Tokyo Sonata

The Sasaki family, a middle-class household at the heart of urban Tokyo, relish and rely upon the constant income provided by patriarchal figure Ryuhei. An administrative manager working for a bustling corporation. His youngest son's supply of school lunch money dependant on his consistently high salary. His wife's matriarchal duties conditional on the house that Ryuhei can afford. So when Ryuhei is suddenly fired from his job, after the discovery that Chinese workers are more economically viable to employ, the pressure of adult life itself and its parental responsibilities soon test the family's trustworthiness and pride.

Kurosawa's familial drama, harking back to similar styles found in Ozu's filmography, is profoundly his most terrifying feature to date. The gruesome murders in 'Cure' and supernatural entities in 'Pulse', arguably his two most famous films, do not compare to the palpable realness of unemployment. The colossal of pressure of having to provide a future, not just for one's self, but the entirety of one's family. In Japan, family structures are fairly archaic and traditional. The patriarch obtains a career and provides financial support. The matriarch stays at home and cares for her children and abode. Strict dinner rules and social measures are attained to assert parental authority. Therefore, if the source of income dissipates, the family structure crumbles and shame is brought upon them. That fatherly dominance vanished in an instant. Kurosawa bravely explores that rise in tension, with pride and self-esteem controlling Ryuhei as he continually deceives his wife and family.

Much like many Japanese white-collared workers, he continually pretends to venture out to work everyday when in fact he is searching for potential lower income jobs, befriending other downsized employees in the process. Living a life in secrecy, unable to face his family with the truth. His wife swiftly figures his complication out, but eagerly awaits for him to address the family. He never does. And it is with this erudite situation, that Kurosawa's beautifully composed screenplay traverses the societal pressures of modern Japan. Implying the correlation between rising unemployment numbers and suicide rates, without ever resorting to melodrama. He exquisitely inspects each character and their familial contribution and consequence through a deliciously adept third act that, whilst admittedly sharply modified the feature's tone and pace to an abrupt degree, confronted the maximum magnitude of their existential perturbation. Experiencing the brief life of a segregated family for one fearful night.

Only to then conclude on what is possibly one of the greatest final scenes to be ever put on film. A flawless performance of Debussy's 'Clair De Lune' in elongated uninterrupted shots. Raw, captivating, and enough to generate a solemn tear. Simply beautiful. If only Kurosawa had implemented more lingering shots like its final masterpiece, such as Megumi waving her eldest son farewell as joins the US military, the inner beauty of such horrific complications could've been slightly more impactful. And to further accentuate Ashizawa's confident cinematography that captured the fragility of modern Tokyo with assurance. Fortunately the cast add the essential ingredient to the familial drama. Authenticity. Both Kagawa and Koizumi offer composed yet emotionally vulnerable individuals that weigh in on the pressures of societal lifestyles. Inowaki, whilst not as memorable, supplies endless amounts of maturity to his young character that accompanies Kurosawa's thematic endeavours.

As mentioned before, this is unlike his previous horror features. The suffocating terror that resides within Tokyo Sonata, is with how real the situation feels. That sensitive relatability to the searing pressures of unemployment, a statistic that is often concealed by several nations. Kurosawa manages to orchestrate a dramatic composition that eloquently enthrals with each passing minute.

Tokyo Sonata tells the story of a changing Japanese economy, social culture and employment culture and it effects on family. Here it is excellently told by Kiyoshi Kurosawa (surprisingly no relation to the great Akira Kurosawa).

Ryûhei Sasaki (Teruyuki Kagawa) is a 46-year-old career man living in an industrial area of Tokyo with his family. Early on he looses his job when his department is out sourced to China, and he tries to hire the fact from his wife and children. Ryûhei tries to act normal whilst he spends his day at an employment agency, and waiting in the park with other unemployed people for free food. He meets a former schoolfriend, Kurosu (Kanji Tsuda), who also lost his job and hides the fact from his family. Kurosu gives Ryûhei tips on how to keep the charade, but the stress becomes too great on both men. Ryûhei slowly becomes more bitter and authoritarian at home. Ryûhei's family also suffer their own problems. His youngest son Kenji (Inowaki Kai) has problems in school, coming into conflict with one of his teachers, but he discovers his love and talent for the piano. He secretly takes lessons and his teacher wants him to audition for a music school, but this goes again his father's wishes in a Billy Elliot type sub-plot. Ryûhei older son Takashi (Yû Koyanagi) is more distance from his father, do small jobs, but he plans joining the American military. But again, Ryûhei forbids it, despite Takashi being old enough to make his own decision.

