Kiraware Matsuko no isshô

Thankfully I had seen "Amelie" and "Run Lola Run/Lola Rennt" before watching this. In all three films the usage of music as a prop, bold coloring, different speeds, odd and interesting angles, vivid cinematography, flashbacks, surrealism, eccentric characters, animated graphics, and other features of what I would call Expressionism, come to the fore, the entirety of the films' duration, each.

Amelie, for all its uniqueness, was actually at the end of it all rather boring, despite looking like a painting that's come to life, with an army of quirky people leaping out into a musical number of a film. (When it was finished each of the several times I watched it and honestly did enjoy it, I honestly didn't feel much connection to the characters though I understand exactly what their significance to the story is.) There's other odd French films, called "Micmacs" and "Delicatessen." By I think the same director as Amelie. At 1st I thought this was just a French style. But the bizarre visuals and retrospective storytelling seem to be characteristic of the filmmaker. So perhaps the director of "Memories of Matsuko" is pulling directly from Amelie's influence and not a broad genre of French film that I thought existed lol I mention Amelie and Run Lola Run and these other films because they did train my mind and eyes to this kind of artistry. But with Matsuko, it was not just used as an excuse to be odd and creative, like Amelie, but here it was completely necessary. In the 1st few minutes I was about to click this movie off, with the vaudevillian and fairy tale stuff and highly saturated colors; I wanted a taste of real life, modern Japan tied into a wowing film and the initial presence of Matsuko did not fulfill that. But after coming to review "Bounce KO Gals," a Japanese lolita film, I saw someone link other lolita films like "Kamikaze Girls" to "World of Kanako," to this film. And in liking those story lines and way of filming, I gave Matsuko a chance.

Since then, I figured that the whimsy of the song-and-dance style and harp playing and twinkle dust introducing this film was completely sarcastic. And it was. The unbearable interludes of musicals lasted briefly, popped up minimally, but they and the intense colors sooner than later showed their purpose: Matsuko was a lonely child with a vivid imagination, and went to the carnival with her dad as a kid and they saw theatrical plays. That was the film's only moment of he and her bonding.

So the musicals and coloring just visually expresses Matsuko's mental and emotional state. It introduced the rapid on screen downfall of our titular character, Matsuko herself. And it made me tear up. But I actually let the tears storm down when she was older and visited back home well into her extraordinarily troubled adulthood. I saw someone around here write that they didn't quite get the last scene with Matsuko as a child and then as an adult peacefully singing her utopian theme song as she climbed up the stairs to a heavenlike light shining down from her childhood bedroom, with her deceased sister angelically awaiting her to reach the top, whilst every friend and ex Matsuko had sung along in misery.

How can they not get this? Are they a sociopath or what? Maybe they've never been sad and daydreamed before so good for them but when you know you're unloved you then fantasize about being loved, or at least your former tormentors repenting how horribly they treated you, as you triumph how you realistically never did or would or could. And that's what the last scene shows. It was similar to Pan's Labyrinth, showing a finally happy Ophelia in a fanciful paradise; as her actual self took her last breaths, the make-believe Ophelia was being applauded by a kingdom and praised by her long dead parents. That too made me cry then. I realise this is what the director was doing here, not necessarily taking cues exactly from Pan.

It's just a trait of Expressionism I think, to visually and musically express the inside of its characters; it gives you everything you could ever ask for in order to understand what's going on and who's who. So it's used in "rom-coms" and horror films, and makes the films very popular. While I appreciated it, Impressionism, which I honestly prefer, doesn't do that. It uses exactly what's there and that's it, might not even have music in the whole film; it instead uses social and historical context as well as natural scenery to describe the characters. It's normally used in indie drama films, which are rarely as popular as expressionistic films but normally more critically acclaimed for their realism.

But for once I appreciated expressionism here. Because I totally understood why it was applied. Not just for eye popping kicks, which could almost force you to clutch your cheeks in painful dismay, begging for it to stop. But to show the viewer how alone and increasingly unstable Matsuko became, dwelling into a world of make believe and as she aged, hallucinations. So the fact that the film looked like you just dropped and popped acid kinda goes along with that, as opposed to Amelie which is gratuitously quirky and weird, just for the sake of being so. That being said, I liked Amelie but it had no personal affect on me. It taught me nothing. But how to giggle at an Arab immigrant struggling to pronounce French names, and how to sit through 2 hours of psychedelia.

