Love Like the Falling Petals (2022)

Tissues

Be in the right mood to watch this drama, it’s a sad one. As I was watching it, I realized it was a different storyline than what I thought it was going to be. Halfway through, I knew it was going to be more than just a breakup with a sad ending. As you watch it, you will realize that it could only end one way. I knew it was going to be a love story, but I didn’t quite expect the plot to turn suddenly into a break up for the reason that it did. It had happy times in the beginning, but mid point turned really sad. It is definitely worth the watch, but be in the right mood, it’s a downer.

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A Fleeting Tale Of Young Love Underneath The Cherry Blossoms…

There’s a particular Japanese idiom which comes to mind when talking about the concept of ‘ Yoshihiro Fukagawa’s ‘Love like the Falling Petals’ and that is simply “ Mono No Aware” (“物の哀れ”)- “ The pathos of things, the sensitivity of things which are transient”. At the root core of this idiomatic expression comes to mind with the imagery of fleeting beauty, and none so more than the blossoming and ephemeral period of the Sakura ( cherry blossom) during spring in Japan. Indeed, the symbolic imagery of the Sakura blossom in ‘Love like the Falling Petals ‘ is supposed to represent the beating heart of the narrative. Melancholic and bittersweet in parts, ‘ Love Like the Falling Petals’ is a film which while helping to capture the unpredictable transience of the seasons and young love, could often feel just as fleeting as the cherry blossom.

The film is based upon Uyama Keisuke’s novel "My Lover, Like Cherry Blossoms" (“桜のような僕の恋人”). Adapted to the silver screen by screenwriters Tomoko Yoshida (‘The Liar and His Lover’, ‘Blue Spring Ride’ and ‘Gakkou no Kaidan’) and Uyama Keisuke (‘Switch Girl!!’, ‘Nobunaga Concerto’ and ‘Tonight, At Romance Theater’), the narrative predominantly focuses upon main male lead Haruto Asakura ( Nakajima Kento- ‘Koishite Akuma’, ‘Bad Boys J’ and ‘Nisekoi’). An aspiring photographer with low self-esteem, Haruto falls head over heels in love during a fateful encounter with bubbly hair stylist Ariake Misaki(Honoka Matsumoto- ‘Mio On the Shore’, ‘My Name Is Yours’ and ‘Byoshitsu de Nembutsu o Tonaenaide Kudasai’).

However just as Haruto starts to gain confidence in order to pursue his lifelong ambitions in order to become a photographer, Misaki begins to develop a rare disease that causes her to age rapidly before the falling of next spring’s cherry blossom.
As mentioned previously, ‘Love like the Falling Petals’ attempted to offer its audience with a somewhat sombre reflection of the futility of contingency as well as young love. The initial tone set for the movie is established as somewhat bubbly and sprightly rom-com . ( As established with Haruto and Misaki’s unconventional ‘’meet cute’’ after Misaki accidentally cuts Haruto’s ear with a pair of scissors.)

However as the plot begins to be set in motion with Misaki’s evident dilemma, ‘Love like the Falling Petals’ turns into a sentimental sob story, occasionally dipping into a melodramatic tone also. In addition to our main leads there is also a subplot revolving around Misaki’s brother, Ariake Takashi (Nagayama Kento- ‘Puzzle’, ‘Crows Explode’ and ‘Toge: The Last Samurai’) and his fiancée Yoshino Ayano ( Sakurai Yuki-‘ Love Craft Girl’, ‘A Crimson Star’ and ‘The Night Beyond The Tricornered Window’) attempting to take on the financial burden of Misaki’s circumstances.

Nevertheless despite the attempts for the series to lament over the sorrows of time and existence, the narrative for ‘Love like the Falling Petals’ could often feel discombobulated with its messaging. Of course, while the movie did possess an intrinsic message and an arguable social critique surrounding the financial and emotional burdens of the elderly in Japanese society, these messages could often feel as though they were only approached on a surface-level. This was mainly due to the fact that ‘Love like the Falling Petals’ would often only brief skim over details in a bombastic manner (such as the limited screen time given to the subplot revolving around Misaki’s brother), rarely delving deeper in order to avoid offence.

Kento Nakajima starred as main lead Haruto by adding a reserved yet somewhat blatant charm to his onscreen persona. Co-starring alongside Nakajima was Honoka Matsumoto as Ariake Misaki. Despite Matsumoto’s brilliance as an actress, her performance as Misaki could feel somewhat overblown at times with overexaggerated line deliverances and reactions. Nevertheless, Matsumoto did help to add a tethered charm to Misaki in later scenes of the movie as she falls deeper into a cycle of senescence.

Nakajima and Matsumoto’s onscreen chemistry is decent enough. Matsumoto and Nakajima’s onscreen interactions could feel somewhat childish and stilted at times in the opening of the movie. However by the second-half of ‘Love Like the Falling Petals’, the main leads’ onscreen chemistry turns angst-ridden and woeful, adding a bittersweet as well as an overemotional tone by the ending of the film.

The trajectory of ‘Love Like the Falling Petals’ can arguably be divided into two parts. In the first-half of the film, the narrative takes a lively and pacy approach to Haruto and Misaki’s coup de foudre, while the second-half downplayed events in order to focus on a more serious matter of Haruto and Misaki’s attempting to overcome complicated relationship and problems.
Admittedly this did provide to be a double-edged sword for ‘Love Like the Falling Petals’; the first-half allowing opportunities for viewers to understand the liveliness of Haruto and Misaki’s early courtship, while helping to present the climatic problems of the final part. On the other hand rather than allowing opportunities to delve further into the emotional edge of the characters or their personal backgrounds, Misaki and Haruto’s depth as characters could feel somewhat limited. For example this was particularly shown through the problem of Haruto. His precise reasons for becoming a photographer were limited and unexplored, while the emotional toil for Misaki and her illness were often enforced rather than explored subtly.

In addition to the pacing of the film, it is important to acknowledge the talents of the directing under the leadership of Yoshihiro Fukagawa. Slick and glossy, Fukagawa’s filming encapsulated an onslaught of aesthetic symbols and scenery. In particular, Fukugawa placed heavy emphasis upon the changing of the seasons from the falling cherry blossoms of spring, to the first snowfall of winter in order to mark the literal and metaphorical cycle of the narrative. On the other hand despite some mesmeric moments of the film, the CGI displayed in the opening as well as long-distance shots at times could feel somewhat sloppy at times.

‘ Love Like the Falling Petals’ is a bittersweet love story about transience and young love. Nevertheless despite the movie’s impressive shots and cast line-up, the narrative could often become just as fleeting as the cherry blossom with limited writing cliches, pacing and execution.

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