Una Historia Infiel

In an age when criticism has become debased and few people are really certain about what constitutes true worth in art, it is difficult to use the word "masterpiece" about any film. And yet that word is applicable here. At first this film appears to be just a bog-standard romantic love story, in the Hollywood mould, about two very different characters who meet and fall in love in unusual circumstances. Opposites attract, and so on.

However, as the story unfolds one becomes aware that there are many more levels to it than one would normally expect. Everything, from the title to incidental characters and the spectacular images of the desert, has been carefully thought out. It raises profound questions about a fashionable subject: identity, but also about love itself. Are these characters in love, or is it merely the terrifying starkness of the Australian outback that has thrown them together? Finally a third person enters the relationship, who complicates matters even further. Despite the romantic overtones of this film it is lifted, ultimately, by its absolute realism. Small gestures betoken whole story lines and glimpses of other characters throw the protagonists into sharp relief. Other influences begin to trickle through: Yasujiro Ozu, Peter Weir (in his early days), Japanese Haiku. And yet this is an entirely original work.

This film had a huge emotional impact on me, but it also made me think, about my own life and about the choices I've made. It did everything that a genuine work of art should do, and without any of the fanfare that we, in the West, have come to associate with art. Small wonder that it got little of the attention that in previous eras it would have attracted. Watch it, and discover that it is still possible to make a classic.

I don't know what to expect when I went to see "Japanese Story" - I didn't read any review other than hearing Toni Collette did a terrific job and the trailer is interesting. I sensed that the element of 'death' could be part of the theme/plot as I noted at a beginning scene where Sandy (Collette's character) was sitting down reading papers in her Mum's kitchen and her Mum casually remarked that death is part of life. A brief notion and director Sue Brooks continues on letting us follow Sandy around: at her office, we see her modern geological double-monitor workstation; we hear her frustrated exchange with male business partner on 'dumping' her the task of handling business client arriving from Japan. We follow her home still vexed at the agonizing thought of accompanying a Japanese client - meanwhile we're shown how matter of fact she goes about getting her chow down, with new age gadgets like a self-rotating can opener. The screen cuts to a small airfield. We see an Oriental man (Gotaro Tsunashima) in suits steps off a plane. The air about him is detached. The contrast is felt when Collette arrives in a hurry, disheveled appearance and in casual slacks. So the journey of this odd pair begins. A fascinating one at that.

It may not be apparent immediately that you'd be experiencing an emotional ride. But I found the pace just right - right there in the outback environment with the two of them, day, night, very hot, shivering cold, sweating, digging. There's a certain atmosphere to the film - can't quite label it but definitely Australian geographical-oriented - land, nature and people. Thrown into the mix is the Japanese culture for added spice, thoughtfully put together. Hence the joy, jumping for joy, laughter, joking, gentleness, intimacy, we'd understand. The turn of events edifies how unexpected life can be - the yin and yang, the ecstasy and sadness, just at the change of a moment, a motion…stunned, numb. The mystery of life and death is utterly incomprehensible by man. The focus is not on grief or state of shock, nor simply on cultural differences, the aim seems further: it almost culminates in the words about the joy given to him, the chance to appreciate the vastness of the space (desert), and being able to open his heart.

The two Japanese roles were well cast: Gotaro Tsunashima as Hiro performed pitch perfect. The role of the wife by Yumiko Tanaka, though brief, is important to complement Collette's role. Both gave just the right dose and tempo to the characters.

The Australian landscape is simple yet breathtaking. Cinematographer Ian Baker and film editor Jill Bicock are both from Australia and had worked together on "IQ" 1994 and "A Cry in the Dark" 1988. Music by Elizabeth Drake and casting by Dina Mann both are former collaborators with the team of Brooks, Tilson and producer Sue Maslin in 1997 ("Road to Nhill").

The film reminds me of w-d Friðriksson's "Cold Fever" (1995) and w-d Clara Law's "The Goddess of 1967" (2000). The former is a road movie of a young Japanese businessman traveling to Iceland to observe tradition and honor his dead parents; the latter is an Australian made film with outback landscapes and an intriguing non-conforming story.

