marvelous), but two Blue Hearts box sets, several Base Ball Bear albums (the real band of the Shiori Sekine, the bass player) and a couple of albums by the broken-fingered guitarist/folk singer (Shione Yukawa).

Still my favorite film of the last couple of years -- I simply can't believe that it has never found an American distributor. (Or has it, finally?).

And who was the actress who played the senior girl who played guitar to help stall at the end (the characters name was Tomoko, perhaps? I can't find any info...)? We may just have the Japanese heiress to Scarlett Johansson on our hands.
Her name is Yuko Yamazaki -- and she is a member of a band called "me-ism". I've ordered their album too -- but Amazon Japan seems to be having trouble finding it. She really is a hoot in this film.

Interestingly, as well as Sekine, Yukawa and Yamazaki did in this film -- none are are actresses, but rather professional musicians who never acted in films previously.

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#8 Post by Michael Kerpan » Tue Dec 12, 2006 4:16 pm

Speaking of Japanese French films -- have you ever managed to see Suwa's "Un couple parfait"? (I haven't) ;~{

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#9 Post by Travis » Sat Dec 30, 2006 2:37 am

I loved this movie like I haven't loved many in awhile - when it was over I was sadder, more than anything else, that I wouldn't be able to spend more time with the characters anytime soon...

The lowpoint was the projectionist at the Grand Illusion losing the last reel and not finding it for fifteen minutes.

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#10 Post by Michael Kerpan » Sat Dec 30, 2006 2:02 pm

Travis wrote:I loved this movie like I haven't loved many in awhile - when it was over I was sadder, more than anything else, that I wouldn't be able to spend more time with the characters anytime soon...
The most exhilarating film I've seen since Millennium Mambo (and Take Care of My Cat). But -- I don't think I was sad to say good be -- as all good things must come to an end.

;~}

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#11 Post by Michael Kerpan » Fri Jan 12, 2007 10:31 am

It's here in Boston (well Cambridge, actually) -- at the Brattle Theate -- so maybe it actually has found an American distributor.

Addendum: And that distributor is Viz (which is best known for anime and manga distribution).

US DVD -- April 24, 2007

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#12 Post by kinjitsu » Sun Feb 11, 2007 9:53 pm

Voted Top Japanese Film of 2006 at Midnight Eye, plus Nobuhiro Yamashita interview.

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#13 Post by Travis » Sun Feb 11, 2007 10:32 pm

May 8th, now.

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#14 Post by Steven H » Fri Sep 28, 2007 10:16 am

Good news for Yamashita fans, his A Gentle Breeze In The Village will be coming out on DVD in Japan with English subtitles in December (12/21/07). It was a big hit at the TIFF this year (reviews: cinematical, film.music.philosophy, Eternal Sunshine of the Logical Mind) and sounds like a lot of people here would enjoy it. It seems that international attention wasn't in the cards for anything else by Yamashita between this and Linda Linda Linda, but there's another recent film by him available without subs Matsugana Potshot Affair, which sounds really interesting as well. Most of his earlier work can be found on yesasia.com (along with his segment of the compilation film Ten Dreamy Nights).

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Linda Linda Linda (2005, Nobuhiro Yamashita)

#15 Post by puxzkkx » Tue Nov 16, 2010 4:54 am

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Look at the above poster. What does it tell you about the film? I would begrudge Linda Linda Linda's marketing team for the false pretenses thrown up by the film's advertising, but on the other hand it may have drawn in an audience that wouldn't have given this film the light of day otherwise. Good thing too, because Linda Linda Linda isn't fluff at all - actually, it is one of the strangest, sweetest, saddest coming-of-age stories I've ever had the pleasure of seeing.

