Le vase de sable

This film CASTLE OF SAND expands on genre conventions and is cinematic in the best sense. YOSHITARO NOMURA takes what was presumably a best selling novel in Japan, and creates a fascinating mystery with all the requisites: the pairing of a veteran and a rookie detective; a murder with a minimum of clues; an unidentified victim; a journey of discovery for both detectives when the investigation seems to have come to a dead end; the seemingly arbitrary introduction of a key figure on which much hinges, and so forth.

The director tells a story with voice overs and the requisite dialogue but as often as not his camera tells the story.

I have seen any number of Japanese films in my 50 plus years, but I still felt I was undergoing the journey and the search that the two detectives take, through the rural regions of Japan that are in stark contrast to their operating base, Tokyo.

The story has elements that take it beyond the realms of the mystery and police procedure genres, and the conclusion is worthy of the time the director has spent in weaving his tragic tale.

The film is now available on DVD via Panorama; it is in the original Japanese with Chinese and English subtitles. It is a SINGLE LAYER DISK, LETTERBOXED and in STEREO, which is paramount because music is central to the whole affair.

Unfortunately my copy had a sequence when the senior detective is addressing his colleagues and no subtitling is provided (you simply see the same line for an awkward length of time). However the viewer should be able to extrapolate what has been said. All in all, a film and DVD worth seeking out!

At first, I thought this was going to be a standard murder-mystery story. A police detective doggedly pursues slim clues all over the map to find a murderer. However, when the events which led up to the crime are revealed through flashbacks, the story takes an emotional turn which even brings tears to the detective's eyes. Like most Japanese movies, it starts slowly but comes alive at the end. I recommend it.

I saw "The Castle of Sand" at a Japanese Film Festival this year in Sydney, and I must say that I'm surprised that this movie isn't better known as it's so beautifully made and incredibly moving...It's one of those near-perfect gems that are few and far between. It's a fairly long movie at nearly 2.5 hours, but the movie is one that draws you in very quickly and keeps you wondering up until the very end.

The plot centres around the mysterious murder of Miki, a retired policeman in his 60's who was well-liked by pretty much everyone who knew him for his kindness and integrity. Two detectives, one a rookie and one fairly older, are assigned to the case and what at first seems like three unrelated stories slowly weave together to reveal the reasons and the person behind Miki's death. Even if you're not a fan of foreign movies, "The Castle of Sand" is still definitely worth a watch.

One thing to beware of with this police procedural is that it's 143 minutes and very drawn out. Director Yoshitaro Nomura has a tendency to explain everything, such as the logistics of the cops as they travel around rural parts of Japan, which he does frequently via words on the screen, to the cops re-stating things that we've already seen or figured out. Also, while there is value to understanding just how much leg work goes into solving a crime, there were times I thought it was overdone, or at least, that the "slow burn" payoff better be high.

Mercifully, the beautiful cinematography offsets some of the issues with pace. Nomura often zooms out back from his characters to show not just wonderful scenery, but I think also to give us a sense for how small these lives are in the grand scheme of things. The past has a tendency to be quickly forgotten by the world, as if it were swallowed up in forests humming with loud insects, but not by individuals. No matter how successful someone may become, no matter the number of years that have gone by, the past is always with us, and trauma can come bubbling to the surface in a heartbeat. This is the main payoff to the film, not a surprise twist in the murder mystery itself, which never really has more than one suspect. There is real emotional power in seeing how the past fits together and affects people in the present. Nomura unveils this quite well via flashbacks set not to dialogue, but soaring music, and the result is a feeling of empathy for a callous man who has killed the kindest of persons. It's melodramatic for sure, but enlightened at the same time.

I just finished The Castle of Sand and could not wait to write down how I feel. It is such a classic and so rich in the Japanese culture that I need to share soonest.

A suspense murder story on the surface, The Castle of Sand explores the theme of destiny and invites audience into this Eastern concept. It is full of irony which I will elaborate later.

The film opened in a small town Northeast Japan, which quickly drew me to imagine how this little town would have looked like before the tsunami last March and how it is recovered now. But it quickly shifted focus to other clues of a murder case which took detectives Imanixi and Yoshimura (Tetsurou Tanba and Kensaku Morita) all over Honshu to search for further details. We were taken on a journey to travel with them to the beautiful Japanese countryside and experience their hospitality in the summer heat. By the way, Tetsurou Tanba was very sexy when he rolled up his sleeves and worked hard!

The victim of the murder, Miki Kenji (Ken Ogata), a retired policeman who was loved by everyone in the village, had only done decent deeds all his life. No one believed he had any enemy but he was murdered and his body dumped in Tokyo. When detective Imanishi interviewed Miki's colleagues and friends, we almost see the famous Japanese poet/humanist/teacher Kenji Miyazawa alive: he saved a kid from the fire, carried a sick person to the hospital and sent a sick beggar to the hospital while taking care of his son. I believe the scriptwriters Shinobu Hashimoto and Yoji Yamada were paying tribute to Miyazawa for his humanism when he named this beloved policeman as Kenji who shared the same caring characters of the great writer.

Without divulging too much of the plot, destiny was defined in the film as "being born and being alive" by one of the characters. This can be interpreted in both a positive and negative way – that we enjoy the moment we have and be thankful that we are alive, i.e. accept fate; or that as long as we were born, we have to try hard to stay alive and ahead at all costs. No matter which option we choose, our lives, or whatever we have accumulated, are like the castle of sand which might look magnificent for a while but it will eventually be crumpled and washed away. Therefore, all of our efforts are futile because our fate is already determined. Power, fame, wealth, even love, whatever we desire, will be gone – which is quite a Buddhist philosophy.

What was ironic was the contrast between the friendly hospitality the detectives enjoyed and the sneers by the country people the leper father and his son faced as they roamed and begged all over the country. Another irony was in the second half of the film when the beautiful Japanese countryside in snow, under cherry blossoms, by the sea, and in the mountains was depicted with the roaming father and son struggling in the foreground. No dialogues were necessary (they are male and Japanese!). Yet the passionate piano concerto vividly portrayed their sadness, loneliness, abandonment and strong bonding. It was beautifully overlaid by the performance of the up and coming composer Eriyo Waga (Gou Katou) while he reflected painfully on his past.

I have not read the original novel by Seichou Matsumoto and I intend to do so.

Duration is 143 minutes but did not feel long at all because you will be full absorbed into the search, the enjoyment of the scenes and the sadness felt by each character. This film is a classic as the morals from the story remains valid today: the coldness and avoidance of the villagers to lepers/beggars remind me of the bullying of residents from the Fukushima area. Years pass, seasons change; scenery, prejudice, hospitality and solidarity stay. Ganbare, Nihon!