All Reviews >> Kabei (Japan)
A Shochiku presentation of a Kabei Film Partners production. (International sales: Shochiku Co, Tokyo.) Produced by Hiroshi Fukasawa, Takashi Yajima. Directed by Yoji Yamada. Screenplay, Yamada, Emiko Hiramatsu, based on the story "Requiem for a Father" by Teruyo Nogami.
With: Sayuri Yoshinaga, Tadanobu Asano, Rei Dan, Miku Sato, Mirai Shida, Tsurube Shofukutei, Mitsugoro Bando, Umenosuke Nakamura.
By RUSSELL EDWARDS
Postwar grief and progressive thought take a backseat to the shrine of motherhood in the deliberately paced WWII meller "Kabei -- Our Mother." Marking vet Japanese helmer Yoji Yamada's 80th feature film, this entry, like his superior samurai movies "The Hidden Blade" and "Love and Honor," shows the Shochiku journeyman's prowess in hitting the right buttons to move Japanese auds. However, as with many recent Nipponese WWII dramas such as submariner yarn "Sea Without Exit" (which Yamada co-wrote), content will be problematic for Westerners. Locally, pic opened to brisk biz when it hit theaters in late January.
Set in 1940 Tokyo, story begins with professor Shigeru Nogami (Mitsugoro Bando) being thrown into jail for his reformist views on the Japanese invasion of China. With two daughters to support, Nogami's wife Kayo (Sayuri Yoshinaga), aka Kabei, is understandably distressed -- a condition aggravated by her conservative "told-you-so" policeman father (Umenosuke Nakamura). The rest of Nogami's neighborhood is much more accommodating, and many pitch in to help Kayo regardless of their feelings about her husband's political views.
Chief among the helpful is one of the professor's former students, clumsy, gormless Toru Yamasaki (Tadanobu Asano). Pic shuffles along dutifully as the family tries to survive while offering moral support to the jailed academic, but the drama never really takes hold. Flashes of humor and isolated poignant moments help diminish the burden of the film's two-hour plus running time.
True to the Japanese war-film genre, the script sidesteps the impact of Nipponese warfare, but can always find time to reflect on Western atrocities. Conversely, with its conclusive flash-forward to the present day, the picforegoes the standard feel-good fade-out of contempo Japanese cinema, instead holding its somber atmosphere to convincingly wrench the last drop of emotion from a strong final scene.
As with all Yamada's work, helming is solid, but devoid of authorial signature. Central perf by Sayuri is effective within the film's narrow parameters, staying true to the yarn's promise of the paragon of motherhood. Child thesps Miku Sato and Mirai Shida are on the money.
Unfortunately, cult fave Asano (in a rare freshly shaven appearance) is an uncomfortable fit in the role of Yamasaki. More successful, though only present for a handful of scenes, is Tsurube Shofukutei, who steals the show as a hedonistic and ill-mannered uncle, recalling the main protag of the 40-plus films Yamada helmed on the long-running "Tora-san" series.
Art direction has an authentic aura, particularly in the snowbound scenes, and is well caught by lenser Mutsuo Naganuma. All other tech credits are top-notch.
Camera (color), Mutsuo Naganuma; editor, Iwao Ishii; music, Isao Tomita; production designer, Mitsuo Degawa; sound (Dolby Digital), Kazumi Kishida. Reviewed at Berlin Film Festival (competing), Feb. 13, 2008. Running time: 133 MIN.