Tokyo Sonata (2008) Reviews

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  GyatsoLa2009-02-10

  Economic ruin seems to be all the rage these days - since the Japanese have gone through it all in the 90's they have a bit of a head start over addressing it artistically. This is Kurosawa's take on the humiliation job loss delivers to the Japanese male, and the ennui of modern middle class Japanese life. Someone once wrote that every Japanese film maker eventually does his 'Ozu' movie, and for the first hour this seems to be Kurosawa's. It starts out as a beautifully observed family drama, when a very ordinary Japanese family goes about their business, unaware that the father Ryuhei has been made redundant - his company realises they can cut costs by shipping out all admin to Dalian in China. In very Japanese fashion, he pretends nothing has happened, going to 'work' all day, which consists of sitting around waiting for food handouts, then coming home pretending everything is normal. In the meanwhile his oldest son fails to find a meaningful job and his youngest is struggling at school. His wife Megumi (a very fine performance by Kyoko Koizumi) keeps the family ticking over. It seems to be well on its way to a quiet drama about a family coping under strain, but then the Ozu gives way to a bit of Haruki Murakami style magical realism - all sorts of unlikely events and coincidences take place, forcing everyone to confront their failures. This includes a frankly bizarre subplot featuring Iraq and what seems a pointless one about a kidnapping. It all ties together with an ending that thankfully falls just short of too much sentimentality. It is an intriguing film, and one that does at least attempt to tackle real issues and themes in family life. Unfortunately, I think it is ultimately something of a failure - too often it meanders away in a manner that made me suspect the film maker just didn't know where the narrative was going. I think in making this Kurosawa watched a lot of Ozu - its a pity he didn't listen to Ozu's advice that too much plot means you are manipulating your characters, and if you are manipulating them, you are not respecting them. I would consider this film to be an honorable failure, but still a failure on its own ambitious terms.

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• I highly recommend this film.

  khemass2009-04-16

  At first I thought this film would be a depressing story to watch, but I was surprised that the film was actually very uplifting. Although it's a sad story overall, it has a very powerful message if you watch it to the end, a message that will encourage you to move on even when life gets to its darkest moment. This story is about problems of people in Tokyo, all sorts of problems. The leader of the family lose their job and was afraid to tell his family, the elder son join American army and go to war, the younger son wants to learn the piano but the father forbids him, the wife is depressed of trying to hold the family together. The film is so delicate and beautiful. It captures the feeling of each character and the whole depressive atmosphere of Tokyo very well. The pace is slow but it's not boring because you can follow the story very easily and you can sympathize with each one of the characters. It doesn't even have any Hollywood boring formula of sentimental film. This is a real work of art. I'm not gonna spoil this movie. I just want to tell you to go watch this film and watch it to the end although you feel that it's getting darker and darker. For me, this is not another good movie. This is a "great" movie because after I watch it, I feel that now I can go on with my life.

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• A hard look at Japan

  siderite2009-09-13

  For a foreigner like me, Japan is a mystery, both wonderful, weird and hard to understand, especially since most of my information about the country is anecdotal or (worse?) coming from mangas. I've met people having the greatest respect for Japanese customs and people who completely badmouth the country. From this perspective, Tokyo Sonata is a bit of a gem, showing me how ordinary Japanese people live and think. There is the family, standard issue of father, mother and two children, and there are the roles: head of the family, respectful housewife, rebellious teenager and confused child. What do they do when the economic crisis and the traditional value system clash? I thought the actors were good, the soundtrack as well (to be expected given the title), and the plot was slow but crisp. There must have been a lot of expectations on a guy directing movies when his last name is Kurosawa and not related to Akira, because the movie was overall an excellent film. However, given its two hour length and slow pace, I advice you look at it when in the mood for cinematography, not some easy entertainment. Also, it is a pretty sad drama in places, so be ready to empathize with some hard hit people.

