"The Great Sin of Article 9," starring actor Yuya Yagira, has been streaming on Netflix since April 2nd and is proving to be very popular. Netflix has a history of producing hit shows with edgy content, and while this series may seem similar at first glance, watching it reveals a different "feel" compared to their previous works.
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The film is based on the manga of the same name by Shohei Manabe, known for the popular manga "Ushijima the Loan Shark." It depicts the life of lawyer Kaneto Kujo, who takes on only troublesome cases involving gangsters, yakuza, and ex-convicts, and solves them by setting aside morality. Yuya Yagira plays Kaneto Kujo, the lawyer who takes on only troublesome and morally questionable cases, while Hokuto Matsumura of the popular group "SixTONES" plays Shinji Karasuma, a young and talented elite lawyer who graduated from the University of Tokyo and suddenly starts working as an "associate lawyer" (a lawyer who lives with the firm) at Kujo's law office.
The series garnered attention immediately after its release, securing the number one spot in Netflix's weekly Top 10 (series) in Japan, announced on April 8th. Furthermore, it also ranked 7th in Netflix's weekly Global Top 10 (non-English series) category, demonstrating its broad international support.
One of the defining characteristics of Netflix productions, as seen in shows like "The Tokyo Swindlers" and "The Naked Director," is the frequent inclusion of extreme depictions that would be difficult to portray on terrestrial television. And, as this series also depicts the world of outlaws, such depictions can be seen throughout.
However, upon actually watching it, I didn't feel the unpleasant aftertaste that might be associated with its strong impact. I myself gave up on "The Tokyo Swindlers" halfway through, but I was able to enjoy this one to the end. The original manga of "Kujo's Great Sin" had become a hot topic on social media with its first chapter, in which a drunk hit-and-run driver gets off with a minor offense thanks to Kujo's "actions," so I was interested but hesitant to pick it up. However, this drama version served as an "introduction," and I was able to experience the original work as well.
One reason cited for the film's mitigated unpleasant aftertaste is the excellent performances of its talented cast, as well as the changes made from the original work. For example, the introduction of Hitomi Yakushimae, played by Elaiza Ikeda, who supports both victims and perpetrators of crime, earlier than in the original work emphasizes the support given to the victims. Furthermore, the inclusion of comical meal scenes between Yakushimae and Karasuma, played by Matsumura, acts as a "breath of fresh air" in a story that could otherwise become grim, contributing to the overall balance of the work.
And a major factor behind these differences is that it's produced by TBS. The production team includes top-tier staff members such as Hiroyasu Doi, who directed "Quartet" and "Last Man - The Blind Investigator -," and Jun Nasuda, who produced "Kounodori" and "The Full-Time Wife Escapist." The fact that they were able to present sensitive content in an accessible and carefully crafted way is a testament to the know-how that TBS has cultivated over many years of producing masterpieces.
The ability to brilliantly visualize themes that are difficult to handle on terrestrial television, thanks to the accumulated know-how and sense of balance cultivated in terrestrial broadcasting, is a strength unique to collaborations between streaming services and television stations. On the other hand, regarding one episode concerning pets, while I understand its necessity for the story, I felt that some kind of warning would have been good. Also, the so-called "cliffhanger," a strong cliffhanger that makes you want to know what happens next, is a characteristic of streaming works, for better or for worse.
This marks TBS's third collaboration with Netflix, following "Future Diary" and "Let's Get Divorced," and it can be said that this series has demonstrated a successful model. While we await season 2, we look forward to their future endeavors. (MANTAN/Natsuyuki Tateyama)