Kudos to Alison Tilson who has written an insightful script, and Sue Brooks who has confidently directed this film made in "forty days and forty nights in the desert." Production by Gecko Films, Australia, and distribution by Samuel Goldwyn Films, U.S., "Japanese Story" is a thought-provoking film to experience.

I think it's one of those memorable movies you'll think about for a long time, but it also seemed to go on for a long time while you're watching it. I think Americans aren't all that comfortable with the very leisurely pace of a lot of foreign films, and that may have been part of the problem -- but there's only so long you can watch someone expressing an emotion before you want to say "I get it, I get it -- can we move on to what happens next?" The plot involves a headstrong young Japanese businessman's visit to the most desolate part of Australia -- a rather tough geologist played by Toni Collette (Muriel's Wedding) is his tour guide. He doesn't quite understand how different Australia is from Japan, and Collette has her hands full trying to chauffeur him around. The movie centers around the relationship that develops between these two very different people, set in the mind-bogglingly desolate Australian outback.

If your idea of a great movie involves car chases, this is definitely not the movie for you. If you like slower and more nuanced movies, then this one is definitely worth seeing.

It would be impossible to say anything substantially meaningful about "Japanese Story" without spoiling the film for those who have not seen it. Suffice it to say, it's set in Australia and works with a an Aussie woman (Colette) and a Japanese man (Hiromitsu) to build slowly to an emotionally potent situation - a series of moments - and then lingers in the denouement allowing the audience to savor the emotions evoked. For some, those feelings may be nil. For others they may be powerful and overwhelming. Personally, I wept. Objectively, the film, about a woman by women, is well crafted and Colette's performance is outstanding. The film deserves high marks in all aspects from cinematography to music to casting, etc. However, when the closing credits roll, your experience will have been as unique as yourself. And whatever that experience is, it will be less if you know the outcome in advance. (B+)

This is as much an Australian story as a Japanese one. We are not about to turn Japanese, but our close economic relationship over the last 50 years has to some extent transcended the cultural gap that divides us, and the bitterness of World War 2. On one level, this is a very personal story of two people from different cultures who become closer than they might have imagined. On another level it examines two very different cultures tied together by economic necessity. These themes are played out in a truly awe- inspiring ancient landscape, which, as others have remarked, is a character on its own.

I've not been to the Pilbara, but I've been to places like it elsewhere in Australia, and they tend to have the effect of reminding you of the fragility of your existence. The Aborigines (represented here by only a gas station attendant) regarded themselves as belonging to the land and here you can see why. It's not clear what Tachibana Hiromitsu, the rich businessman's son, is looking for in the desert, but he certainly feels its power. Just why Sandy the tough female geologist comes to harbour tender feelings towards him is not evident either; perhaps it's the mothering instinct at work- he's not an adaptable kind of guy and perhaps she senses his vulnerability.

Apart from the firm refusal to turn this film into a romantic comedy, despite some `When Harry Met Sally' moments, there are several other things going for it. First there is Toni Collette's entirely convincing performance which overcomes some weaknesses in the storyline (and improbabilities in her character). She has a lot of ground to cover, from boredom to hilarity, from dislike to intimacy, and from terror to melancholy.

Second, the cinematography fully exploits the scenery without detracting from the story. Much of `Japanese Story' was filmed around Port Headland in the Pilbara, but it's not a tourist brochure. Third, even the minor parts are played with precision (eg John Howard as the BHP man and Yukimo Tanaka as Tachibana's wife). It's difficult to judge just how effective Gotaro Tsunashima is – you'd need to be Japanese, I guess, and anyway the script is from an Australian, Alison Tilson. To my eyes he seems real enough, if we accept he's from a very privileged and sheltered background. It's interesting that Sandy seems to be the initiator of their intimacy (he doesn't resist!).

I think this film would hold up well anywhere. It has more than the usual emotional content for an Australian film, an intriguing and poignant story, good acting, and it's not too long. The admission price is also considerably cheaper than an air ticket to Port Headland.