Be My Baby (2013) Gyaru or no, context is everything (Review)

Those who harp on about how awful soap operas are and how the trifecta of Emmerdale, Coronation Street and Eastenders are suffocating TV schedules should spare a thought for people of a similar disposition in Japan. The industry of soap operas is much bigger news over there, with the extreme popularity of J-Dramas and imported Korean Dramas. Such is the popularity; they have finally done the unthinkable and bled into cinema. The resulting film is Third Window’s latest – Be My Baby (or the Vortex of Love).

Director Hitoshi One and Writer Daisuke Miura introduce us to 8 young Tokyoites in Kouji, Tomoko, Kaori, Yuuko, Yuuta, Naoki, Takashi, Osamu and Satomi at a “Haya Kon” (or house party), after which we negotiate the minutiae of their love and social lives within the cramped confines of their bedsit apartments. Given the twisting nature of the film, the only reasonable parallel is that of a J-drama omnibus which you’ve never seen a single minute of beforehand. Such an approach to storytelling is endlessly intimidating and not too rewarding for those with no awareness of that uniquely Japanese fashion style – Gyaru. A style of fake tans and blond hair that is rumoured to be inspired by the popular late 1980s series, Baywatch

Soap storytelling is a considerable barrier all on its own, yet it still plays second fiddle to Be My Baby’s most significant test in its cinematographic identity. As previously mentioned, this inaction all takes place within four or five small flats composed of standing-room only. Visually, there is next to nothing that One can do with the camera within these spatial limitations. The one scene that has the full cast is the sole opportunity he has to work the camera; even then it’s a mere extension of the basic two-person scene. All he can do is cut from one character to the other, the only other colour the film has comes from the posters that adorn the walls of the apartments. Set dressing is of massive importance here, as more often than not eyes will start wandering.

Vortex (or Baby) courted much controversy in its native Japan for how accurately it depicts the social strata and mentalities of the social group it focuses on. One supposes that they are all terrible people, with the Men treating their Girlfriends like they would a pet or possession all the while backstabbing their friends at every given opportunity.

A scene stands out in this depiction of social poison, Takashi (Daisuke Sawamura) is alone with Kaori (Chihiro Shibata), and he summons the courage to tell her that he likes her, feelings which Kaori reciprocates. The scene ends with the two becoming Boyfriend and Girlfriend. It’s only further down the line with Kaori talking to her friends and avoiding Takashi that she reveals she was teasing his earnest admission of love thinking it funny. If that wasn’t enough, she goes on to sleep with his friends. Kaori isn’t even the worst character for this kind of reprehensible personality, Kouji (Kenta Niikura) is the epicentre of the director’s savage satire of 20-something Gyaru in Tokyo. The only character with even a semblance of charm or likeability is Takashi, a character who unites all others by being mercilessly tortured by his so-called friends.

Eventually, there is some degree of consequence, which is the single point that the film is of any interest. With that Be My Baby could be compared to the better end of the slasher spectrum. In the slasher, there is a morbid fascination in play, whereby people watch unlikeable sorts be characterised only to add meat to their inevitable demise. Be My Baby is exactly the same, One builds up these horrible people layer by boring layer only to see them get their comeuppance after 140 minutes of character drama. This angle is given some value by having this comeuppance swept under the carpet, suggesting the depicted are beyond saving with the only means of salvation being escaping the city.

While understandable in its goals, Be My Baby could be just as unsatisfying with 45 minutes knocked off, maybe even an hour. The meagre cast may commit to bringing these vile people to life with frightening authenticity, still, context is everything, Where Gyaru is well known across the Japanese islands, internationally it’s known only to those with a fascination of Japan’s many unique fashion styles. In other words, super-super-niche. It’s admirable that Third Window had the courage to release a film that opens guns for controversy, but when it lacks any context to the international audience and it’s communicated with a minimal flair (lack of funds or not) there’s nothing of any substance for those who enjoy the usual brand of film that Third Window Films distribute.

Thanks for reading our review of Be My Baby

For more Movie talk, check out our podcast CINEMA ECLECTICA Be My Baby was reviewed on Episode 18