Chiisai ouchi

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.

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.

The Little House A very charming, heartfelt and poignant story set in a bygone era. Through a window into the culture of Japan's past in the 30s and 40s, a love story is told through the eyes of people who do their best to carry on in spite of the war. Fortunately society norms have changed, but it is an accurate display of the times as far as I can tell. I was able to watch the movie with excellent english subtitles and I recommend it.

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.

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?