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The film's story is simple. We open in Shiba High School just before their end-of-year celebrations. For the senior students - our protagonistes included - this is the last hurrah before heading to university, the workplace or some other facet of adult life. The main characters' band has recently broken up - an argument between keyboardist Kei and singer Rinko over guitarist Moe's finger injury has left the group with three members - Kei, drummer Kyoko and bassist Nozomi. It is a race against the clock to find a new set of songs and a new singer for the battle of the bands in three days' time. Kyoko, Nozomi and Kei settle on a selection of 80s punk hits by the band The Blue Hearts, and on a whim Kei recruits Korean exchange student Son to be the new singer, even though she can hardly speak Japanese!

The arc of the story is predictable and the conclusion inevitable, but that only adds to this film's odd charm. After all, the story isn't the real point here - this is a film about friendship, about loss, about the divide between adulthood and youth, about growing up and about the alienation, boredom, fear and joy of the adolescent experience. The way director Yamashita deals with these themes is both joyous and, ultimately, heartbreaking.

The film's opening shot is captured through the lens of a grainy handheld videocam. A somewhat homely girl delivers, without affect, a few gloriously confused 'pro-youth' manifestos: "Don't let anyone tell us that when we grow up we stop being kids!", "Where are the real we? Are the real we here?". This is soon exposed as a student-directed ad spot for the high school's upcoming holly festival. The director frets about the girl's line delivery, she exasperatedly asks "can I go now?" - with this reveal we are shown that the 'sacredness of youth' so often glorified in pictures will not apply in this film. Linda Linda Linda's teenagers are hardly wet-eyed about their situation, so why should we coo in nostalgia?

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The characters in this film are adrift in their own little oceans, ready to cast off their youthful chrysalides and move into the ‘adult world’, but not entirely sure as to what being part of that ‘adult world’ entails. This is externalized through Yamashita’s roomy mise-en-scene and frequent use of long shots that show the characters ‘lost’ in their environments, becoming part of the scenery, and literalized in the character of Son, who is quite literally out of place. She has no friends - apart from a little girl with whom she speaks Korean (her relationship to this girl is never specified, she functions as something of an avatar of the youth Son is leaving behind) - and she can barely speak the language of the country she’s in. Bae Doona has proven herself time and time again to be a magnificent comic actor with a Lucille Ball-esque command of physical humour. Her performance here is a treasure, replete with both the actress’ unique funnywoman gifts and a rich sense of warmth and backstory that makes the gangly, awkward Son more than the sum of her individual tics and mannerisms. More on her later.

The first shot after the title follows Kyoko - the drummer who seeks to reunite the band - as she wanders through the halls of her school, the background buzzing with activity. The trappings of the school year are being put away as decorations are being put up - these actions, repeated throughout the film, become symbolic of the film’s approach to the traditional ‘coming-of-age’ paradigm: here, youth is being celebrated and deconstructed simultaneously. A tide is beginning to shift. James Iha (of the Smashing Pumpkins) composed the wonderful ambient score - one that is instrumental (lol!) to the film's success. The shifting guitars and atmospheric walls of sound reinforce the ideas of the characters' statis and eventual release, and there are many lovely small touches (such as the Pink Pantheresque theme that plays when the girls sneak into their school for a late-night rehearsal).

Yamashita shows a magnificent eye for composition, and he subtly reflects the film’s themes of beginnings and ends, of borders about to be crossed, in his skilful manipulation of shape within the frame. We often see environments ‘cut in two’, almost - characters positioned in between two different settings or glimpsed through doorways or anterooms. As the film wears on, and the characters come closer to the end of an era, we get more insight into their feelings. Close-ups become more commonplace, characters begin to be shot at odds with their environments, dominating the frame where they were once obscured by distance or other action. This is especially evident in a wonderful scene where Son, now blossoming in the presence of her new friends, much better at Japanese, her singing improving, sneaks off from the group right before they begin practice. She sneaks in to the school auditorium, stands on the stage - poised in the middle of the frame, her dark clothes a stark contrast with the off-white wall behind her. Make-believing she’s performing, she introduces - in Korean - her friends to an imaginary crowd. At this moment the awkward fish-out-of-water is gone and we see Son as the funny, confident, sweet girl she really is. Bae’s wonderful acting and Yamashita’s sly framing shows us how Son is beginning to build a home, and an identity, in this alien land.

