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I was actually clamouring for more, but director Hideki Takeuchi surely knows how to make you beg for more That being said, Hiroshi Tamaki too shines as the assured, relatively new conductor who has to chalk up more experience points in the orchestra circuit. It's the same score and musical sheet one reads, but it's how you interpret it through a performance that makes one stand out. She's not the typical goody-two-shoes or the damsel in distress, but holds her own (even if she doesn't know it yet) in the talent department as she fuses her character into the music she plays on the piano. It's that crazy, comical devotion that somehow inexplicably endears, and Ueno can really balance something that's too-good-to-be-true demure, to being unbelievably gruff and coarse should her character Nodame feel that she has to defend her man from other wandering eyes. But that aside, there were a number of things I enjoyed from the film, and topping the list is Juri Ueno's performance as the siao char bo (read: Crazy woman) who's really enamoured and obsessed with Chiaki, who sends her heart fluttering each time he says or does something that encourages or spurs her on. But no fret of course, as despite being without a recap of sorts, you'll soon find your own feet as the story moves along, knowing who the allies are, the jealous enemies, and that gigantic task of having to turn around a semi-professional orchestra from its doldrums of part-timers who cannot devote all the time to practice and concerts, which is the main dilemma faced by talented conductor Chiaki Shinichi (Hiroshi Tamaki), in a typical Japanese zero to hero storyline.
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And that's just how its two lead characters are in the film, which is spawned from the television series. It's done in such a whimsical, cute manner, that all is forgiven as it fits the one of its lead characters Nodame (Juri Ueno) perfectly in how this film should be approached - childish fun mashed with the stoicness of the classical. Filmed on location mostly in Paris, amongst other European locations, the film does seem a tad contrived when its European characters start to converse in flawless Japanese, not only to the Japanese characters, but to one another, that all is indeed forgiven when a sign comes up after that moment of wanting to write this off, to explain that it is out of due consideration for us the viewers to do so.