Gyokou no Nikuko-chan

Kikuko Misuji, more often called "Nikuko-chan," is known by everyone in her small northern town as the happy fat lady at the grill. Having lived arduously traveling from man to man and town to town for the bulk of her life, Nikuko-chan finally seems to have settled down on a houseboat docked in the bay with her daughter—also named Kikuko.

Together, the pair does their best to find their place in the world. For the bold and brash Nikuko-chan, her spirited behavior easily guides her toward the earnest goal. However, for the quiet and reserved Kikuko, who is often embarrassed by her mother's antics, each day can be just as uninspiring as the last. From middle school drama to solving the mystery of her strange classmate Ninomiya, Kikuko's adolescence is full of many twists and turns.

[Written by MAL Rewrite]

Nikuko-chan Main

Ootake, Shinobu Japanese

Kikuko Main

Cocomi Japanese

Ninomiya Supporting

Hanae, Natsuki Japanese

Sassan Supporting

Nakamura, Ikuji Japanese

Maria Supporting

Ishii, Izumi Japanese

Daricia Supporting

Deluxe, Matsuko Japanese

Miu Supporting

Yoshioka, Riho Japanese

Akashiya, Sanma Producer, Planning

Watanabe, Ayumu Director

GRe4N BOYZ Theme Song Performance

Kimura, Shinji Art Director

Reviews

Sep 3, 2024

re4zen

Recommended

>Gyokou no Nikuko-chan 2021 artwork

-might help;
#At first I thought what made this film comfortable was the ship and the house

;It's just that it's animated as cheerfully and cartoonishly as possible so it's suitable for PG and middle to upper teens.
also not as harsh as the world and realistic in the real world.

*In the first 5 minutes, Nikuko-chan's tragic background is already sad
It's true that it's too good, it's okay, there are limits, so I understand.
... quoted from my lecturer "Pitying others has its limits." damn, there's a lot of meaning here

**Don't think other people understand you, but vice versa.
the poetry that I digested in the first 5 minutes was;
- "before assembling other wings, make your own wings for flying."
There isn't much of a message in this film. but once it's in!
not hypocritical. Actually, I also don't like people who are too nice

*disclaimer: I don't hate nice people, just "too nice" in a sense
Your common sense is defeated just because of LOVE.

Overall the enjoyment is insane.
Very beautiful and touching drama
its charming! Recommend. I suggest relaxing

-target audience: PG (Parental Guidance)- 13- Teenagers 13 years and over

in some people's pov, this would be a cozy anime :)

Verdict : watch it, it's worth !

Thank You
-01/06/2024

Reviewer’s Rating: 6

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Nov 2, 2023

bboy_OatsnRice

Recommended

MMM SO GOOD! Is what I thought when looking at the trailer for this movie. Not only did the food entice me, but I also found the visuals and vagueness of the plot quite engrossing. For my first time watching an anime film in a local theater, I must say, I was thoroughly delighted with my experience. If you have family members that you feel make it their mission to embarrass you and are looking for a film that empathizes with you, look no further than Fortune Favors Lady Nukiko. So, is this film all that I’m talking it up to be, or were my ... opinions swayed due to the unique circumstances surrounding my viewing experience?

This film follows the everyday life and tribulations of a girl named Kikuko and her mom Nukiko. Who is larger than life in more ways than one and is the antithesis to her daughter, excluding their kind natured personalities. Throughout her life, Nukiko has been taken advantage of and bullied for her silly, kind-hearted, and often dumb-founded nature by many men. Often extorting money from her, before getting out of dodge. Throughout her many expeditions, Nukiko and her daughter finally settle down in a small fishing town/district where Nukiko runs a restaurant. Standing out more than ever before.

As mentioned earlier, upon seeing the trailer for this film, the vagueness of the story was piquing my interest. So coming into it I figured the central plot/conflict would be revealed. I mean, the run time was two-hours so there had to be something in terms of a plot right? I was wrong, but was pleasantly surprised by that as well. After the film finished, I came to my senses and realized that I had just watched an Iyashikei-sol film in theaters. Now I’ve seen my fair share of Iyashikei shows and films up to this point, Natsume and NNB reign as some of my favorites in the genre, but I went into those knowing full well what to expect. But when I discovered the film is composed of several small stories, shown with beautiful and calming scenery and visuals with no real central conflict other than Yukiko’s mom being a goofball, I was surprised but delighted.

And in case you didn’t know, an Iyashikei is a genre of anime/film that evokes a sense of healing in the viewer. The anime is calming, has a relaxed atmosphere most of the time, and usually has little to no score aside from flowing river banks, smooth ghasts of wind, and summer time cicadas humming along to a sun addled field of green grass. They are also usually episodic with conflicts that vary from episode to episode in terms of severity. Or in a film’s case, chapter by chapter. This is the case with this film, where even the more intense scenes or moments still take a more liberal approach to how they’re displayed.

For example, there’s a scene where we see a woman working the streets before working at a strip/dance club. We’re shown this through a heavy blurred filter where the casino-strip’s street light’s luminescence is exacerbated so much that the scene feels dream-like and not as intimidating as it must’ve felt for Yukiko’s mom. This scene is followed by a strip/pole dance montage where we see neon silhouettes of two women, one of which we’re familiar with doing their moves. Something about the imagery of this flashback sequence stuck with me. Maybe it was the fact that it put their line of work through a different lens than what I’m used to. In various media, I’m used to seeing dance/strip clubs in a somewhat vilified manner, or at the very least, portrayed in a less than stellar light. The way this scene portrayed that environment and form of expression was done very tastefully, with beaming colorful visuals to boot.

