Transforming City Hunter / Nicky Larson into a live-action adaptation is fraught with challenges for numerous reasons. Aside from a few exceptions, Netflix’s attempts at bringing our beloved manga or anime series to life have often been less than stellar. However, it’s fair to say that recently, the streaming platform has made amends with adaptations like One Piece and to a lesser extent, Avatar: The Last Airbender. Nevertheless, City Hunter faces its own unique set of challenges, especially in today’s cultural climate. The character of Ryo Saeba / Nicky Larson, known for his lecherous behavior and obsession with “Mokkori” (a term celebrating male arousal), treads a fine line that could easily spark controversy or become the center of online debates. Adapting City Hunter without compromising its essence is indeed like navigating a minefield. But guess what? Netflix not only skillfully addressed these issues but also managed to cast the ideal actor, Ryohei Suzuki, whose portrayal of Ryo Saeba is nothing short of extraordinary.
It might come as a surprise, but before Netflix’s 2024 proposition, the Japanese had never undertaken a live adaptation of City Hunter. Indeed, this fact holds true despite the existence of Jackie Chan’s 1993 film, which, although wildly entertaining, deviates significantly from the source material. Having rewatched it as an adult about a decade ago, I must confess it’s an absurd delight. Philippe Lacheau’s 2019 proposal, on the other hand, captured my affection as it adeptly adapted the French version of Nicky Larson from Club Dorothée, albeit with limited resources. The film has garnered a solid fan base, and revisiting it just days before Netflix’s adaptation, I realized Lacheau truly grasped the essence in a heartfelt manner, making it the crown jewel of Fifi’s filmography. There were other unofficial films that attempted to embody the spirit of City Hunter, but they remained largely under the radar, known only to a niche audience. Thus, the responsibility fell to Netflix, with Yuichi Sato directing and Tatsuro Mishima writing, who had previously adapted Yu Yu Hakusho for Netflix. Together, they have created a commendable film – while not flawless, it stands out as a successful live-action adaptation, capturing the spirit of the manga from the first ten minutes.
From the get-go, the film immerses viewers in Tokyo’s Shinjuku district, the perennial setting of the manga now captured on film for the first time. This alone sets a vivid context, and for those who have visited Japan, the depiction of Kabukicho, with its restaurants, shops, winding alleys, neon lights, narrow streets, and eccentric characters, is a constant visual treat. Shinjuku essentially becomes the fourth lead character following Ryo Saeba, Kaori, and her brother Hideyuki Makimura. One memorable scene features an overhead chase, showcasing a deliberate effort in cinematography, a quality that frequently enhances the action sequences, especially the climactic gunfight.
MOKKORI SHOW
The film immediately establishes Ryo Saeba’s quirky personality. As a private detective, he’s unmatched with a Magnum, but it’s his lecherous nature that the film doesn’t shy away from. The opening scenes waste no time; from Ryo’s gaze plunging into a client’s cleavage to him spying on women from rooftops and the unabashed “Mokkori Show” in a private club, the film boldly embraces these themes without crossing into vulgarity or sexism, even in a post-MeToo era.
RYOHEI SUZUKI: THE REVELATION
The film might have veered towards the awkwardly vulgar had it not been for Ryohei Suzuki’s ability to embody Ryo Saeba / Nicky Larson, capturing both his physical appearance and multifaceted personality with finesse. This casting choice is astonishingly spot-on. Masanobu Ando, as Hideyuki Makimura, and Misato Morita, as Kaori (Laura in the French version), also deliver commendable performances, perfectly fitting into their roles and contributing to a well-rounded cast that respects the manga’s origins while navigating its adaptation with creative liberties.
This origin story not only makes sense but also aims to attract viewers unfamiliar with the manga or anime, including those who remember the French dubbed version from Club Dorothée. Netflix France’s decision to retain the French version’s character names might stir some controversy, highlighting the platform’s struggle to cater to both new and nostalgic audiences without causing confusion. Despite these considerations, the larger issue lies in the film’s execution, which, while generally competent, lacks the boldness and vibrancy expected of a setting like Shinjuku. Although there are moments of brilliance in the direction and action scenes, the overall presentation fails to fully capture the district’s exotic allure. Nonetheless, the film remains an enjoyable experience, successfully translating the essence of City Hunter into a 1h44min spectacle, and leaves us hopeful for potential sequels that could further explore the characters and world of City Hunter.
OUR RATING: 6.5/10
