Father and Son

'Like Father, Like Son' is the latest film from Hirokazu Koreeda that won the Jury Prize at the Cannes Film Festival this year. Like 'Nobody Knows' and 'I Wish', Koreeda's previous films, it deals with family conflicts and children. A successful businessman discovers that the boy he has been raising for 6 years is actually not his son, as his son was switched with another child after birth. Now he needs to choose between his biological child and the child he has raised…

The actors in this film are great, not only Masaharu Fukuyama as father but also the young actors who play Keita and Ryusei. Koreeda always works well with kids. Keita is so adorable. The film handles the conflict very realistically and well reflects how the way of upbringing have influence on the children. It is quite emotional at the end of the film, so be prepared you may shed some tears.

Hirokazu Koreeda's Like Father, Like Son is a very emotional movie. One that made me feel for its characters. The film is full of great performances, an interesting soundtrack, and a plot that is easy to understand.

Set in Japan Like Father, Like Son tells the story of Ryota Nonomiya, a successful businessman, who is driven by money more than anything else. Ryota is married to Midori, and has a son named Keita. When Ryota and Midori visit the hospital after receiving a call from them, they learn that Keita is not their biological son. Ryota is forced to choose between keeping the child, or doing the right thing and giving him back to his biological parents. Things are especially complicated for Ryota as Midori is still devoted to Keita, even after learning his true origins.

Like Father, Like Son is a very touching film. It is helped by the performances of the actors. Masaharu Fukuyama gives a very "tame" performance as Ryota. When he learns that his son is not his real child, he doesn't explode. Instead, he keeps his cool, and tries to make the best of it. His performances are especially helped by the script, as on only a few occasions it seems to require him to be truly "emotional". Maciko Ono, who plays his wife, Midori, also gives a very strong performance. Unlike most mothers, she doesn't break down at once after learning that her son isn't actually her biological son. Instead, she considers the possibilities of what might happen to him. These actors along with the rest of the cast are helped by writer and director, Hirokazu Koreeda's script, which is very strong.

One of the most fascinating elements about Like Father, Like Son is that this film is mostly devoid of any real soundtrack. The only bit of music throughout the film is that of a piano. The use of a piano in the film is clearly an attempt to make some of the most emotional scenes in the film, really emotional. Their son, Keita, played piano, and there is even a scene where he does a piano recital. The constant use of piano music is clearly supposed to link the relationship between the mother and father and their "son". For example, one fifteen second scene features Ryota and Midori driving to go see Keita. In this scene, there is no talking, just a shot of the car outside and piano music playing in the background. The piano music feels very haunting in this way, and as a result, the scene becomes emotional.

Although I have had minimal exposure to Japanese culture, I can clearly see that these two characters are real, and not stereotypes of Japanese people. Ryota, for example, clearly goes through a change in character, as he becomes less concerned with money and more concerned about his son. There is real emotion and charm to be found in this movie, and the way director Koreeda guides the family, helps a lot. Like Father, Like Son is a wonderful film, and one that many can relate to.

There are worse nightmares for parents but this one is pretty bad, to find out that your 6-year-old son is biologically not your own, that he was switched at birth with another baby. In telling this story about the dilemma the two sets of parents find themselves facing, Kore-eda touches on nature vs. nurture, parenting styles, and class differences. The rich father seems ice cold emotionally, and it's telling that his first thought is that he'll pay the other man and take both kids. We learn that he is the way he is for a reason as the story spans three generations, though it would have been even better if we had gotten a little more backstory on the mothers. As in all of Kore-eda's films, there is a gentleness here, but it's perhaps too gentle, since painful situations like this often seem to bring out more trauma than amicability. There are lots of adorable moments with the kids though, and the film's central message is so sweet - spend time with your kids, love them for who they are, and be as good or better than your own father was.

Two families learn the devastating news that their sons were swapped in the maternity hospital, and each has been raising the other's biological offspring for the last six years. In trying to solve this unholy mess, one father has to face his own vulnerabilities.

Koreda has one again taken his scalpel to family life and crafted a masterpiece. Fukuyama as the driven, high-achieving Ryota is a revelation, an advocate of the tough love school of child-rearing, who never wastes an opportunity to tell his son he should be trying harder, succeeding more. One word - 'yappari' - reveals his disappointment and ultimate lack of humanity, and proves to be a pivotal statement in his journey to self-awareness.

Two archetypal elements of on-form Koreeda make this move a masterclass in dramaturgy. One is the sparkling, naturalistic performances from the children. When Ryota tries to explain to his biological son that he now should be addressing him as 'father', the stubborn, implacable resistance of the young actor is deftly played. There is a similar moment when Ryota confronts his tormentor, only for her young son to appear and remind Ryota of the kind of son he should have been himself. The other element is judicious deployment of point-of-view. Four parents go through this traumatic experience, but while the gravity of the situation for the other three parents is never in doubt, the journey we experience is Ryota's. He learns not only to love, but to accept, and even, in one phone call to his stepmother, to repent. Rirî Furankî is exceptional as electrician handyman Yudai. At first he seems more concerned with financial gain than natural justice, but slowly proves himself to be the better father. The fact that he is never shown suffering over the loss of his own biological son, and yet seems imbued with the humanity Ryota lacks, is testament to Furanki's performance and Koreeada' scripting and helming. Machiko Ono and Yôko Maki as the two wives who support each other are equally impressive.

The situation portrayed is every parent's nightmare, and the film succeeds in conveying that, while also mining a deep vein of humanity and compassion, and even managing a few comic flourishes. Superb.

We have seen many films delve on the topic of babies being switched at birth. Most of these, the story would revolve around the fortune of the kids. "Like Father, Like Son" is about the parents, particularly the fathers.

Ryoko and Midori Nonomiya are a well-to-do couple who had a sweet 6-year old son, Keita. Yukari and Yudai Saiki are a lower middle-class couple with a spirited 6-year old son, Ryusei. One day, they get news that a nurse had switched their sons with each another one at the hospital. With that shocking revelation, both families undergo an emotional ordeal in deciding how to settle their big problem in the best possible way for everyone concerned.

Writer-director Hirokazu Koreeda decides to tell the story from the point of view of Ryoko, a driven man at work who was disappointed that his son Keita was not as competitive nor independent as he wanted. When he gets the chance to be father to Ryusei as well, Ryoko discovers that his concept of fatherhood might not be as ideal as he thought.

Koreeda sets the contrasting dichotomy a bit too sharply. The Nonomiya home is sedate, quiet, and darkly lit. The Saiki home is messy, noisy and brightly lit. Ryoko (Masaharu Fukuyama)is handsome and smartly- dressed, but he is serious and haughty. Yukari (Riri Furanki) is homely and shoddily-dressed, but he is cheerful and kind. Which kind of father do you think the boys will prefer?

The important message of this film will definitely resonate with all fathers who watch this film. Fathers will reflect on their own parenting style and on what kind of father he had been. This film deserves all the praise heaped upon it. It is about time fatherhood is discussed very well in a film.