Adapting “City Hunter” / “Nicky Larson” with real-life footage is a highly risky endeavor for several reasons. Except for rare exceptions, live-action adaptations of our favorite mangas or anime by Netflix have generally not been particularly successful. However, it is true that recently the streaming platform has improved its track record with “One Piece” and to some extent “Avatar: The Last Airbender.” Another issue with adapting “City Hunter” in 2024 is the potential problems posed by the character’s persona. Given that Ryo Saeba / Nicky Larson is a notorious lecherous pervert obsessed with sexuality and frequently promoting the concept of Mokkori, which refers to glorifying an erection, controversy or social media backlash could easily arise today. Adapting “City Hunter” without distorting what it represents is therefore a delicate matter. However, Netflix has not only found a way around this challenge but also secured the best actor to portray Ryo Saeba, Ryōhei Suzuki, who delivers an extraordinary performance.
It is quite difficult to believe, but prior to Netflix’s 2024 proposal, there had never been a live-action adaptation of City Hunter by Japanese creators. There was, however, Jackie Chan’s 1993 film, which bore little resemblance to the original work and was, upon rewatching it as an adult about a decade ago, quite absurd. Following this, Philippe Lacheau’s proposal in 2019 emerged; I hold this adaptation in high regard due to its successful interpretation of the French version of Nicky Larson from Club Dorothée, despite being pieced together with limited resources at the time. The film has garnered a genuine fanbase, and I rewatched it just days before Netflix’s adaptation, acknowledging that Lacheau managed to capture something sincere and heartfelt within his work. Personally, I consider this effort the most successful of Philippe’s films. Other unofficial adaptations have attempted to capture City Hunter’s spirit but were largely obscure and went unnoticed even among enthusiasts. With Yuichi Sato directing and Tatsuro Mishima writing for Netflix, the latter having previously adapted Yu Yu Hakusho for the platform a few months prior, they produced a successful film, though not without imperfections. As a live-action adaptation, it is undeniably a success in capturing the manga’s essence, evident from the first ten minutes of the film.
Already, we find ourselves immersed in the heart of Tokyo, in the Shinjuku district, where the manga has always unfolded and is now brought to life on film for the first time. Just that sets the context, and for those who have been to Japan, it’s a visual delight to see Kabukicho filmed this way, with its restaurants, shops, labyrinthine alleys, neon lights, narrow streets, bustling crowds… Shinjuku is the fourth character in the film after Ryo Saeba, Kaori, and her brother Hideyuki Makimura. There is a scene I particularly like in the film, the chase sequence with that overhead shot where the camera follows the protagonists as they dash about. Nothing groundbreaking or exceptional, but these few shots do show an effort to put some thought into the staging. This is something we often see in action scenes, especially the gunfight at the end of the film.
Adapting “City Hunter” / “Nicky Larson” into a live-action film presents several risks. Typically, live-action adaptations of popular manga or anime by Netflix have not been very successful, with exceptions such as “One Piece” and “Avatar: The Last Airbender.” Another challenge in adapting “City Hunter” for 2024 is the controversial nature of its main character, Ryo Saeba/Nicky Larson. Known for his lecherous behavior and promotion of ‘Mokkori,’ which glorifies erectile function, this could potentially lead to controversy. Adapting “City Hunter” without altering its core elements is a delicate task. However, Netflix has successfully navigated these issues, casting Ryohei Suzuki in the role of Ryo Saeba, who delivers an outstanding performance.
Thus, these first ten minutes set the tone for the film, and what is particularly noteworthy is that the footage immediately reveals Ryo Saeba’s wildly eccentric personality. Yes, he is a private detective who shoots with a Magnum like no one else, but primarily, he is portrayed as a significant lecher, and the film consistently highlights this aspect. To such an extent that the opening scenes feature Ryo Saeba’s gaze focusing on his client’s cleavage, followed by him observing women leaving public baths from rooftops in Shinjuku while singing about having a banana, completely at ease. Later, there is even a scene in a private club where Ryo Saeba performs a full Mokkori Show, appearing entirely nude with only a few props to conceal his genitals. Subsequently, in another scene, Shinjuku’s stallion does not hesitate to use a large object to prevent perverted photographers from taking pictures of a cosplayer shot from beneath her skirt. This particular scene is well-executed, particularly due to the staging and editing that emphasize the humor each time. Thus, even in 2024, amidst the post-MeToo era, this City Hunter adaptation does not conceal its principal character’s lewd tendencies without ever descending into vulgarity or crossing a line that would be considered too sexist.
