Blindspot: “そして父になる” aka “Soshite Chichi ni Naru” or “Like Father, Like Son”
April 5, 2015 § Leave a comment
As the camera gently drifts outwards and upwards until the sunset sky begins to impart a pinky orange hue on the cluttered skyline of a low-rise city district as though revealing the soul of urban Japan, it become startlingly clear how perfectly this closing shot somehow manages to almost summarise/encapsulate the preceding two hours that were spent in the rightfully hallowed directorial hands of contemporary maestro Hirokazu Koreeda. Not only does this moment highlight the fact that Koreeda’s cinema lives and dies on framing and pacing more than perhaps any other techniques available to him, it also echoes the way in which the stately modesty and surface simplicity of “Like Father, Like Son” gives birth to a narrative far more psycho-emotionally complex than a film this tender has any right to be. By this I mean to say that the film quietly, gently burrowed its way deep into the heart of its themes so much so that I found myself blindsided by a ton of profundity and emotional resonance three-quarters into the movie. Even the title which sounds like a pun, film unseen, reveals itself to be far richer, being ironic in one instance while a painful affirmation of poor paternal legacies in another. Premiering at the 2013 Cannes Film Festival and wowing jury president Steven Spielberg so much so that it nabbed that year’s Jury Prize and Spielberg himself purchased the rights to a US remake (for those unable to read subtitles), “Like Father, Like Son” – without any indulgent foreshadowing or attention-seeking histrionics – sets up the story of two families burdened with the news that a grave error was made in a certain hospital nursery and that for the last six years they have been raising another couple’s son as their own. A more conventional film would most likely have featured not one but two pairs of discordant father-son pairings so as to ‘balance’ the centre of emotional gravity. It may also have overplayed the socioeconomic disparity factor, which I suspect the US version might very well do, post-Occupy and all. But this original iteration of the picture has its eye on deeper familial and social dynamics, and while Keita Nonomiya, played by the most adorable little boy this side of anywhere, may be too much of a meek, underachieving six-year old in the demanding eyes of Ryota, his workaholic architect father, their counterparts in Yukari and Ryusei Saiki display no evidence of discord; at least nothing worth centring a narrative around. Now this may very well have everything to do with the fact that the Nonomiya trio – mother Midori, father and son – is Koreeda’s main focus as a writer. But this lop-sidedness feeds into some of the movie’s prime concerns i.e. (a) the importance of the hereditary ‘blood’ link in determining the depth and tenacity of a relationship, (b) how socioeconomics impact one’s fitness for fatherhood (and parenthood in general), (c) how one’s own upbringing influences their parental philosophy, and (d) the curious timeworn phenomenon of the mother-son connection. I find that I cannot quite wait for my next encounter with Koreeda.