Le petit garçon

although not a terrible film, there's really nothing out of the ordinary to see in this. You feel no emotion for any of the characters, which is unfortunate because you want to like at least one of them. The fact that the subtitles were white really hurt the film. On the plus side, the soundtrack, while very scarce, fit the film quite well.

Tetsuo Abe travels Japan with his mother and father and little brother. They're con artists, pretending to be hit by cars and then mulcting the drivers for cash. The youngster makes up his own reality in which an alien comes from the stars to bring righteousness to the world. But sometimes it seems he believes it, sometimes he he tells this fiction to amuse his younger brother, and sometimes he seems to use it to comfort it somehow. He loves his mother and fears his father.

I have concluded that, brilliant film maker that he is, director Nagisa Oshima rarely makes movies that I find particularly telling. He seems to hate all his characters, and blames them for the ills of Japan. He doesn't have any solutions; like many of the Japanese New Wave, he seems more intent on apportioning blame than is solving any problems. Sometimes that is an appropriate thing to do, but in this slow-moving movie of misery, falsehoods, and insanity, there seems nothing to do but throw up my hands at the rampant nihilism.

This movie dramatizes the real-life adventures of a roving family of con artists who faked traffic accidents to extort money from unwitting victims all over Japan. It offers a tension-filled psychological study of depraved, sociopathic parents exploiting each other and their 10-year-old son for easy money. The acting is remarkably good, particularly on the part of the boy who takes up the family trade with a mixture of gusto and reluctance.

The cinematography is wonderful -- many shots are taken at a distance from the subjects, often through half-open doors, semi-closed blinds and other obstructions. The camera work reinforces the message, subliminally, that these are dangerous people living on the margins of society, and it is best to watch their antics at a safe distance. The film editing is excellent, particularly in the scenes where traffic mishaps are being plotted and executed by the family.

My only quibble is that the film does at times have a mannered, contrived quality. For example, it abruptly switches from color to black and white and back again to color. At times, as when the black and white footage is quite overexposed, the effect is constructive and adds to the strained atmosphere; at other times, though, you feel a little whipsawed to little purpose.

This film is as worthwhile as it is off the beaten track. Anyone with an interest in Japanese cinema or aberrant families would do well to see it.

Based on true events, a family of struggling con-artists drift across Japan faking car-pedestrian accidents and then convincing the drivers to settle out of court. When the mother (Akiko Koyama) discovers that she is pregnant and is no longer is willing to take the risk of stepping into the path of a moving vehicle, Toshio (Tetsuo Abe) her 10-year-old step-son takes on the role of 'victim'. Sad, bleak and oddly structured (notably the ending), the film features lovely cinematography and an excellent cast (note: watched on TCM with English subtitles), especially Abe as the stoic youngster who attempts to run away, both literally, by taking the train as far as his resources allow, and in his imagination, a pretend- world in which he and his little brother are searching for aliens. I don't know how much of this tale of an abusive, dysfunctional is factual, but I found the story compelling and was impressed by the nuanced treatment of the parents, who are immoral, manipulative fraudsters but who at times seem to actually care about their son, despite being willing to constantly expose him to danger. The boy's acceptance of doing 'jobs' despite his increasingly damaged body to 'support' his family is both touching and chilling.

'Boy' is, below the surface, a scathing commentary on post-war Japan. The country has been consumed by greed and has taken Western ideals to its hilt. The parents exploiting their son for money strikes into the heart a family that is so far away from the respect and courtesy of old Japanese values.

As a contradiction, Oshima rejects the classical repertoire of Ozu or Mizoguchi and creates a radical language much more to his own invention. The soundtrack unsettles, the camera movement is slow and anxious ridden and the characters push against any sort of likability. The fact that a small boy is the most morally conscious out of a cast of adult characters is especially telling. Also used are still images and colour filters, almost a surefire way to portray the inner thoughts of a young boy who can't adequately express himself. The widescreen filming allows for much detail in the scenes, a rush of intricacies flood each shot. Exquisite to look at but also plenty to think about.

Oshima is usually volatile in his ideas and this leads him to be a not very consistent filmmaker but when his ideas align themselves like this, there are very few who could direct better.