Whudepuck I had to watch this film for an university class. I liked how the main character was neither this nor that- He was neither Japanese, nor Korean. Neither South nor North. At the end of the movie he seems to accept that he is a Japanese born Korean, which shocked me. What shocked me more was that he was temperamental to all hell, but he was shown actually applying to schools and whatnot. While this movie does embody some patriarchal strains, to classify it as a "sterotypical Japanese" film would be incorrect as it is a movie told from a teenage boy's perspective. The quirks that the main female character has is a quality that endears her to him. Likewise, it is his ability to act out of context with societal roles that endears him to her. She admits to being attracted to his eyes after a fight- because they symbolized the wildness she sees in him. It's a sweet romantic film. Would I read deeper into it? No. Nice, sweet, fluffy and dramatic, but in the end it illicits the same "aw" if you can overlook the mixed in sadness, anger, and violence that subtly permeates the film.

heinen04 First of all, I loved this movie--loved it. It is a great portrayal of how strict the laws are against "aliens" in Japan. Told from the point of view of a Japan-born Korean Sugihara, Sugihara endures torment and the possibility of lost love simply because he is a Japan-born Korean. It does not matter that he attends a Japanese school (so that he is able to attend University as Korean schools are not recognized by Japanese higher education), speaks fluent Japanese, and has never even been to Korea, he will never be recognized as a Japanese citizen and thus must have his "papers" on him at all time. Despite how fresh and innovative the topic of discriminated foreigners is portrayed in the film, the female characters are discriminated against just as much as any Japan-born Korean. To put it bluntly: all of the female characters--all of them--are idiots. Sugihara's mother, while providing some comedic relief, is stupidly naive. Sakurai's mother asks questions after they've already been answered and discussed in her presence--as though she is too dim to understand. A friend of Sugihara believes everything that she is told no matter how ridiculous. Patriarchal comments are made about women such as "She couldn't cook but she was really cute." Perhaps the most disappointing female character of all is Sakurai--the main female character of the film. Apparently, even in modern-day Japanese films, the female love interest has to be a neurotic--much like many American films'female love interests. She charms the audience not through her wit or intelligence, but through her peculiarities. This would almost suffice if there was not such a let down in knowing that her attraction to Sugihara stemmed from the fact that he beat people up. A woman impressed by male strength--how original. Even in the end when Sakurai proves to think for herself after all, the beauty of her realization is upstaged by Sugihara's screaming at her. For such a brilliant, beautiful film with such clear-cut messages about being born into discrimination, there should have been at least one female character who was not discriminated into the category of being too dumb to identify with simply because she is a woman. A very big let-down for such a great work.

Leska "This is a storyabout my love." With the movie GO young Sugihara (wonderfully portrayed by Yôsuke KUBOZUKA) tells his story-the story about his life, the story of a generation, of two nations, but most of all a story about his love. He tells his story in his own speed, his own pictures-sometimes fast forwarding (but never hectic), sometimes in slow motion, he speeds forward, he looks back, yet doesn't lose count. GO for freedom It's not easy being Sugihara--raised as a Zainichi, a Korean who lives in Japan, by a father (helplessly lost: Tsutomu YAMAZAKI) who usually speaks with his fists and who'd rather be a Spaniard, a mother (secretly unhappy: Shinobu OTAKE) who is always trying to run away and this time maybe for good; his friends live in constant war with society (and the police). Violence is a daily routine, at home and at the North-Korean school Sugihara attends, where corporal punishment is a legitimate way of teaching and speaking Japanese is strictly prohibited. So Sugihara tries to fight through, constantly angry, constantly hostile. GO for love But something changes when Sugihara starts to visit a Japanese school, to outrun his patriotic teachers and their brainwashing methods, and first meets Sakurai (lovely: Kou SHIBASAKI) who decides that he should become her boyfriend. Sugihara's attention turns from violence to Shakespeare, but the anger grows to live among people whose intolerance is only exceeded by it's ignorance. And he learns that he will have to fight for acceptance-with words, with bare knuckles and maybe all alone, because Sakurai turns away from him when she finds out he's not Japanese. But he also understands that nobody is really free from prejudices, when one night he meets a young Japanese police officer who actually listens to him. GO to fight „No soy coreano; ni soy happones; jo soy desaraigardo" (I'm neither Korean, nor Japanese, I'm just grass without roots), Sugihara explains to his father and tells him about his future plans: He wants to attend College, wants to take a chance on his life. But most of all, he wants to accept and respect himself, for that, he understands, is the necessary first step. And because GO is a film about love, Sakurai returns to him, having overcome the xenophobia indoctrinated on her by her father, giving their love another chance. GO is fast, GO has speed, GO has action, GO has humour and GO has love. Director Isao YUKISADA characterizes a generation, a society, a nation and creates something unique: he lends the desperate his voice, that is loud enough to be heard without pointing fingers. GO is like it's protagonist-fresh, energetic and hungry for life; unwilling to give in to his fate.c by Leska Beikircher

penguinopolipitese When I first saw this movie I was kind of turned off by it. It can be kind of confusing the first time around. But as with most good things it gets better with time and familiarity. The movie basically revolves around a Japanese born but fully north Korean teenager who struggles to find his place in society and come to terms with his tough father. As a Japanese-born Korean or "zainichi" he often feels alienated both by Korean and Japanese culture. The movie follows the trials and transformations in his life and his desire to find who he is and where he belongs. I think a lot of people who are the second or third generation of immigrant families will really get this movie. It's like being stuck between two worlds sometimes. But regardless of background people will be able to relate to the story (manic as it is). If you like say fight club, you will probably like this movie. There are quite a bit of action and fight sequences, a lot of introspection, and also romantic elements. The movie tends to segregate these elements to some extent which makes the film seem lop-sided but in the end everything balances nicely. This is probably one of my favourite movies, Japanese or otherwise.