The beginning and the ending are also very well done. It starts with an audience entry point technique that I've seen before: we see at the very beginning a woman (played by the "adult film actress" Tsugami Nagasawa), apparently placed there to have at least one female figure, who prays for the director (who apparently can't on New Year's Day as he's lost someone) that the film's making will succeed, and then threading through the crowd to where Maeno is. This prevents the film from starting as in-your-face and also really is a nice touch to start the film, if you understand it. The ending I enjoyed as it ends with a better song than that you would have thought it would have (the much sentimentalized and well-performed "Weather Forecast" is bettered by the beautiful "Tokyo Sky"), with good final camerawork to match.
The film's exposition of Maeno's past comes with the description of "Weather Forecast," and perhaps that's not done exactly perfectly by Matsue, but you get to sort of see into Maeno's personal situation there (though, as Michael Sullivan said of Joan Rivers in "Joan Rivers: A Piece of Work," his regular songs aren't necessarily seen into through this, although Maeno might just be weird and "goofy," as my friend et al. said of him, as a songwriter). But, as the program says, the film is somewhat of a "tiny lo-fi miracle" in that the songs start to become familiar and are so absurd (and sometimes just good enough) to be memorable. This is probably what they were for Matsue, who made this documentary (among other reasons, such as the fact that Maeno would do it) to show how profound an impact that Maeno's music had on him through the (as others said) "hard times" he went through. B