Chiisai ouchi

Chinese are drawn into the path of war too. I wonder how much longer this happiness can last.

Today, we also like the family in the movie have a temporary happiness. However, what about tomorrow?

Definitely the kind of movie a director can make only once they reach a certain age, like Yamada was when he made this, well into his 80s.

It's a movie that looks back into the past - not always with rose tinted glasses - and unpacks memories both personal and historical/cultural.

There's quite a lot of history packed into this, owing to the flashback setting of 30s/40s Japan. I'd say that stuff is more interesting than the parts concerning romances, as that part of the film is serviceable but nothing remarkable.

It's shot with the care you'd expect from this legendary Japanese director, and performances across the board are good. Nothing amazing in terms of plot, but it has a nice feel to it, a good deal of emotion, and an engaging historical setting.

I had this movie earmarked for a long time, until I finally got a chance to see it today. I've seen few Yoji Yamada flicks before, to mention some of the best: "The Hidden Blade" (2004), "The Twilight Samurai" (2002) and "Love and Honour" (2006), so I had at least some idea what to expect. But this... - This movie is nothing sort of a masterpiece! In spite the fact that Yamada is one of Japan's most productive directors of all time, I still wasn't quite prepared. This movie is simply irresistibly at the same time heart breaking and heart warming, without forgetting this is pure eye candy on film. The film has only few sets outside the house, which is just appropriate, as after all, the movie is about the "little red house". However, what truly makes this film is the outstanding performance by Haru Kuroki. Watching her playing the maid is so heart warming that just watching her is enough to make grown men start crying. I mean really, she doesn't even need to deliver any lines! Mark my words, you will hear from this young actress in the future. I knew she had won the Silver Bear for best actress at the 2014 Berlin Film Festival, for her performance in this film, but I had no idea the role she played was this good! While watching her playing this modest, humble and loyal maid is something you will never forget. I can't even remember when I have seen a performance by an actress the last time, that would be even close to the sheer brilliance of this role. I think I will also need to have a look at some of the Yamada's older films, to see if there is anything I have missed.

If you believe you could have an understanding and insight for Art House -films, but have never watched any before, this would work really well as an introduction to a larger world. What a simply wonderful movie!

Viewed at CineMatsuri 2015. Veteran Director Yoji Yamada provides a heart-wrenching story that moves back and forth over an 80 year span that he knows well, since he has lived through it! Painfully sad overall, but not maudlin, the film employs a conventional plot scenario: the recent discovery (with frequent surprises) of a diary written over many past decades by a recently deceased family member. In the hands of Master Director Yamada, this common story vehicle makes for a most uncommon photo play. It is a gripping (the viewer can not escape being pulled in--resistance is, indeed, futile!), emotionally jarring tale of an upper middle-class family that lived prior to WWII and died during the war (as "collateral damage"), and the pivotal role played by the family's maid who has survived (by leaving Tokyo in time), and, of course, is the diary's author. Most of the story takes place in a (relatively) little house on a hill in exurban Tokyo. It has a distinctive red-tiled roof, hence, is often referred to as the "little red house" through out the film. Direction is outstanding, and so is most of the acting. Actress Takako Matsu delivers a consummate performance as the bored and frustrated housewife. Cinematography (1.78 aspect ratio, color), lighting, and set design/decoration are excellent. Music lief motif is a bit on the French side, but quite good. Subtitles are often long, but linger sufficiently to be read without distracting from scenes. However (and regrettably), only above-the-line names are translated in the credits. Highly recommended. WILLIAM FLANIGAN, PhD.

Taki (Haru Kuroki) comes from northern Japan to Tokyo to join the Hirai household as a housekeeper. Back in the pre-war days the newly rich upper-middle classes built their own houses out in the suburbs, adopting Western style furnishings and fashions. And the Hirais built a very nice little house with a red roof. Taki quickly fits in and bonds quickly – too quickly – with Tokiko, the young wife and mother (Takako Matsu). She loves it so much there that she turns down an opportunity to marry into wealth. Husband (Takataro Kataoka) spends a lot of time at the office and traveling around for his toy company, which leaves plenty of time for Tokiko to pursue her own pleasures, like any decent housewife at that time. But it all changes when Itakura (Hidetaka Yoshioka), a young employee at husband's company, comes to visit. Tokiko is immediately attracted to him – he's handsome, cultured, artistic and a bit sickly – hitting all the right buttons for Tokiko. The feeling turns mutual as circumstances bring them together again and again. To Taki's dismay they begin an affair. This is where the film compares to Remains of the Day. Though the division between master and servant isn't as distinct in Japan, the housekeeper is still an employee, and the employee has to keep her own feelings to herself. Taki struggles with this as Tokiko becomes consumed and careless. Kuroki won the Silver Bear at the Berlin Film Festival for her performance, which was a surprise to many. But Kuroki beautifully portrayed Taki's struggle as the perfect world began to crumble. It is a too common Japanese theme: put on a brave front and never show your struggles. But in this film it's nicely presented.