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• A Remarkable Expose of Domestic Dysfunction

  MCDRLx2009-06-18

  Parting the veil on a Japanese household teetering on the verge of collapse, "Tokyo Sonata" may be director Kiyoshi Kurosawa's most conventional work-if conventional is the right word for a film that explores the contemporary family dynamic with such brooding fortitude. The renowned Japanese horror filmmaker has created a startlingly candid portrait of domestic life in "Tokyo Sonata," a film that, by evoking the waking nightmares of repressed souls, brims with a terror of its own accord. Businessman Ryuhei Sasaki, victimized by economic downsizing after his company terminates his job, chooses to hide his predicament from his family by roaming the streets of Tokyo during daytime. His wife Megumi juggles housewife duties and a tenuous relationship with her oldest son Takashi, whose desire to break away from tradition echoes the detachment of Japanese youth in a society wreathed in materialism. The youngest member of the family, Kenji, rebels against authority yet displays sensitivity beyond his age when he discovers an innate passion for piano. Juxtaposing tight interior shots of living rooms with panoramic compositions of urban sprawl, Kurosawa imbues the film with something of an otherworldly presence-a haunting, dreamlike aura that pervades "Tokyo Sonata" as its dysfunctional family continues to crumble inwardly. Conversations dissipate; lies build on previous lies; a mother's love is torn between duty and empathy. Humiliated by his jobless situation yet determined to maintain his patriarchal status, Ryuhei physically abuses Kenji for secretly taking piano lessons after browbeating Megumi for allowing Takashi to join the military. Recession-plagued Tokyo, already a landscape of existential lament, gradually takes a backseat to familial destruction. The film's blend of domestic drama and social commentary is both poignant and timely. Office workers like Ryuhei and his colleagues are portrayed as ironic victims of the Japanese male dynamic, driven by their obligations to home and work yet completely unwilling to compromise after hitting rock bottom. In displaying the failure of authority in a culture that revolves around it, Kurosawa draws poignant contrasts. "We're like a slowly sinking ship," grieves an unemployed friend of Ryuhei. "The lifeboats are gone, the water's up to our mouths." Like a vessel slowly sliding into oblivion, ideals built around workplaces and households slowly disintegrate, replaced by coldness and bitter angst. Tellingly, "Tokyo Sonata" eventually mirrors these systematic collapses by venturing into surreal territory. In one of the film's most affecting sequences, an afternoon nap turns into a chilling seance when Takashi returns home from the war, saying to his mother, "I killed so many people." Megumi's troubled psyche finally begins to eat away at her maternal strength. When a wayward burglar abducts her, and Ryuhei and Kenji encounter catastrophic situations, the film's quiet buildup escalates into irreversible mayhem. When does it end, and where does it begin? The mother's catharsis, manifested in a sequence of lasting power, injects rays of hope into an otherwise miserable flurry of dead ends. The final movement of "Tokyo Sonata," uneven as it is compared to its predecessors, completes the cycle of fall and salvation with admirable finality. Powerfully acted and impeccably orchestrated, Kiyoshi Kurosawa's "Tokyo Sonata" is a masterful exercise in paradoxes: at one and the same time comical and melancholy, despairing and exultant, nihilistic and regenerative.

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• A modern day Death of a Salesman

  Davidon802013-04-16

  Salary man loses his job and in order to save face lives a lie to his family by continuing to set off to work as if all was normal. Meanwhile his wife detects the changes whilst his two son's grow further away from him. The backdrop is the 2008 Japanese recession, and throughout we see suited figures walking ghostly across the screen, some looking for jobs, others like the lead character living their own lies. The movie doesn't pull any punches in it's damming portrayal of a modern Japan, throughout we see Tokyo portrayed as confined, gritty, cold and sterile. Gone are the neon and hyper kinetics of Shubuya or the affluent Ginza, what we have are job centre queues and homeless shelter camps. What this movie also draws light on is a sense of masculinity in the modern age. We have the sins of the father resonating throughout this movie adding to a greater sense of tragedy. Throughout Tokyo Sonata we feel as though the tragic nature of the storyline can only head in one direction, however whereas many tragedies shows art as destruction, here we have art as saviour. A truly touching movie, the likes of which I haven't seen in a while. The movie doesn't wallow in it's own self pity, what is shows is that all our destined paths can only be walked by us alone, no matter what ties and bonds we have made along the way. If every movie endeavoured to convey this stark yet simple message, then I'll be for that.

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