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Now the plot is, as you might guess, a high-concept cliché; wide-eyed little Masao (Yusuke Sekiguchi) gets foisted upon unwilling Kikujiro (Takeshi Kitano), the result being that they bond and learn a little bit more about themselves. In this, a tale that's apple-pie wholesome, Kikujiro no natsu is thoroughly unoriginal. However, Kitano's execution of a familiar construction is both unsentimental and amusing, so much so as to outweigh any initial doubts that the viewer might entertain. Indeed, during its latter half the movie hits upon a refrain that bears novel repetition, each iteration deepening your appreciation of the situation.
At this point Kikujiro and Masao have linked up with some unlikely playmates; Nezumi Mamura is a poet who travels the side-roads of Japan, while Great Gidayu and Rakkyo Ide play a pair of the most unlikely Hell's Angels. With typical accurate bluntness, Kikujiro calls the latter duo Fatso and Baldy. Together they strike camp besides a denuded lake, into the shallows of which Masao unknowingly casts his fishing line. That explains why Fatso is soon painted like a fish and thrashing around on the end of a hook, while Baldy hangs back in his octopus costume. Through successfully entertaining Masao, all four men get to act like kids and crease up the audience at the very same time.
How amazing then that Kikujiro initially seems such a dreadful choice of travelling companion for Masao. No sooner has Kikujiro no natsu thrown the two together than the former drags his charge down to the races and forces Masao to guess for winners (with limited success!). Once the money's gone, they're reduced to hitching lifts and talking their way into hotels. It has to be said that Kikujiro's attitude is something of a hindrance. In just about every social interaction he's needlessly cruel, but this may only be naive stupidity; why else would Kikujiro place himself in trouble when a little civility could smooth their way? His real problem is that he has no subtlety when dealing with other people; it's an all-or-nothing affair. Inevitably this approach can lead as easily to tragedy as to comedy.
Throughout, the style of acting is reserved, almost to the point of torpor; fortunately as the story progresses the characters loosen up. Sekiguchi is inexpressive and almost exclusively monosyllabic, but this doesn't stop one feeling sorrow for his situation. Kitano is familiarly awkward, both in voice and motion, yet still somehow compelling; curiously enough, this time around the camera he even manages an awkward smile (on reflection, grimace may be a more apposite description)! Backgrounded by Jô Hisaishi's simple but effective score, the result is whimsically enchanting rather than soulfully moving.
However, this shouldn't be taken to suggest that Kikujiro no natsu is a shallow production, unworthy of Kitano's talents. While no masterpiece, the film manages to span a range of familiar emotions -- high on the list come fear of abandonment, loneliness and the unknown. While it's Masao who suffers these trials both in reality and through the paralysation of nightmare, it's clear that Kikujiro is no stranger to such concerns. He knows what Masao is going through and while that hardly makes him a guardian angel, Kikujiro plays along because he can and because it's fun to do so. Reasons worth heeding for anyone who takes his or her kids for granted.
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