J-drama Review: The Greatest Teacher

English Title: The Greatest Teacher

Japanese Title: 最高の教師 1年後、私は生徒に■された [lit. best teacher – 1 year later, I was killed by my student]

Director(s): Suzuki Yuma, Ninomiya Takashi & Matsuda Kento

Screenwriter(s): Tsubaki Masataka

Studio: Office Crescendo

Released: 2023

Runtime: 10 episodes, 45m each.

Starring: Matsuoka Mayu, Ashida Mana, Kato Seishiro, Touma Ami, Fujisaki Yumia, Santoki Soma

Kujo Rina (Matsuoka Mayu) is a high school chemistry teacher as well as the homeroom teacher of 3D, a class of mostly troublemakers. On graduation day, she is pushed off a walkway and falls to her death… but then is thrown back to one year earlier.

Regretting her resigned, hands-off approach and wanting to prevent her own murder, Kujo decides to go all in and try to do whatever it takes to help her students. She realizes she has been thrown back in time and does not require too much convincing so, thankfully, the writer spares us from watching half an episode of her testing things out.

Kujo could be a little more cautious with her choice of words, offering to do whatever it takes, with some students predictably abusing those words. The most apparent problem/conflict is Ugumori Kanau (Ashida Mana) being bullied. The bullying is led by Sagara Rui (Kato Seishiro), who is particularly cruel. So, the first episode addresses Ugumori’s feelings and wishes.

Kujo Rina (Matsuoka Mayu)

Ugumori Kanau (Ashida Mana)

Not surprisingly, Kujo deals with another student in the next episode. In this way, the series initially does come across as a little episodic. But this does not outright ruin the series as Ugumori remains the focus and Sagara remains the villain.

Although it may seem convenient to not deal directly with Sagara, it does make sense strategically (assuming the usual uselessness of today’s authorities). Kujo knows that a direct confrontation would be difficult and it is easier to chip away at those around him first.

The problem with the series is that there are too many conveniences. Kujo just knows when to turn up. She literally appears out of nowhere to talk to students. That could be partly explained away if it is at school, but not when outside of it. It’s so bad it’s funny.

Her putting cameras in the classroom makes sense tactically but not sure how she gets away with it in this day and age of “rules” and legalities. It is literally a device because the plot needs it.

The other problem is that the story is dialogue-heavy. There is excessive “telling” rather than “showing”. In key scenes, it’s just long speeches of Kujo asking or telling the student(s) about what they want to or should do, and the student talking about their feelings at length.

This is a shame because the entire cast—not just the main characters—is capable and mostly does a solid job at selling it. These scenes come across as unnatural not because of their performances, but simply because the lines just go on and on. It would be easier for them and the audience if the dialogue were better written.

As for other conveniences, Kujo went through a divorce in the first timeline and so tries to avoid it this time. A problem/conflict outside of school is necessary but the setup does come across as a bit contrived, particularly the reason for the divorce. That being the case, it does wisely avoid overdoing the drama. The irony is that her husband, Ren (Matsushita Kouhei), is an understanding sort of guy; on the one hand, he is likeable and Matsushita plays it cool and does not overact, but on the other hand, that just makes it that much more difficult that he would ask for a divorce.

Despite the episodic approach in the first half of the series, the pace picks up and flows better in the second half. Whilst it is admittedly difficult to track even half of the class, some conveniently appear and drop off as needed when they can be better tracked and signposted; merely a scene or two per episode is enough and workable in a 45-minute episode.

The music composed by Matsumoto Akihiko is not bad by J-drama standards. There is the typically melancholic piano themes and the occasional orchestral theme swelling at key dramatic moments. The former is sometimes too persistent and the score overall is a bit tacky, but it avoids being outright jarring by not being too loud in the mix.

Overall, the series is well-produced with solid performances. The premise is interesting enough. As expected, there are elements of a mystery-thriller but it wisely avoids going too hard in that direction; after all, it is set in a high school that is meant to be more-or-less normal.

The themes are important: bullying, peer pressure, negligence, sensitivity to others, maturity, discipline, responsibility, forgiveness, suicide, friendship, and one’s aspirations and dreams; these are all worthy of exploration which the story does not bad with. The main problem is that it is dialogue-heavy and the pacing can be way more refined.

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