Can I blame it on a cultural barrier?

If you didn't enjoy it, then just chalk it up as a film that isn't to your taste... I mean I'm British, and can't say I felt any 'cultural barriers' (as you say) with Kikujiro no Natsu (oh, by coincidence I re-watched it today), and whilst I admit I watch a lot of Japanese cinema and so may appreciate more of the cultural references, I didn't really think there was anything in this film which would necessarily confound a non-Japanese viewer in such a way.

Having said that, upon repeat viewing, I found myself getting a few more references and possible 'in-jokes'. For example, when Masao (and later, Kikujiro) are playing that game - counting to three and turning round whilst the 'contestants' move towards them, if any of the contestants move when they look round, they're 'out' - Watching it today, it dawned on me that it was probably a nod to one of the games on Takeshi-jô (Takeshi's Castle).

To put what I'm saying into perspective (and to take the country of origin out of the equation), I've seen a good few films from the UK and America which I just 'didnt get' - A good example would be the David Lynch film Mulholland Drive, which I failed to get into at all (I was close to gnawing my arm off at one point just so I'd have something to throw at the tv) - A great many people seem to love that film though, so I just put it down to it not being to my taste.

(a rather lengthy) Edit: 2 ways Kitano convinced me in his role...

I think the whole idea was that Kikujiro himself IS quite child-like in his attitudes and mannerisms... An adult who is still immature, and who thinks himself as something of a bigshot, but in reality is a bit of a loser - he's probably the *last* person you'd put in charge of a young child - and for this part, I think he plays the part well.

Whilst this film can deceptively be seen as a 'coming-of-age' (wrong term, but you get the general idea) story of the child, I think it would be more accurate to be seen as a coming-of-age story for Kikujiro (though its resolutely told from Masao's viewpoint), as he matures over the course of the film (not too much mind :p)...

For example, later on in the film, he was shown to actively care for Masao, even if its in his own clumsy way (taking the angel bell from 'Fatso' by (rather laughably) threatening to nick his motorbike) - I think he means well, but finds it hard to show it (compared to say, either gambling Masao's money away at the beginning, or when he rescued Masao from the 'Scary Man' - he didn't really have any comforting words for Masao, he just did what he knew and beat the guy up (though this IS one of the earliest points he's shown to at least have his heart in the right place, even if he doesn't express this to Masao)); I'd also cite the touching scene where he visited his own mother in the rest home, but couldn't bring himself to approach her (doesn't necessarily convey maturity, but was a convincing scene nonetheless).

God I've waffled on... I hope this hasn't been an unreadable mess, I just wanted to try and express part of what I take away from this film whenever I watch it (its probably my favourite Kitano Takeshi film btw).


"Don't make me use my stuff on ya, baby!"

[deleted]

I don't really see any cultural barrier about it. Btw I live in the USA--the folks who invented the cultural barrier--and I don't get that feeling at all. Rather, I see a stylistic difference in storytelling which may be confusing if you're not prepared.

In particular, Kitano is about as subtle as it gets. He'll never come right out and tell you his theme; instead he'll present you with a convoy of seemingly disjoint episodes which tie in together if you're really paying attention. I'm not saying this as an insult to your (or anyone's) intelligence. But maybe you just weren't expecting something that requires so much meticulous attention. I was recommended this film by someone who compared it to "Arizona Dream" by Emir Kusturica. If you're familiar with Kusturica's work, you'll know EK is anything but subtle--spastic is the word I'd use. So of course I was somewhat disappointed by Kikujiro's seeming pointlessness.

But I went back and watched it again (the music was what got me), and now it makes so much sense. Furthermore, I went back and saw some of Kitano's older films, and his subtle style is evident in all of them (A Scene by the Sea, in particular). Kikujiro now ranks up with my faves of all time.

I'm sure there were several nods & inside jokes relating to Japanese culture, but I was able to follow along pretty well. As a whole the story is universal; it's about a cynical man's "summer vacation"--his brief glimpse at innocence despite his jaded years. The subtlety is the magic of the film that makes it believeable, unlike a Disney film which is pure fantasy. This is fantasy for cynics!

To the OP: While certain movies indeed recquires a certain knowledge on the culture of the country where the film was shot, I don't think this is "Kikujiro's" case.

I live in the other side of the world. In a way different country than Japan (Mexico), yet I didn't notice any important "cultural barrier".

The characters might be local but they also represents universal archetypes: The pervert guy, the lazy but still sympathetic folk, the "rebels", the free spirited artist, the "innocence" incarnated in the little boy, etc.
I mean that kind of people are present on ANY country.
In addition the plot of the movie is quite universal (a boy looking for his long lost mother).

I think this movie could take place in any country. With a few "adjustments" the same story will work everywhere.

I think it depends on from which cultural context you're coming from, what is your cultural background?

Perhaps like many Westerners (if that's what you are) you have an image of Japanese as nothing more than always simply stoic, conformist, robotic, etc.

In fact many Japanese people can be highly eccentric and emotive (I didn't find Kikujiro's acting to be "over the top" at all personally, and usually I dislike that sort of thing. Also I found the interactions with others to be quite normal [if off the wall] for everyday life in Japan.)