Kiyoshi Kurosawa tells a low-key, but compelling story. He often uses wide shot, giving the audience the feeling like a bystander in these people's lives. Using wide shot forces allows the actors to put real power in their performances with long continuous shots and does not allow the audience to get distracted by continuous editing. Kurosawa is able keep the film going with a fast pace and compelling despite it's low key subject matter. Kurosawa also casted some superb actors who are all wondering in their performances in this film. This is also a film telling some interesting aspects of Japanese culture. The Japanese economy is changing: the notion that someone could have a job for life is disappearing, and that the Japanese economy is suffering the same issues as Anglo-Saxon style economies. The film also acts as a commentary about the Japanese family, where it is portrayed in an old-fashion way, the man runs the house and controls the money, but this system is changing, with the whole family rebelling, and with other Japanese people having a more enlightened view. The third theme is also shown through Takashi about a changing view of America in Japan. The Japanese have in the past had a hostile view to the American military presence in Japan, with incidents like the 1995 Okinawan rape incident, but a younger generation haven't had to suffer this, and the Japanese view of military action is also changing. This film will give you a lot to think about.

Despite these good plots this film is far from perfect. By the end of the second and the beginning of the third act the plot starts to fall apart with some unrealistic events, which ruins the film overall. However Tokyo Sonata is a worthy film, showing that Japanese cinema is one of the best in the world. It also shows that Japanese cinema is more then just anime and violence manga adaptions like Battle Royale, which is also very very good.

Ryūhei a salary man loses his job, and is soon on the scrap heap of the unemployed, a very common and relevant case for so many in these times.

In this case the film documents what it means to be a working man or woman, a case of how a job can define a person. In the case of Ryūhei it's the struggle to maintain that sense of honour and pride that is so ingrained in Japanese culture, that when he is finally let go, he simply packs his belongings from work and walks out-not a word to his colleagues, and not a word to his family.

The next morning he leaves for 'work' donned in the usual work attire spending the day on the fringes of regular life-lining up for free food, sitting in public libraries, roaming the various employment offices for vacancies, then coming home earlier then usual to face the doom of subsequent family expenses (the son wants to take piano lessons, the wife wants a new car, the heater needs to be replaced).

Despite the downward spiral into despair for which this film descends into,there is a feeling of a more hopeful future.

At first I thought this film would be a depressing story to watch, but I was surprised that the film was actually very uplifting. Although it's a sad story overall, it has a very powerful message if you watch it to the end, a message that will encourage you to move on even when life gets to its darkest moment.

This story is about problems of people in Tokyo, all sorts of problems. The leader of the family lose their job and was afraid to tell his family, the elder son join American army and go to war, the younger son wants to learn the piano but the father forbids him, the wife is depressed of trying to hold the family together. The film is so delicate and beautiful. It captures the feeling of each character and the whole depressive atmosphere of Tokyo very well. The pace is slow but it's not boring because you can follow the story very easily and you can sympathize with each one of the characters. It doesn't even have any Hollywood boring formula of sentimental film. This is a real work of art.

I'm not gonna spoil this movie. I just want to tell you to go watch this film and watch it to the end although you feel that it's getting darker and darker. For me, this is not another good movie. This is a "great" movie because after I watch it, I feel that now I can go on with my life.

For a foreigner like me, Japan is a mystery, both wonderful, weird and hard to understand, especially since most of my information about the country is anecdotal or (worse?) coming from mangas. I've met people having the greatest respect for Japanese customs and people who completely badmouth the country.

From this perspective, Tokyo Sonata is a bit of a gem, showing me how ordinary Japanese people live and think. There is the family, standard issue of father, mother and two children, and there are the roles: head of the family, respectful housewife, rebellious teenager and confused child. What do they do when the economic crisis and the traditional value system clash?

I thought the actors were good, the soundtrack as well (to be expected given the title), and the plot was slow but crisp. There must have been a lot of expectations on a guy directing movies when his last name is Kurosawa and not related to Akira, because the movie was overall an excellent film. However, given its two hour length and slow pace, I advice you look at it when in the mood for cinematography, not some easy entertainment. Also, it is a pretty sad drama in places, so be ready to empathize with some hard hit people.