Oh Lucy! (2017)

How does one reconcile reality and delusion when the illusion of love is at hand? A rather wound up and repressed Japanese woman takes a leap. An interesting twist in a woman's search for love. What crawled under my skin was how Japanese culture was portrayed...emotionally repressed, and the 'awkwardness' that ensues. I felt like I was in Japan again... Although topically a comedy, the underlying theme is loss. The actors do a magnificent job.

"Good bye".....and the life is gone.In the case of Setsuko, in her mind it already had....and then John. Because she felt passed by, Johns teaching techniques created a sense of warmth to a lost soul and Setsuko's emotions flirted with love masqueraded by lust of a meaningful life.The script and direction were exquisite as was the acting performances. None could be faulted.The only reason I am not giving 10/10 is because there were a couple of goofs but I am a nerd so I am always hunting for faults.This is a wonderful example of beautiful cinema. GO SEE IT!!

Oh Lucy may well have set a record for the number of suicides in a romantic comedy. Normally there would be...(whirr of calculator) um, yes, approximately none. Here we start with a citizen's suicide in the underground, another one reported soon after, then climactically two failed attempts. One is by the beautiful young niece, the other by the mousey middle-aged heroine. And the son of the man who saves her killed himself too. Oy Lucy. Cary Grant and Katherine Hepburn this ain't. The suicides punctuate a panorama of lives lived and wasted in quiet desperation. The film's title and trailer carried not an inkling of the darkness in this "love story." A repressed Tokyo office worker discovers her wild side when she falls for her young American English teacher and follows him out to sunny California. From the moment she adopts her new American name of Lucy and dons the crazy Harpo blonde wig, love and hilarity ensue. Spoiler alert: Nope. The clues come early. Our first view of "Lucy" is behind the white face-mask that connotes fear of infection, fear of contamination, fear of life. She witnesses the first subway suicide and hears about the second. She's uncomfortable and cramped in her office job, a room of exposed desks, where even her eventual humiliation plays out in public. Her stunted emotional life dates back to her first love, whom her sister stole and married. Lucy's sex with Tom avenges that, though at her niece's emotional expense as well as Lucy's sister's. It's hard to sympathize with Lucy. She's duped by her flighty niece into (over)paying for the English lessons. After tutor John departs, the dashed Lucy explodes at her colleague's retirement party, brutally and pointlessly exposing the sham sentiments of the occasion. Our glimpses of Lucy's apartment are of a chaotic mess of random and lurid junk, an emblem of her own doomed dream life perhaps. Liberated from Japanese restraints, in America her sexual predation deepens her indecorum and delusion. Indeed no-one here is wholly sympathetic. The dashing hugger John may come on as the fresh American spirit but he proves a jerk too. He abandoned his wife and daughter for the adventure in Japan, then abdicated his responsibilities to chase his latest fancy. If he indeed did quit a teaching job at Stanford, then he stands with Lucy, the niece, her mother, another example of people who make disastrous life choices. A fringe character provides the only stability. English student "Tom" embraces John's compulsion to embrace but proves to live that emotional, human commitment. The goofy prosaic Japanese man proves the saviour Lucy craved to find in the dashing American. After Tom saves Lucy the film closes on the note off their romantic promise. But it's in the underground, where the suicides happen. And it took his son's suicide to snap Tom into recognition of bis need for human intimacy. It may start with John's sham friendliness but in Tom it blossoms into a true connection.

"Oh Lucy!" seemed like a quirky comedy during the first half or so of the picture. The beginning, in particular, seemed very strange and quirky. However, this is NOT the mood of the entire picture and the cute leading character progressively becomes uglier as the story progresses.When the story begins, Setsuko is conned into buying an English language course off her niece. The niece says she paid for it but it would be a big favor if the aunt paid her for the classes and took them herself. And, considering Setsuko is single and hasn't much of a life, she decides to at least try the classes. She is shocked at what the classes were. Instead of a nice classroom, the place looked like a sex club and the instructor, John, was more about teaching the students how to not only sound American but ACT American. His class included hugging (something VERY foreign to Japanese society), wearing wigs and acting casual...and Setsuko liked this as well as her new American name, Lucy.Soon, however, Lucy learns it's been a set-up. Her niece only wanted the money to run off to America with John...and the new teacher is too normal and doesn't give hugs. So, she does what anyone would do in this situation...she insults her coworkers and gets a plane ticket to America. When her nasty sister finds out, she insists she comes along. What's next? Well it's NOT what I expected as the cute Lucy reveals herself to be a selfish, nasty piece of work. In fact, most everyone in the film seems this way-- at least all the main characters. All semblance to a comedy disappears and what you're left with is the story of a woman you find almost impossible to like. This is a case where the first half and second half of the film don't watch up and the whole is unfortunately not especially satisfying as a result.