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The dialogue in the film is sparse, rarely expository and realistic to a T. Conversations trail off, are interrupted or left incomplete. The acting is naturalistic. This treatment of the story, combined with Yamashita’s detached framing, lessens the sense of watching people work through a story and creates an atmosphere of being in the story. The relaxed mood of dialogue scenes and the gentle rapport of the lead characters does more to endear them to the audience than any amount of wordy speeches and emotional backstory would have. This approach - of feeling like you’re befriending these girls yourself throughout the film’s duration - greatly increases the suspense of the penultimate sequence and the mixed triumph and sadness of the ending. I’m making the film sound like teen-movie Antonioni, but it really isn’t - Yamashita has the wit to inject moments of observational humour (Kyoko talking to her crush on the phone as her brother does the world’s most pathetic push-ups in the room behind her; a brilliantly banal dream sequence) and lovely, subtle touches (Son begins the film trailing behind the other girls, by ¾ through she is leading the pack), the intuition to illustrate real moments of boredom and isolation and the grace to leave plot points unresolved (Kyoko never does tell her crush how she feels).

In style, Yamashita has the dry humour and languid aesthetic of a Kaurismäki or Jarmusch combined with the reliance on subtle, unshowy emotion and effect of Shimizu or Takahata, but he has an emotional openness and honesty that is all his own. His clear affection for his characters, and his skill in setting up theme and mood, turning the final passage into a fanfare of pain as well as triumph - as the characters finally take the stage, we see their performance intercut with an amazing selection of shots of the rainswept school - the lockers, classrooms, the swimming pool: all empty. The school year is over, as is the girls’ childhood. It is time for them to move on.

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A note to those interested in seeing the film - there are several instances where Korean is being spoken instead of Japanese, although they aren’t differentiated in the subtitles. A bit lame, seeing as the using of one language over the other in certain scenes is quite important. Son speaks Korean when she tells Kyoko that she should front up about her feelings for Kazuya, only to be told she’s ‘speaking gibberish’. Son speaks Korean to the little girl in every scene with her, in the auditorium scene and to Kei in the bathroom scene (which may or may not be a part of the dream sequence, I can’t really tell - Kei answers her in Japanese as if she understands Korean). Macky also speaks to Son in Korean when he is ‘professing his love’ in the equipment room, she responds in Japanese.

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Re: Linda Linda Linda (Nobuhiro Yamashita, 2005)

#16 Post by Michael Kerpan » Wed Nov 17, 2010 5:18 pm

Like your "appreciation" of this marvelous -- but some background comments/corrections.

Not "end of year celebration" -- but annual "cultural festival" (usually around late October or early November -- which is actually about the middle of the Japanese school year, which begins in April).

The little girl we see Bae with is (most probably) the daughter of the host family with whom she lives -- though we never see the parents of the family (lots of similar elisions here, so not too surprising). I don't _recall_ these two conversing in Korean -- I know some of this is definitely in Japanese.

Things are abandoned looking because of the unfriendly weather -- which interferes with the normal course of the cultural festival. For "teen Antonioni" (and even worse weather having a more drastic impact on high schoolers) -- see Shinji Somai's Typhoon club.

I always _assumed_ the bathroom conversation" really occurred -- but it is unclear. If not a dream, the fact that Kei can understand spoken Korean (but does not speak it) could be significant (especially since she is the one Japanese girl whose home setting we never see).

