2004 ‘父と暮せば’ Directed by Kazuo Kuroki
Based on a play by Hisashi Inoue, it focuses on the sufferings of the survivors of Hiroshima. The film takes place during 4 days in the summer of 1948, as the ghost of her father visits Mitsué (Rié Miyama). He had somehow learned that she has fallen in love, and tries to convince her to start her new life. But Mitsué obstinately refuses his warm and humorous encouragements : « People were killed in my place. I do not have the right to find happiness », she says.
Japan
Russian Federation
Japan
Russian Federation
The time like we’ll never know about tomorrow.
The reality slapped so hard. Struggling every day made Hopeless about life. Sweet-back memories spread up on delusional. Lovely long conversation, it made feel better even though, seems like Talking with self.
Why it’s still draining, Can we live afterglow?
life and death spliced together like thunder and lightning, one implying the other can't be too far away, a film about the ghosts of the loved ones we're still carrying around with us. the film asks what can love not possibly solve? why not life in the opposing direction? why Not rebirth? it's funny and not funny like all great works, insanely sobering and routinely horrific, a beautiful rendition of what it's like to lose someone.. there's so much coincidence within the instruments.. could drive a human mad just thinking about it..
เหมือนละครเวทีมากกว่าหนัง แล้วป้อนไดอาล็อกมาแบบไม่หยุดยั้งจนเกลื่อนไปหมด สารอะไรก็ยัดใส่ปากตัวละครแล้วย่อยให้หมด ขนาดปูละครยังปูผ่านไดอาล็อกเลย ออกแนวเป็นหนังที่พูดมากกว่าทำให้เห็น แต่ก็โอเครู้สึกว่าเขาก็ไม่ได้เล่าแย่อะไรขนาดนั้น แค่ท้ายที่สุด หนังมันจบแล้วมันก็จบเลยแค่นั้นเอง
ใดๆคือไม่เคยดูหนังในฟอร์แมตฟิล์ม 15 มม. แอบขัดใจกับการที่หนัง pause เป็นช่วงๆเหมือนกัน ไม่แน่ใจว่า pause เพื่อกรอฟิล์มหรืออะไร
Heavy subject matter that would have been a lot more effective for me personally had it been more cinematic and/or natural. But this is based on a stage play, and 95% of it is basically that, meaning that the actors are kinda taking turns reciting their lines, leaving me emotionally unaffected. Nevertheless, I respect the attempt.
At this point in Kuroki's career, he had been crafting individual, and generally quite personal, features for close to 40 years. While his body of work may be small in comparison to others, his evolution of a filmmaker was one of the more fascinating of his peer group. It's arguable to say whether he ever became a fashionable or commercial director, as outside of 1990's Ronin-gai, his work (from what I've seen) always retained a personal and idiosyncratic quality that makes it hard for me to see even his more standardly structured films as anything appealing to broad audiences (but that's likely just my American-brain).
But having completed his trilogy of more autobiographical works (1975's Preparation for the Festival, 1988's…
watched in class today.
examination of survivors guilt (or, as it is the subtitles, “guilt-ridden survivoritis”) that is very ham-fisted, but also hard to criticize because it is an interesting look at hiroshima from a very close perspective, and probably melodramatic on purpose.
typically beautiful framing, this is japanese cinema after all.
just very boring. really stretches on. best parts are the boy she falls in love with who wears dope fits and never smiles, when her father performs his “apron show” (probably the only time in the movie the bluntness feels artful), the actual artifacts from hiroshima... very heart rendering, though not a great film.
A pretty good film about how to deal with guilt and memories of war. It's originally a play, and this fact affects the frames and the narrative. I really loved Harada Yoshio and his monologues.
