The title's power also draws from its instant recognizability, thanks in large part to the iconic song "Do-Re-Mi" from the 1959 musical The Sound of Music . That song, which teaches the notes of the major scale to the Von Trapp children, represents innocent joy and a universal language for beginners. Kurosawa masterfully inverts this purity, placing his heroine into a corrupt adult world and questioning the song's underlying promise of simple harmony.
The Excitement of the Do-Re-Mi-Fa Girl , known in Japan as (roughly, "The Blood of the Do-Re-Mi-Fa Girl Roars"), was Kurosawa’s second feature film. The project had an unusual, troubled birth: it was originally produced as a different film titled Joshidaisei Hazukashi Zeminaaru , intended to be a standard roman porno . However, Nikkatsu rejected it because it "was not lascivious enough for a Pink Film," being too weird, absurdist, and intellectually playful. Kurosawa managed to buy the rights back, heavily re-edited the film, shot new scenes, and ultimately rebranded the entire project into the chaotic masterpiece we know today. The result is a film that looks like a weekend dream project of a film school student—unrestrained, rambunctious, and totally alive.
The film is characterized by "rough but effective visual and sound effects," according to FilmAffinity. It embraces its limitations, using them to enhance the dreamlike, disjointed feel of the story. Key Themes and Significance The Excitement of the Do Re Mi Fa Girl -1985 - ...
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The narrative of The Excitement of the Do-Re-Mi-Fa Girl flows like a surreal dream rather than a traditional three-act drama. The story follows (played by Yoriko Doguchi), a naive and optimistic young girl from rural Japan who travels to a Tokyo university. Her primary objective is to track down Yoshioka (Kensô Katô), her high school sweetheart who previously bragged about being the charismatic leader of a legendary campus rock band. The title's power also draws from its instant
Initially produced under the umbrella of Nikkatsu’s famous Roman Porno (romantic pornography) line, the film was ultimately rejected by the studio for being "too weird". Kurosawa subsequently partnered with the independent collective to finish and release it on November 3, 1985 . Today, it stands as a brilliant, nonsensical, Godardian exploration of 1980s youth culture, academic absurdity, and early cinematic experimentation. The Absurdist Plot and Campus Setting
Upon its release, the film didn't exactly set the box office on fire, and it still maintains a humble rating on sites like IMDb (5.6) and Letterboxd. It is, and was, a cult item. But as is often the case with true curiosities, its cult status has only grown over time. For fans of Kiyoshi Kurosawa, it’s an essential entry in his filmography. It demonstrates that before he was scaring audiences worldwide, he was a filmmaker with a voracious appetite for experimentation, unafraid of bad taste, stylistic rupture, and pure, unbridled weirdness. The Excitement of the Do-Re-Mi-Fa Girl , known
To understand the "Do Re Mi Fa Girl," one must first understand the sonic landscape of 1985. It was a year that bridged the gap between the raw energy of early 80s rock and the polished, digital perfection of the late 80s. The charts were ruled by "Idols"—young, often teenage singers who served as muses for the nation's youth.
While the title evokes the image of a specific muse, "The Do Re Mi Fa Girl" serves as an archetype for the idols of that specific moment. She was the girl next door who suddenly found herself on a glittering stage. Unlike the untouchable, mysterious icons of previous decades, the 1985 girl was accessible. She was cheerful, earnest, and her excitement was palpable.
: It shifts between comedy, coming-of-age, and even musical numbers, often featuring students obsessed with the works of Brahms.
The film stands out as a highly unique, genre-bending hybrid. It weaves elements of musical theater, absurd college comedy, political parody, and deconstructive pink cinema into a fascinating look at mid-1980s Tokyo youth culture. The Absurd Plot and Narrative Subversion