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Re: Linda Linda Linda (Nobuhiro Yamashita, 2005)

#17 Post by puxzkkx » Wed Nov 17, 2010 6:42 pm

Ah, oh well. Regardless of the time the film takes place and the interference of the weather I can still see the shots of the empty school at the end of the film performing the same function. :)

I already knew about some of the Korean passages from past statements you've made - although I swear I heard some 'L' sounds and lack of Japanese particles in the first scene where Son is talking to the little girl (who, yeah, I assumed was her host family's daughter although I'm sure Yamashita had a reason for not specifying this) about comic books. Although I could be wrong - Son almost exclusively responds with a curt 'yeah', possibly a sign that she doesn't fully understand.

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Re: Linda Linda Linda (Nobuhiro Yamashita, 2005)

#18 Post by Michael Kerpan » Wed Nov 17, 2010 6:50 pm

There is lots of regional and individual variation on pronouncing the r sound (in sysllables starting with r) in Japan. The typical is probably in between the English pronunciation of r and l (but closer to r than l).

The little girl was speaking very informally to Son -- who probably could understand but was mainly focussed on continuing her reading. ;~}

I found it quite entertaining to chat at some length with a 6-year old in Kyoto (daughter of the lady who ran the B&B we stayed in). Instant feedback whenever a mistake was made (none of the adult politeness in saying how well you spoke...). ;~}

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Re: Linda Linda Linda (Nobuhiro Yamashita, 2005)

#19 Post by puxzkkx » Mon Sep 05, 2011 10:41 pm

Some good reviews for Yamashita's new film My Back Pages:

a page of madness
Matsuken (AKA Kenichi Matsuyama) makes a second high profile appearance in as many years as a 60s/70s generation 20-something in My Back Page. Unlike Toru, the uncommitted protagonist of Norwegian Wood, here he gets to stretch his actor’s chops in a complex manifestation of a driven student radical, Umeyama. Based on the real life remembrances of critic Saburo Kawamoto, director Nobuhiro Yamashita (Linda, Linda, Linda) cast another rising star/heartthrob, Satoshi Tsumabuki (Villain), to play the role of Saburo as a young journalist – called Sawada for fictional purposes. The smartly directed duo get the rare opportunity to dig into the crazy times of social and political change with a cinematic chemistry that makes a beautiful emotional sense of the relationship between two complex men. My Back Page is a welcome addition to a recent spate of films dealing with the radical turmoil of 30 or so years ago. Coupling a bittersweet nostalgia with an unromantic looks at motivation, actions and consequences, it reveals and revels in an emotional honesty that says more than most history books.
Japan Times:
Yamashita, who is best known abroad for the dryly funny, rousingly energetic teen dramady "Linda Linda Linda" (2005), is not the most obvious director for this material, but from his start as a maker of zero-budget indie comedies (2000's "Hazy Life" and 2003's "No One's Ark" and "Ramblers"), he has been good at capturing not only grubby absurdities but also morally gray complexities. Working from a script by Kosuke Mukai, he exposes fugitive truths of character that another director, trying to make everything simple for a big audience, would either ignore or steamroller. ...Never the most concise of storytellers, Yamashita take his sweet time detailing period atmospherics and building to a climax that is uncharacteristically dramatic in a political/police thriller sort of way. But that was also the reality of the era, whose violent passions and acts now look as distant as the Warring States Period.

Toronto J-Film Pow-Wow:
Even though flawed (Sawada) or manipulative and evil (Umeyama), under Yamashita’s assured direction makes them both ultimately empathetic. The cast of hardboiled newspapermen, career-smart cover girls and abused revolutionary enablers are also illuminated in a positive light. Details of 6 mat hideouts festooned with revolutionary banners and the pre-computer age newsroom (think “All the President’s Men”) are carefully detailed and evocative of times, not too long ago, past. And most importantly, the showing the desires and failures of the 60s and 70s, warts and all, may be a more fitting legacy to a mixed up and fascinating time.
Very excited for this and happy that it is being well-received. All five of my favourite working Japanese directors - Nobuhiro Yamashita, Hirokazu Koreeda, Hitoshi Yazaki, Ryuichi Hiroki and Kazuyoshi Kumakiri - have new films coming out this year! Other talents like Sion Sono and Naomi Kawase have a couple... this year is a fantastic one for Japanese cinema.

