Ashita no kioku

Ashita no Kikoku or "remembering for tomorrow" features a man who is diagnosed as having Alzheimer's Disease. Ken Watanabe who has costarred Last Samurai play this man with considerable talent and good physical expression, which might help the non- Japanese audience understand better about the patient. His memory and thoughts go back and forth stirring up the present, while the scenes follow this condition. Pictures are kept above all stylish and the mountainous setting is to appeal mysterious functioning of our memories ("Kioku" in Japanese) .

This man called Mr. Saeki is far from a good family man; he used to be workaholic deserting family for his company business. This is understandable because he works for a major Japanese firm in Tokyo; the film does not take up this issue but strictly focuses on the development of the Disease.

Mrs. Saeki does not bring any social issues to screen, either. She is described as a woman who lives with her memories of loving her husband. By only trying to keep the family together, she might have avoided other hardship ever since they married.

Over all, this movie is a love story within a happy married couple. There are no adventure, no heroic actions, no powerful social message involved in this film, but every scene is carefully chosen and often "speaks" without words. It would show much more up- to-date image on Japanese middle class life than any costly government-endorsed tourism campaign videos and movies.

This is the first movie to feature Ken Watanabe in the lead role. This may come as a surprise to many of us who've seen Ken in movies like "The Last Samurai", and other Japanese movies. He was the star in these movies, but surprise to learn that he was never the lead actor until this movie.

In fact, Ken was the one who've suggested to make the novel of the same title by Hiroshi Ogiwara into a movie. He saw similarity between himself who had a bout with leukemia with the main character of the novel Masayuki Saeki. The movie that was the first film to feature him as its star won the Japanese Academy Award for 2006.

This is a good movie that portrays the life of 49 year old middle aged executive who contracts Alzheimer's disease at the peak of his career. The confusion, and desperation of the man who's career is about to be taken away from him, and the courage him and his wife shows to combat the life that's before them is more suspenseful than your average action movie. The kind of courage and dignity the main character Saeki has is probably what Ken Watanabe has as a person as well.

Ken Watanabe is brilliant in this movie, and its worth every minute of your time to see him in action.

I just saw this film at the AFI Film Festival and it hits you on a deep emotional level. I am lucky that I have not had anyone in my family suffering from Alzheimer's, but the film works because it is also contains universal issues about lost love, honor and unspoken feelings within a family. I pretty much cried through the last half of the movie. Ken Watanabe was there after the screening for Q&A. He secured the rights to the book himself, then found the writer and director. His executive producer credit is well earned, and Watanabe just further cements proof of his great acting talents. What could have been a made-for-TV movie in the U.S. is a poignant story for the big screen with a superb level of execution.

This was a brilliant movie. I watched it on the plane from Japan to Holland and even on the plane I found myself crying towards the end.

Watanabe acts superbly and so does Higuchi.

After watching the film, I came away reminded of how important it is to show your loved ones you care.

A lot of movies about sickness can present very 2-dimensional characters but the characters in this movie had a lot of depth and it was easy to relate to them and ask "what would I do in that situation?".

Eight out of ten.

If "Memories of Tomorrow" seems like "The Notebook," it's because the cinematic adaptation of a novel by Hiroshi Ogiwara deals with the dreaded Alzheimer's disease as it slowly eats away at Masayuki Saeki's (Ken Watanabe) memories and, therefore, life, a process foreshadowed by an image in its opening credits of buildings being constructed played in reverse such that they appear to be deconstructing. Yet the similarity with Nick Cassavetes' sudsy interpretation of Nicholas Sparks' novel end there, as director Yukihiko Tsutsumi, barring a manipulative second act, presents the film's first hour set in corporate Tokyo with such rhythmic precision and expert framing that the urgency of Masayuki's anger and panic over his gradual descent into senility is masterfully portrayed.

A go-getting manager at a top ad agency, Masayuki, just a few months shy of his 50th birthday, has landed a major deal with a client and along with a doting wife Emiko (Kanako Haguchi) and a soon-to-be-married daughter Rie (Kazue Fukiishi), his life isn't just stable; it's an enviable accomplishment. Yet because he keeps on forgetting his clients' names, the highway exit to his daughter's house, and pretty much every trivial details in his life, he sees a doctor as Emiko suggests, where he learns that he suffers the early stages of Alzheimer's Disease.

As typified by one sequence where Masayuki gets lost in Shibuya, Tsutsumi deftly captures his protagonist's mad dash effort to make sense of both his external and internal environment, be it finding his way to the office, or remembering where his marketing team sat during an Italian lunch, or contemplating whether to jump from a ledge upon his disease's confirmation. Tsustumi radically differs in pacing and tone during the latter half as -- after a cheery montage of Masayuki's newfound domestic life following his early retirement -- he deliberates on the emotional and psychological issues of Masayuki, who now removed from the daily stress of urban life, finds it hard to adjust. Insistently stating the fragility of the human mind and human relationships with recurring images of potteries, china wares and cups, Tsutsumi eventually leaves the film to simmer in a treacly syrup which, while admittedly touching, leaves a bitter aftertaste.