I’m halfway through watching this Japanese drama…and, to be honest, looking forward to the end.
It’s not a particularly bad programme. There’s something lacking though.
The cast is certainly not the problem.
Ikuta Toma is as brilliant as ever playing the male lead Takemoto Yuta. He performs to the best of his considerable abilites, owning most of the scenes that he’s in. It’s a slightly unusual role for him to take. Takemota is an older character than he and many of his Johnny’s Entertainment compatriots tend to play and the series relies heavily on introspective shots of forlorn walks narrated by mournful soliloquies. This is, perhaps, Toma’s only weak point. After smaller parts in such big-name dramas as “Hana Yori Dango“, he made his mark on the acting world by upstaging his more prolific co-stars Oguri Shun and Horikita Maki in “Hanazakari no Kimitachi e“and winning universal praise for his comedic skills. This, however, is underutilised in such a serious role. While the actor cannot be faulted, the decision to cast him might be questioned.
Opposite Toma is Narumi Rika (from my favourite city of Yokohama!) as Hanamoto Hagumi. This is the first time I have encountered Narumi so I’m not best qualified to speak of her. However, she handles what she is given in “Honey and Clover” with relative competence. Unfortunately, what she is given is hardly worth mentioning. The character of “Hagu-chan” is as unappealing a female lead as I have come across in any drama. This shy, country girl is as dull as they come. Sweet and charming to be sure, but aside from an improbable gift for painting, one is left wondering what it is she offers the eclectic bunch of friends she meets in Tokyo. The answer is definately not humour. Narumi is frequently given “comedic” one-liners, meant to contrast her character’s simple upbringing with her new “zany” life in the city. The overall effect of Hanamoto Hagumi is far to saccharine for my tastes. I’m beginning to hope one of those riddiculously large canvases falls on her head soon…
The supporting cast – the obligatory comedic friends – are all experienced drama actors who easily hold their own in the ensemble. Harada Natsuki (who, along with Toma, is fresh from the success of Hana Kimi), Mukai Osamu (in a totally different role to his most famous appearance in Bambino!) and Narimiya Hiroki are rarely required to exert themselves. Narimiya, in particular, gives consitantly good performances, making this acting lark seem like a breeze (though this “cocky but caring” type role is one he is used to).
The main flaw in Hatchimisu to Clover is, unfortunately the plot itself. The story crawls along with minimal developments – then skips a year – and still nothing has happened. The fillers in each episode are entertaining, but the main plot arc is to underdeveloped at this stage in the season. I don’t particularly care if any or none of the potential couples get together. While the characters have been well-established as individuals, the group dynamic is lacking.
A minor irritant in the series is the theme tune, Hirai Ken’s “Canvas”. It mirrors the drama itself – beautifully crafted, serious, slow paced and very mature.
Perhaps it’s only me, but this is not what I have come to expect from a Japanese drama.
Hatchimisu to Clover is intriging enough that I want to follow it to the conclusion. The big-name cast are the saving grace to a shakey storyline.
But will there be a HtoC2?
I doubt it.
http://wiki.d-addicts.com/Hachimitsu_to_Clover
http://www.mysoju.com/honey-and-clover/