Another example of an intense scenario presented in a calm, tasteful, and respectful manner is when Nikuko is describing the circumstances surrounding the events of one of her late husbands. Nikuko and co. are presented as shadows traversing a canvas that visually reminiscent of hieroglyphics. In this scene, we’re shown a man on a patio smoking. His figure looking down on his luck, slouching over, chin resting on hand. Moments later Nikuko describes that the man left a letter saying he was going to go kill himself at his home town. She describes her venture to find and save the man, but to no avail. While a depressing scenario indeed, it is very brief and shown through a lens that shows that though Nikuko loved him, and out of her partners he was the one who treated her the most respectfully, we’re not given enough information to feel a strong emotional attachment to him. I felt that was intentional and the emotions I felt watching that scene were meant to reflect that of Nikuko’s and her daughter’s towards him.

I’m not going to describe the beauty of each and every scene, because at that point I’d be spoilering the entire film and I don’t want to do that. But just know that whether the scene is of a penguin at a zoo who’s filled with visceral hatred towards the human race, a young boy making silly faces, or a talking amphibian, just know that it’s done with great attention to detail and has a calming aura to it. To round out the things I love about it so much, I’ll close off my praises by giving credit to the voice acting, Nukiko’s seiyuu (Shinobu Otake) in particular. What a performance, giving Nukiko such a boisterous and voracious voice. Only adding credence to how much space her personality in a room takes up. I found her panicking in the sports day event to highlight this performance the most as she’s constantly switching from forgiving others for her clumsy nature, to panicking not knowing where to find an item, all while retaining a lovable mom-like quality that doesn’t become annoying.

Speaking of actions that become annoying, was there anything in this film that I felt fit that criteria? Yes, I have two gripes with this film and they intertwine with each other. I felt that there were relationships between and plot points weren’t explored to their fullest potential. Whether that be with her friends, or (spoiler) her real mom. Because the way this movie is set up is like your average Iyashikei show. Episodic and not necessary to watch sequentially until the last few episodes. This movie is the same way, and I wish that we saw more of her interactions with her friends instead of just being one and done after their conflict is resolved.

This issue only gets worse as we reach the final act which I’ll spare you the details on. But let it be known that the ending is just too abrupt. It didn’t ruin the film or lessen the impact it had on me. But it did make me audibly go,”What? That was it, are you serious?” It’s been awhile since a show or film left me so dumb-founded. The most confusing part was checking my phone and seeing that there were 15 - 20 minutes left in its runtime, and this is even proceeding the after-credits scene. It’s because there was a series of shorts called,”Deiji Meets Girl” playing right after it. I didn’t know this until the preview played right before the film, and even then I didn’t think it’d share the run time of, “Fortune Favor’s lady Nukiko”.

This film caught my eye due to its unique and captivating visuals, as well as its ability to make me crave food that’s not even in my dimension. Having a family that I feel at times go out of their way to embarrass me at times made me relate to the main character, only furthering my intrigue. Did this film manage to be all that I hoped it to be? Yes and no. But that’s because it exceeded my expectations by going full Iyashikei when I wasn’t expecting it, for the better might I add. Though this hindered it at times, namely in the ending which left my mouth ajar and my head squandering to make sense of what I just witnessed. Had this been a show, I’d be eagerly waiting for a second season we’d never get. But as a movie, I eagerly await a sequel that I know we’ll never get. If the novel furthers the plot more than the film, then I’d pick that up.

Reviewer’s Rating: 8

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Dec 2, 2023

Halcyon13

Mixed Feelings

In a backwater seaside town where everyone knows everyone, there lives Lady Nikuko and her daughter (Kikuko), who looks nothing like her mother. Gyokou no Nikuko-chan takes clear inspiration from the Western premises of an impulsive middle-aged woman being swayed by romantic attention, yet her carefree and kind demeanor makes all the difference, particularly for Kikuko. It plays out like an ecological fable; the relationships of people versus open-minded acceptance. Nikuko is a large woman with imperfections that stick out like a sore thumb, but her eccentric nature doesn't detract from the positive mother-daughter relationship on display. The film is inherently lighthearted, loosely escalating to ... coming-of-age realizations. Nothing especially substantial occurs until the closing act, and viewing it outside of fictional dimensions, the gentle messages are primarily directed at the viewer. Needless to say, a narrative isn't required to develop, but basking in the ordinariness of daily life greatly benefits from dynamic components. It's a matter of whether the weight-related punchlines, which are occasionally amusing, are enough to compensate for what it lacks in compelling characters.

Watanabe's drama about an oft-dysfunctional family removes conventional domestic roles from its thematic repertoire, dividing responsibilities equally. It's mood-centric; adolescent discovery of various emotions that may not be explicitly stated. The humor dabbles in anthropomorphic realism, as we'll see animals passing by after blurting out silly phrases. Additionally, Kimura's watercolor backgrounds are appealing and the film is obsessed with food for obvious reasons. The key animation is generally solid, and aside from similar designs to Kaijuu no Kodomo, both are analogous in shot selection. Gyokou no Nikuko-chan avoids merging into a linear flow of momentum, incorporating sudden flashbacks as it sees fit. The reflective disposition of the undercharacterized cast touches upon easygoing melodrama, yet the absence of a more convincing conflict prevents fully advancing its storytelling prowess. Tonally pleasant as it bridges the gap toward idealized adulthood.

Reviewer’s Rating: 6

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