This movie is unique and innovative. It is somewhat of fairytale like Cinderella and reminds me of Big Fish (2003), but is also very dark and depressive like say Requiem for a Dream (2000). It follows the hardship-laden life of Matsuko through the gradual discoveries of her nephew and the people he encounters.

It is extreme in content and in appearance, but touches very true and deep feelings & fears within all of us. It explores the meaning of life and asks very interesting questions. It does so while treating life's inevitable tragedies with humour and gaiety. The visual style and music are important elements of the movie as they share a positive-looking outlook of life even in the dimmest of circumstances.

The drama is centered around the dysfunctional family Matsuko was both the product of and the most disruptive element in its spiral towards destruction. Friendship, love and professional lives are also well explored, although as you can imagine, none of them in an ideal, truly rewarding way. The bleakness of the story and the brightness of the storytelling makes for a very interesting contrast. There are many beautiful shots (even if a bit CGI-heavy) and the inherent beauty of life is revealed through the crust of old, piled up garbage.

The storytelling is very fresh and even though it sags at some points as the film never seems to end, it does get its point across in a artsy and non-threatening way. I was so involved with the demanding story that I was literally shocked as I exited the dark theater to see other people lined up for the next movie at the FantAsia festival. After a viewing experience like this, I found myself surprised that there could be more movies after that or, possibly, that there may be anything after that! This is how profoundly I was affected. "Memories" is not a movie you just eat up and leave, you really need to settle and digest before you can truly understand and internalize.

A tough journey, a good message and possibly a lot of positive ramifications in art & life. Recommended.

I hadn't heard of this film till it appeared on television as part of a short season of Asian films. I'm glad that I decided to watch it though as it was a delightful film which made me laugh and cry.

Shou is living alone doing nothing with his life till one day his father comes by and asks him to clear up the house of his aunt Matsuko who had been murdered. Up until then Shou had no knowledge of his aunt but as he sorts through her belongings and meets people who knew her he learns what an extraordinary life she had, some happy but much sad. It is especially sad at the end when we learn how she died after surviving many hardships.

The film has a surreal appearance that reminded me of a cross between Amalie and the TV series Pushing Daisies due to the artificially vivid colours. If you want to see something different I'd certainly recommend this charming film.

As a matter of fact, the only film I can remember crying over is the brilliant "Babette's Feast".

"Matsuko" has a quality not unlike "Amelie", but mixed with a "Moulin Rouge" sensibility. It's part "Roger Rabbit" and part "Casablanca" -- never before have I seen stylistic pastiche used with such forethought and precision.

Some will find "Matsuko" sentimental and predictable -- but I think that doesn't matter: It's the storytelling that's important in this film and not, necessarily, the story.

"Matsuko" may not be a "great" film but, like "Babette" and "Amelie," I will want to see it again. I have a feeling that many people will react to the film in a similar fashion.

This film will just blow you away! While I would say it was fairly sad at times, and you'll shake your head at the life choices the lead character made, the film will stay with you. It definitely has tearjerker moments, major ones. The acting is uniformly superb. I originally knew about the film through this site, because I am very impressed with the acting of Asuka Kurosawa ("A Snake Of June") and wanted to see her in a film in which you actually see her in her beauty (She boldly works in horror films, sometimes with distorted features, like "Kirie" and "Dead Waves"). She looks gorgeous in this film, but so does the title character. Like many films with a female name in them (think Leslie Caron, Audrey Hepburn), you'll fall in love, commiserate, get angry with and, ultimately, forgive her flaws. Is it perfect? No, it isn't. The rating of 10 stars has to do with the effect it had on me. It'll just stay with you. Thank goodness this wasn't an American film, it would have been sanitized and "fairy taled" to the point of manifesting ad nauseum. Its sad, you might cry, but you'll love it.