Is Ichiban kirei na mizu Worth Watching? Honest Movie Review & Audience Verdict (2006)

The Narrative Arc & Core Premise

Debuting in 2006, Ichiban kirei na mizu represents a sophisticated intersection of artistic ambition and genre-defining elements within the Drama category. The primary thematic concern of the film is an investigation into The story is a variation on the Tom Hanks classic "Big," but instead of a boy finding himself in a man's body, a sick girl falls asleep one day and does not wake up again for 11 years. As the story unfolds, we are introduced to a world where the traditional boundaries of Drama are tested.

The screenplay takes its time to establish the stakes, ensuring that every character motivation is grounded in a psychological reality. The synopsis only hints at the depth: "The story is a variation on the Tom Hanks classic "Big," but instead of a boy finding himself in a man's body, a sick girl falls asleep one day and does not wake up again for 11 years. In the meantime, her baby sister, Natsumi (Rio Kanno), grows up to become a very studious and serious 12-year-old, studying hard at her summer juku (cram school). When her aunt, a free-spirited photographer (Karie Kahimi), goes missing in South America, her mildly scatter-brained mother (Kaho Minami) and father (Tetsuji Tanaka) go looking for her, leaving the girl, Natsumi, to look after her sleeping sibling, Ai (Rosa Kato). Yes, this is a clear case of child neglect, but Natsumi is such a no-nonsense, responsible type that it seems almost understandable. Soon after Mom and Dad leave, she notices that Ai, incredibly, is up and about, with the body of a woman, but the mind of an 8-year-old."

Artistic Execution & Performance Study

A film's resonance is often dictated by the strength of its execution, both in front of and behind the camera. The presence of Rosa Kato provides a necessary level of professionalism to the production, even when the underlying script struggles to maintain a consistent tone. It is a testament to their skill that they remain the most engaging element of the film.

The direction by Hiroshi Usui is marked by a steady and professional hand. From a production standpoint, the film meets the high standards of modern industrial filmmaking. The sets are well-crafted, and the visual effects are integrated with a level of polish that ensures the viewer matches the director's intended level of immersion. While perhaps not groundbreaking, the execution is flawless. The pacing, over its 90 minute runtime, allows the audience to fully inhabit the space the director has created, making the eventual resolution feel deeply earned.

Critical Assessment: Why You Should Watch

Is Ichiban kirei na mizu truly worth your investment of time and attention? In an era of disposable content, this film makes a strong case for its existence. If you are a connoisseur of Drama, then this is a worthwhile watch if you have a specific interest in the themes or the performers involved.

The film's ability to perfectly execute its genre requirements is why it has earned its 0/10 score. It speaks to a global audience while maintaining a distinct and unique voice, a balance that is notoriously difficult to achieve in the modern marketplace.

Philosophical Subtext & Directorial Vision

At a deeper level, Ichiban kirei na mizu explores the dichotomy of truth and perception. The 2006 audience is increasingly sophisticated, and Hiroshi Usui respects this by refusing to provide easy answers to the story's complex questions.

The philosophical underpinnings of the second and third acts suggest a narrative that is interested in more than just entertainment. It is an exploration of what it means to be human in an increasingly complex world.

Final Editorial Recommendation

Ultimately, Ichiban kirei na mizu is an interesting experiment that, while flawed, offers enough moments of creative spark to be worth a casual glance for the curious. Whether you are drawn to it by the star power of Rosa Kato or the critical acclaim surrounding its release, Ichiban kirei na mizu is a film that demands to be seen on the largest screen possible.