ALARIS' REVIEWS

11th August 2010
Yaoh (2006)

I didn’t know what a host club was until Ouran High School Host Club (2006). I didn’t know they were real until a friend returned from Japan with photos. I didn’t know there could be so much ideological conflict behind the industry of well groomed young men serving drinks to financially generous women until I watched Yaoh.

Yaoh is an 11 part, Japanese TV series about Matoba Ryosuke (Masahiro Matsuoka), a kind hearted, young man from rural Japan, who must become the number one drawcard at classy host club ‘Romeo’ within three months, for the honour of his terminally ill patron, the fashion mogul Remi (Rina Katase).

Yes, it’s shamelessly soapy. Yes, it’s bubbling over with cheese. And yes, I haven’t seen this many animal print suits since Tekken. I’m not sure if it’s despite this or because of it that Yaoh is surprisingly engaging.

The story is predictable, the plotting contrived, and the characters are archetypes bordering on caricatures. However, Yaoh demonstrates how these can be strengths, rather than flaws, when executed well.

While the story is predictable, the messages being reinforced are positive ones: friendship, altruism, persistence.

While the plotting is contrived, each episode is satisfyingly coherent, and the characters’ motivations are believable: mysterious woman visits ‘Romeo’; mysterious woman has hidden problems; Ryosuke causes a scene, inadvertently makes people cry; Ryosuke’s compassion helps woman overcome problems.

While the characters are archetypes, they are likeable ones, and handled with just the right balance of slapstick and sensitivity: the open hearted country boy; the sceptical journalist; the brooding ally. Everyone has a tragic story, even the knife licker.

What surprised me the most about Yaoh was its insight into the ideology behind host clubs. The premise of the industry seems simple: women with disposable incomes pay for the privilege of drinking and clubbing with attractive, attentive young men. Pretty straightforward? Apparently not.

Yaoh delves into the darker side of these clubs, where unscrupulous hosts will sometimes coerce vulnerable clients into prostitution to fund their host club habit; or the culture of insincerity which sees sales figures, rather than client welfare, taking precedence.

However, Yaoh also presents an idealistic philosophy for host clubs, as pursued by Ryosuke, Remi, and the benevolent Owner of ‘Romeo’ (Takashi Naito). Ryosuke sees host clubs as a place of counsel and comfort, of genuine concern and encouragement. A place where women (men also welcome) can commiserate about their troubles, or celebrate small triumphs, in an atmosphere of acceptance.

It’s an interesting concept, particularly in a society where many people may not have friends or family to turn to for companionship and solace. The idea of ‘professional friends’ is an intriguing one. While it would be an unhealthy industry if founded on insincerity and superficial concern, it would be an entirely different matter if the professional friends were individuals with a talent for genuine compassion and selfless interest in the wellbeing of others.

For anyone who grew up on Hong Kong soaps, the style of Yaoh will sit comfortably with you, despite the improbable hair and outrageous fashion. Special mention has to be made of Ryosuke’s look, which is prom beehive at the front, and disco mullet at the back. And a nod also to Kazuki Kitamura, who plays the hotshot host and prime antagonist, Seiya, with hilarious nonchalance.
                   
If you can get past the video format and the predictable dramatics, Yaoh is an entertaining insight into a peculiar industry.

Verdict: A well executed soap, with some interesting ideas.

If you like cheesy Japanese dramas, you might like Yaoh.