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Review: Exchange Students
Tenkôsei
Gender
Two high-school kids take a tumble down some stairs. In the process, their personalities switch bodies.
From: caleb jones , 661 months, post #1
Tenkosei (1982) Also Known As: Exchange Students (1982) (literal English title) (international export title) Transfer Student (1982)

9th-graders Kazuo (boy) and Kazumi (girl) take a tumble at a temple in a small seacoast town in Japan. Through supernatural intervention, their minds and bodies are switched, and the result is a touching and hilarious coming-of-age comedy as they attempt to survive the pressures of junior high school life.

Summary written by Rob Richardson {robrich@heisei.com}


From: Neko , 266 months, post #2
Its Tenkousei.

From: anonymous , 249 months, post #3
found this review of a japanese movie that is not on the list! and it is based on a novel according to the review below!

From: "Noel Vera"
Date: Sun Sep 10, 2000 6:24 am
Subject: I Are You, You Are Me

Boys will be girls

Noel Vera

Obiyashi Noguhiko's "I Are You, You Are Me" is a cute example of that not-so-cute genre, the body-switching movie; I'm thinking of films like "18 Again," "Big," the early Jodie Foster flick "Freaky Friday."

There are differences. The previously mentioned titles are safe-as-houses entertainment about kids temporarily switching bodies with their parents and how 1) the kid learns that being adult means increased responsibility along with increased capability, and 2) the parent recaptures the innocence and purity of being a child. Cheap comedies like these come out of Hollywood once every few years (they're like herpes--incurable and subject to relapses).

Studios like to pour a thick layer of sentiment and moral uplift over them to make them more palatable, when what you really want is something nasty and uncompromising and extreme (the Farelly Brothers' "Kingpin," anyone?)--anything to cut through the syrup.

"I Are You, You Are Me," on the other hand, is based on a fantasy novel (by Yamanaka Hisashi). There are no moral lessons here, and precious little sentimentality--when Kazumi (Kobayashi Satomi) enters the body of Kazuo (Omi Toshinori), she's assaulted by Kazuo's friends, who think he's turned sissy; they want to pull down his pants and check if he still has his penis. Kazuo's friends don't know better--it's the usual boy's horseplay and they probably assume Kazuo will fight back--but Obiyashi makes it clear that to Kazumi this is rape. Kazuo does fight back eventually but as Kazumi, pulling the pants off one of the bullies and kicking him in the buttocks--which is doubly humiliating, because it's a girl doing the ass-kicking.

The film is full of unblinking little details like this. The moment Kazuo realizes he's in Kazumi's body, he starts feeling her breasts; later, he complains that his nipples feel tender, and Kazumi (in Kazuo's body) beats at him, crying out "Pervert! You've been touching my tits!" Kazumi lectures Kazuo on the subject of menstruation and Kazuo drinks all the details down avidly, as if he were sitting in on a shop teacher explaining house plumbing, or the workings of a diesel engine (when his period does come he has to cut class because of cramps). When someone kicks Kazumi in the balls, Kazuo advises her to "jump up and down, they'll feel better" (she does and they do).

Hilarious hi-jinks, but there's a disturbing edge to the film, especially when you remember that these are junior high school kids barely into puberty, and that they're experiencing the mechanics of the other's sex--literally and comprehensively--for the first time. Most Hollywood body-switching films, as mentioned, are much more sanitized--Ellen Barkin in Blake Edward's "Switch," for example, has a similar scene where she lasciviously feels her own breasts, but there's no disturbing, grating feel to the scene because it's a full-grown woman doing it.

There are flaws--Kazuo in Kazumi's body is much more comfortable than Kazumi is in Kazuo's; the film seems to suggest that girls would be much less adaptable to extraordinary situations like this than boys are. Obiyashi mitigates this somewhat by implying that that's because the boy is too dumb to know the difference, or care--at one point Kazumi asks Kazuo what his plans are for the future. "Plans?" Kazuo asks, puzzled. Kazumi points out that if, as is increasingly apparent, they never switch back their bodies, they might as well go on with each other's lives. It's an extraordinary moment, perhaps the finest in the film: Kazumi may have had a harder time adjusting, but her intelligence and sensitivity has helped her look further ahead than Kazuo, and for a moment she appears to be the stronger person.

The moment quickly passes, however. Kazumi goes back to moping, then thinks of suicide (strange, because before the switch she was a spunky, lively girl who wasn't averse to pointing out that Kazuo often urinated in his pants as a child). Now Kazuo has to keep shaking her out of her mood swings, and we can't help but feel like shaking her too--Kazumi, so lively at the beginning, weighs the film down like a wet sack of concrete.

Too bad. Obiyashi follows through on many of the physical and psychological details that would accompany such a switch (something I can't see a Hollywood director ever doing), but by the second half he's concentrating on the film's real selling point--the sight of a tomboy girl running about, kicking her classmates in the testicles and unconsciously flashing her breasts. Funny film, a thoughtful (if somewhat disposable) entertainment; you can see, however, how it could have been less disposable if it had dwelt more fully on its more disturbing implications.


From: anon cj , 249 months, post #4
du bist ich und ich bin
(you are I and I are you )
HISASHI YAMANAKA
available in this german edition 1993 novel as well
ISBN: 3794136608

From: guest (Masashi) , 206 months, post #5
Bumping this thread, since there will be a 2007 remake/sequel/homage by the same director, Obayashi Nobuhiko.

http://www.tenkousei.net


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