Japanese Story

"Japanese Story" is a fascinating exploration of gender and cultural roles, with a more incisive take on the contrasts than "Lost in Translation," let alone than in the simplicity of "The Last Samurai."

The Australian outback is a harsher but beautiful landscape of blokes and sheilas than the Manhattan of "Sex and the City" but it brings into relief similar questions of expectations of guys and gals in life and sex.

Toni Colette's "Sandy" is one tough geologist required to guide Gotaro Tsunashima to his father's company's environment-destroying mining businesses. Each suspiciously views the other through narrow stereotypical lenses that block out the complexities of their real lives and potential.

They very gradually adapt to each other, opening each other up to new experiences in quite unexpected ways, even though their language and life communication is still limited. She is the shaggy, physical, confident one; he is the smooth, intellectual, diffident one. "Sandy" is aggressive in a way much more typical of males in U.S. movies, while "Tachibana" is redolent of the farm wife in "The Bridges of Madison County."

The third act is even more startling in its catharsis for "Sandy" as she finds inner strengths and vulnerabilities to deal with her responsibilities across the cultural chasm.

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 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.

This is, apparently, a love it or hate it movie. As is the case with such films those on one side have a hard time understanding the view of the opposite. I am fully in that camp, I thought this film was stark and beautiful--as moving in its silence and mundane moments as it was illuminating. For those who say there is no plot, well I clearly saw a different film, there is more story and intention in simple small details as there are in a whole series of other films. Toni Collette was amazing and Gotaro Tsunashima was perfect, capturing the emotional compression and exploration of his character with clarity and skill. In a film full of striking absolutely believable and full moments -- the furtive exploratory glances as the two leads drive through the desert, and Toni's fascination with Gotaro's nearly hairless arms say so much about the characters', their history, their assumptions, their prejudices. Incredibly moving, shattering emotionally, and ultimately deeply profound. A haiku-like meditation on living and sharing--I loved it.

The best thing about `Japanese Story,' an Australian film directed by Sue Brooks and set almost entirely in the Outback, is its unpredictability. Just as you begin to think that the story, written by Alison Tilson, is headed in one particular direction, it does an amazing about-face and leads us down an entirely different, utterly unexpected narrative path.

The movie starts off as a fairly standard romantic comedy, involving two strangers who don't like each other very much yet who are forced to spend an inordinate amount of time together. Sandy is a geologist whose company, against her will and better judgment, has asked her to escort an important Japanese businessman through the wilds of the Australian desert on a sightseeing tour. The film even begins to seem a bit like a landlocked `Swept Away' for awhile, as these two headstrong people – he a Japanese traditionalist with male chauvinistic tendencies and she a no-nonsense, freethinking, independent woman (but both filled with doubts and insecurities beneath the surface) – find themselves stranded in a hostile and remote environment, fighting for survival. But then the first of the film's numerous plot reversals kicks in and we find ourselves in an entirely different situation altogether.

I certainly don't want to spoil anyone's experience of this film by revealing just what those plot twists are, so I will merely state that the film, in the second half, becomes a fairly profound meditation on the precarious nature of life and the almost lightning-paced speed with which tragedy can intervene to bring our worlds crashing down around us. Toni Collette is heartbreaking as the feisty yet warmhearted Sandy and Gotaro Tsunashima is both tender and stoic as the man from an exotic culture with whom she eventually falls in love.

That, of course, is the predictable part. But if you think you know where this story is going, you will be pleasantly surprised at how wrong you will be.