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Re: Linda Linda Linda (Nobuhiro Yamashita, 2005)

#20 Post by Michael Kerpan » Tue Sep 06, 2011 12:27 am

puxzkkx wrote:All five of my favourite working Japanese directors - Nobuhiro Yamashita, Hirokazu Kore-eda, Hitoshi Yazaki, Ryuichi Hiroki and Kazuyoshi Kumakiri
Pretty much my list as well. Miwa Nishikawa and Naoko Ogigami are also contenders -- and Daihachi Yoshida and Satoshi are pretty reliable. Then there is Yoji Yamada (who is also still working).

Looking forward to Yamashita's latest.

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Re: Linda Linda Linda (Nobuhiro Yamashita, 2005)

#21 Post by puxzkkx » Wed Sep 07, 2011 8:06 am

Who do you mean by 'Satoshi'? Satoshi Isaka?

I haven't seen films by any of those directors except for Yamada, but I own two Ogigami films. Does Koreeda prefer the hyphenation when his family name is romanised?

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Re: Linda Linda Linda (Nobuhiro Yamashita, 2005)

#22 Post by Michael Kerpan » Wed Sep 07, 2011 9:59 am

The standard translation of Kore'eda's name is Kore'eda. The apostrophe signals that the name has two short e's -- rather than having a long e (which is often written as ee in transliterated Japanese). The hyphen used in spelling his name is, therefore, not really a hyphen but rather a different way of indicating a syllable break between the two ees in K's name.

Satoshi Miki (Adrift in Tokyo. Turtles Swim Amazingly Fast -- among other things).

Miwa Nishikawa -- Wild Berries, Sway, Dear Doctor (all very good)

Daihachi Yoshida -- Funuke: Show a Little Love, You Losers! is a brilliant black family comedy. Captain Kuhio and Permant Nobara are also quite good.

While Yamashita and Ogigami have their own distinct styles, I would say both must have been heavily influenced by Shimizu (even moreso than by other Japanese directors of that generation).

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Re: Linda Linda Linda (Nobuhiro Yamashita, 2005)

#23 Post by Michael Kerpan » Tue May 27, 2014 1:55 pm

Watched this again, with three students from Showa Boston who had never seen it. Like other Japanese college students we've shown this to, it was a big hit. They clearly did not find it "slow"-- but were attentive and laughed/giggled frequently.

My question is -- why did this fail to catch on when new -- and why hasn't anyone tried a revival? Maybe it would make some real money a second time around (in Japan at least).

My feeling, after _many_ viewings is that this one of those rare films that I woud rate as virtually perfect. Not a single thing I would have want done differently.

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Re: Linda Linda Linda (Nobuhiro Yamashita, 2005)

#24 Post by StevenJ0001 » Tue May 27, 2014 4:07 pm

Michael Kerpan wrote:Watched this again, with three students from Showa Boston who had never seen it. Like other Japanese college students we've shown this to, it was a big hit. They clearly did not find it "slow"-- but were attentive and laughed/giggled frequently.

My question is -- why did this fail to catch on when new -- and why hasn't anyone tried a revival? Maybe it would make some real money a second time around (in Japan at least).

My feeling, after _many_ viewings is that this one of those rare films that I woud rate as virtually perfect. Not a single thing I would have want done differently.
Agreed--delightful film!

Is this available subbed anywhere at all, to your knowledge?

EDIT: oops, may help if I read the thread before asking questions! :oops:

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Re: Linda Linda Linda (Nobuhiro Yamashita, 2005)

#25 Post by longstone » Wed May 28, 2014 1:33 am

I agree a wonderful film , using real musicians added some extra depth I think . I've played in bands since my school days and the band politics, practice sessions, studio visit etc. all seemed amusingly true to life .

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