RYOHEI SUZUKI: THE REVELATION
All of this could have easily turned into something awkward or clumsy if the actor playing Ryo Saeba/Nicky Larson had not managed to recapture the spirit of the character. However, the production demonstrated incredible instinct by offering the role to actor Ryohei Suzuki. Despite being unfamiliar with him despite his impressive filmography, I was immediately struck by how he is the revelation of the film. As live-action Ryo Saeba, he is equally convincing in both appearance and performance. Most importantly, he can seamlessly transition from the serious side to the absolutely perverse and burlesque aspect of Ryo Saeba with a snap of his fingers. He never appears ridiculous; instead, he is always spot-on in tone. It’s truly incredible how perfect this casting choice is.The same applies to the character of Hideyuki Makimura, Kaori/Laura’s adoptive brother and partner, played by Masanobu Ando. He too is perfectly cast. Considering that the actor is nearly 50 years old, it’s remarkable how youthful he looks. Finally, actress Misato Morita’s portrayal of Kaori, or Laura in the French version, is another casting success. Given that we are dealing with the character’s early days and her evolution alongside Ryo Saeba, she carries restraint in her personality that contrasts with the manga, but this is expected considering it’s a complete origin story of Hojo’s work, taken with its own liberties. Here too, I find the handling to be perfectly executed.
This origin story is designed to attract a broader audience beyond those familiar with the manga or anime, including individuals who recall Club Dorothée. Regarding the French dub and subtitles, it may provoke some debate because Netflix France chose to maintain the original French names in the adaptation to capitalize on the established recognition of the license in France, particularly among forty-somethings. Whether this is a wise decision is unclear, but I can appreciate Netflix’s challenge. It’s somewhat amusing to see Hideyuki Makimura referred to as Tony Marconi, especially given that the actor is Japanese. If you watch the film in its original Japanese with French subtitles, you will hear the authentic Japanese names while seeing their French equivalents on screen. This can be quite disorienting… However, I understand Netflix’s situation. While I would have opted for the same approach for the French dub, I would have preferred to use the original names for the English subtitle version.
One might assume everything is perfect so far, but there are still aspects that require refinement and improvement, particularly in the film’s execution. Nothing dramatic or scandalous, but we remain on a generally timid, generic staging. We’re talking about a Netflix production here. Nevertheless, there are some good ideas and even flashes of brilliance, especially in certain shot choices and in some fight scenes, particularly in the intro and at the final scene, but the rest fails to go beyond basic competence. Something that particularly struck me is that we’re in Tokyo, specifically Shinjuku, one of the city’s most eccentric neighborhoods alongside Harajuku, yet it doesn’t really pop. We should have had a vibrant display of colors, iconic Japanese scenes, something more dynamic, but the director never pushes far enough, staying within his comfort zone. There’s a lack of overall energy and flair, even though the film does indulge in some flourishes towards the end. I also find the editing a bit choppy; the film would have benefited from letting scenes unfold and avoiding cuts every three seconds.
Let us not diminish our enjoyment, as we ultimately had a good time watching the film, and it is encouraging that the producers and Netflix understood how to convey the City Hunter spirit within a 1 hour and 44-minute runtime, leaving hope for a sequel. We look forward to seeing further development of the characters in any potential sequel, with Umibôzu (the well-known Mammoth in French dubbing), who is notably absent from the film despite references in the French version, possibly making an appearance. It appears there may be an issue with translation, as his name is never mentioned in the original Japanese version…
