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Japanese Story 2003 |
Review by Jonathan Cornwell |
Directed by Sue Brooks
R, 110 min. (some sexuality, language) |
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Starring: Toni Collette, Gotaro Tsunashima, Matthew Dyktynski, Lynette Curran, Yumiko Tanaka, Kate Atkinson, John Howard, Bill Young
Producer: Sue Maslin
Screenplay: Alison Tilson
Cinematography: Ian Baker
Distributor: Samuel Goldwyn Films
Released: 1.30.04 (Limited) |
Rating:
 (out of ) |
Japanese Story is one of those films that you won't forget. So shocking is the turn of events halfway through the film
that everything that comes before it seems trivial; except that those prior events now take on added significance in relation
to the characters that remain. Director Sue Brooks uses the harsh but beautiful Australian landscape as the backdrop for
her intense character study, matching two disparate people and cultures to punctuate the similarities in humanity. Spurred
by an intricate but powerful performance by Toni Collette, Japanese Story reaches a level of poignancy that seemed almost
impossible at its outset.
Collette plays geologist Sandy Edwards, who is given the unpleasant assignment of acting as tour guide for a Japanese
businessman, Tachibana Hiromitsu (Gotaro Tsunashima), whose father owns part of Sandy's company. Tachibana's
curiousity and appreciation for the Australian countryside leads to a foolhardy journey deep into the desert, where they
are inevitably stranded as their Jeep becomes stuck in the sand. "People die in this desert. Frequently," says Sandy,
whose anger toward Tachibana has reached its apex since he is too ashamed to use his cell phone to get help. The two
spend the night in the cold surroundings, but escape the next morning and continue their road trip. Eventually they begin
to appreciate each other's company and are curiously attracted as well, which leads to a night of romance at a motel.
Then comes the film's final act, which defies convention and belief, and leaves the viewer stunned. The resulting event
dramatically alters both the film's and Sandy's direction.
Japanese Story stakes its worthiness in the aftermath of trauma, specifically in Sandy's slow, exasperating and
excruciating daily routine through a fog of shock and disbelief. It's here that Brooks and her screenwriter, Alison Tilson,
reveal the exquisite, meticulous insight into human suffering and pain when there are no logical explanations to turn to
in the light of such circumstance. The final thirty minutes of the film seem long and neverending, but that's because
the impact that has shaken Sandy to her core has also deeply disturbed the audience. We feel and understand the
callous nature of life and the questions that follow, which go unanswered. Sandy's haze of action and inaction in regards
to her friends, co-workers, and Tachibana's wife are neither judged nor endorsed. They are simply on display for the viewer
to experience and to sympathize with the utter helplessness of such a position. Brooks has shown a talent for situational
cinema as both her characters and the audience must cope with the reality at hand.
At the heart of the film is the relationship between Sandy and Tachibana. Without a convincing connection the film would
have quickly faltered and not had the impact necessary for the final segments to work. Sandy's impatience and anger
slowly turn to attraction as Tachibana relates to her through his appreciation for nature and the innocent manner in which
his use of the English language leads to moments of humor and cultural compromise. Tachibana sees Sandy as an escape
from familial and societal pressures in Japan, and he believes she can offer a glimpse of what it is to be free and courageous
in the face of unwanted challenges. Their budding connection would last beyond their outdoor adventure, if not for an unforeseen
intervention.
Collette's career performance is almost certain to garner award recognition if enough viewers bother to see the film. Her
courageous effort becomes all the more powerful in hindsight, especially as her haunting memories overflow into her
mannerisms and onto her near expressionless face at the end of the picture. She has been drained of all emotion by the
events, and the viewer begins to understand that her final shot in the film is one of regret rather than self-pity. It's
interesting to note that Collette has now been involved in two films that reveal themselves in one sudden, unexpected
moment - The Sixth Sense is the other.
Tsunashima is also strong, offering a unique perspective to the proceedings. His character is also a sort of revelation, a
man whose pressure to succeed is slowly subdued by Sandy's sense of the big picture.
With Japanese Story, Brooks has proven her skill at deftly handling difficult material that could have gone awry
in lesser hands. She fashions the characters and the storyline as one cohesive unit; neither could exist without the other.
The unique sense of time, place, and circumstance makes her film one of the more intriguing pictures to hit screens in
some time. Regardless of one's approach to Japanese Story, there's no doubt that its events will jolt the viewer to the
core, leading to contemplation of life and the importance of enjoying each moment to the fullest.
© 2004 Jonathan Cornwell
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 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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