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Drama ranking: Rank 177/in 972 titles (Total 8.00/Deviation 51.20) Rank 176 <= => Rank 178
Drama ranking of 1975: Rank 3/in 7 titles Rank 2 <= => Rank 4

ORETATINOTABI(Drama)

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Information about this title

NIPPON TELEVISION NETWORK CORPORATION
UNION FILM
Toshio Kamata
Saitomitsumasa
Shinji Nakae
Masatoshi Nakamura Kei Ogura
Taisaku Akino
Ken Tanaka
MIDORI KANAZAWA
Kyoko Kamimura

[Detail]

Shota Morikawa
Nana Okada
Fumi Dan
Shoji Ishibashi
TakanobuHodumi
Akira Nagoya

Released:1975/10/15 in Japan End:1976/10/10 in Japan

Statics of evaluation(The statics is updated once a day)

	Average	DramaRank	Deviation(Total)	Evaluation points(Total)	Best of the Best
Inside Japan	Very good(2.00)	177	51.20	8.00

Statics of activity

	Total Views	Comment	Evaluation
Inside Japan	1,659	4	4
Outside Japan	188	0	0

How others evaluated in Japan

Best

Very Good

Good

Normal

Bad

Very Bad

Worst

People

Percentage

25.0%

50.0%

25.0%

0.0%

Added percentage

25%

75%

100%

Summary

100%

Views for recent 8 days
Total 6 5 4 3 2 1 31 30
1 0 1 0 0 0 0 0 0

Language Sorted by date Sorted by recommendation
English Good
(Only Evaluation) Normal
(Only Evaluation) Bad
(Only Evaluation) All
(Only Evaluation) None
Japanese Good
(Only Evaluation) Normal
(Only Evaluation) Bad
(Only Evaluation) All
(Only Evaluation) None
This reputation board

Language	Sorted by date	Sorted by recommendation
English	Good (Only Evaluation)	Normal (Only Evaluation)	Bad (Only Evaluation)	All (Only Evaluation)	None
Japanese	Good (Only Evaluation)	Normal (Only Evaluation)	Bad (Only Evaluation)	All (Only Evaluation)	None

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The below reviews are translated automatically from Japanese ones. To post to English version, please click here.

2006/08/21 Good [Original Japanese review]
by jalishin Provider: 40848 Host:40910 Browser: 5234
When coming out of the one university of the masterpiece of Masatoshi Nakamura indispensable to the history of a drama of Japan from the second half of the 70s to the 80s and coming out to society, One person is going to adapt himself to it and worries, one person is going to oppose it, and worries, and one person who had already come out to society worries about the reality in the society.
-- Such a conclusion which three persons drew is making a living by oneself, without being lost in society.
Relation by such three persons' conflict and people who surround it considers having been drawn with sufficient balance by it.
Although it was struck by the gap of a dream, an ideal, and reality and there was also a hard talk, the last is made to feel relieved with three persons' fuss, and a smiling face.
The delicate eternal triangle of kaasuke, youko, and omeda thinks that it was good.

2006/02/01 Best! [Original Japanese review]
by 夙夜健 Provider: 18384 Host:18446 Browser: 6287
Although Zillah and re-broadcast (TVK kana ?) are watched and cooked before, it is interesting too.
Although having seen on real time was from the next "our morning", I think that Mr.
Masatoshi Nakamura's charm is large.
that -- it hangs down and an eye is ii ん (impolite !) .
Is also a theme song favorite?
The mood which has not burned bloody and drifts in the whole work is very comfortable.
Although all are not looking, I want to carry out the highest evaluation.

2006/01/29 Very good [Original Japanese review]
by 貞吉7 Provider: 47133 Host:47311 Browser: 6885
It was a time-tested product that it is as that the sea of stage is near たり [, and ].
[ that a high school student or its teacher is a hero when it is called a youth drama those days ] 3 person groups of two nonpolitical person college students who made graduation close, and the senior member of society of those are heroes, and think further that the stage was a setup quite unique as inland "Kichijoji" that time.
Well, it is meaningless, and space movement is carried out, it is damp depending on the method of the end of imeeji っぽい on a sailboat, and the last of the last round is けど...
The drama in the ordinary sphere of life is a certain meaning and being [ a sense of closeness ] kana.
the noted scene of 本作 where, as for the four-line poetry with very much uncanny three having been made for the sequel which finally flows by the telop, without coming out, and being peevish and the cast also changing, subsequent works were also followed very by popularity coming out -- although I was a schoolchild those days, I wished to become a college student early -- rubbing -- す As [ be / guzu 6 / my part / somehow / although yearned after / blunt and selfish kaasuke ] / (talk which the ball of a Shoji Ishibashi 演じる punk without the strongest human being and 静源 Taro じゃ died of when calling it the scene which remains in a smile impression.) While kaasuke covers the amusing ball of a situation over mind ...
A one worthless obituary notice in a newspaper of the next day ...
They are ち and maji crying to kaasuke by which it is amazed.
Talk which finishes and lives in attempted and is driven out in た〓〓although it otherwise sets on and performs so that guzu 6 may apply 夜這 to Noriko.
Kana which was able to laugh also at こ very well when the leg was twisted, both the sides were held in two persons and he walked along the virgin load while it having been anxious about two persons who began to be followed while it has been the body arrival worn although only guzu 6 returns to a detached building at Noriko's discretion, having shouldered bedding, having run in the midnight Kichijoji shopping center, and having gone to the hall of ceremony by the marriage ceremony of guzu 6 after く and こ.
Often, although there is also an impression which the leg separated from the ground in the "company which does anything" which Daizo founded the second half just for a moment, it sees by touch good to the last, and it is also a better seed for there to be also a talk that it is fairly hot in the talk, or to be made to think.
If it says so, there will be a scene with which three persons thrust a leg into the riverside area of the Kichijoji park, and cross and go to it in opening, those who imitate would occur one after another, and it will be heard that it has been removed now.
toko with ほん is [ how ] しょ why.

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