Les mouchoirs jaunes du bonheur

This is a film about three people who are very lonely for different reasons and find themselves all on the way to Hokkaido. What seemed like a very odd trio and a very odd premise became a wonderful film about hope, forgiveness and belonging. Extra points are given for the film being set in Hokkaido and not Tokyo, it gives the film much mire meaning and authenticity. Actually, Hokkaido itself is a co-star of this film, as you see it rolling along out the car window. The acting is superb and the film is a major crowd pleaser. Director Yamada Yoji's films are kind of hit and miss to me (I've only seen a few Tora-san films) but this one really kept me interested and, along the way, I cared about each character more. Watch this, its a feel good film about life.

I watched the movie, and the plot is similar to the song. However, the "ribbons" were replaced with "handkerchiefs". A post was used in lieu of an oak tree.

Away from these similarities, I found the movie entertaining. The movie is a ballad of hope and friendship.

The ensemble performance is a perfect mix. Ken Takakura's stoicism versus Tetsuya Takeda's humor is balanced by Kaori Momoi's character.

The movie offers a lot of symbolisms. Their journey is same to life. The destination is uncertain. There might be ups and downs (vividly depicted by the good cinematography showing the different places in Hokkaido).

The handkerchief is a metaphor of a person's aspirations. There may be hindrances that discourage him or her to pursue it. Thankfully, there are friends and loved ones who cheer us up to go on.

A yellow handkerchief is a clear sunny day we are looking forward to every time we wake up. A movie like this deserved the recognition bestowed upon it.

The Yellow Handkerchief : A Japanese masterpiece of 1977. One of the best 'Road' movies. Three strangers riding in a car and wander here and there with no purpose. When they start to know each other, situation turns and unknowingly bonded relationship amongst them won't allow them to separate from each other but it has to end somewhere. Brilliant acting from all the three characters and great cinematography of Japan countryside. You can watch Ken Takakura in a sensitive role after playing villain in The Bullet Train.

Although it is said that Vivir Es Facil con los ojos cerrados (2013) is based on an independent memoir, the similarities of the film are so pronounced that I wonder if that Spanish notable was actually written with this film in mind.

Three strangers temporarily at the seams of Japanese society, unemployed and running away from certain emotional pain, find each other on a meandering pointless road trip. The mix is one younger man, one younger woman, and one middle-aged man, must like in Vivir Es Facil.

The younger man is brash and awkward, the middle aged man experienced and sturdy, and the girl feminine - that is, supportive but hesitant. Yet the interplay of three personalities forced into a road trip isn't the main dynamic here. In fact, all three of them, young and old alike, are lost and emotionally fragile, although this fragility appears in different ways and situations.

Whereas in Vivir, the middle-aged man is a mental case, here he actually fills a little bit of his role, steadying the outbursts of the younger man providing a voice of experience and reason at various points. Yet both of the roles channel a little bit of the child. In Vivir, the man had a childlike anglophilia and love for the Beatles; here the man makes a mess of his personal life and runs away from said mess like a frightened child.

Too haphazard and strained to be a great movie, the performances are strong and I appreciated the substantial shots of rural Japan in the 1970s. The ending is surprising, even shocking, and you wouldn't expect such a simple thing to be, so that was a pleasant surprise.

Also, the Enka soundtrack is fantastic.

Honourable Mentions: Vivir es facil con los ojos cerrados (2013) - such a similar movie, you'd think they were related. A middle-aged man picks up two young runaways and they go on a road trip through Spain to so the man can go meet with one of the Beatles. Along the way there's some complaining about Franco's regime and scenes functioning as critiques of violence which are not well done. The central theme of handkerchief is more about how people are still trying to find themselves at any age and it doesn't try to get more symbolic or deep than its britches will support.

You could describe it as a gritty, "thinking man's Tora-san" (in fact it shares a script-writer and some of the same cast as the early Tora-san films). Funny in many places but not a comedy; more like a slice-of-reality, on-the-road film in which three strangers are thrown together and romantic love triumphs in the end. Not an art film by any means, but great in its own way.