Tag Archives: like father like son

Family Affair; ‘Like Father, Like Son’ (2013).

21 Oct

Like Father, Like Son posterLike Father, Like Son is the latest in a long line of demure, unassuming family dramas from Japanese director Hirokazu Kore-eda. Much like 2011’s I Wish,his latest enterprise also focuses strongly on the plight of misplaced children, featuring a pair of six year-olds who were incompetently swapped at birth. As the winner of the prestigious Jury Prize at Cannes, does it deliver the promised goods?

You betcha, it does. Like Father, Like Son centres around a busy architect called Ryota Nonomiya (Masaharu Fukushima) who lives with his wife Midori (Machika Ono) and their polite, neatly turned-out son. Keita. A harrowing call from Midori’s former maternity hospital results in the gruelling discovery that Keita is not really her or Ryota’s kid, but biologically belongs to a Mr and Mrs Saiki, who likewise have raised the ‘wrong’ boy. Nature battles nurture in Ryota’s mind as he struggles to reconcile tradition with his own emotions.

Both families rendez-vous at shopping centres and playgrounds in an effort to get along. While both mothers empathise in their shared ordeal, the two dads wage a socio-cultural war of words. Ryoto finds Mr. Saiki buffoonish and irresponsible, while Mr. Saiki finds Ryoto’s arrogant pretension hard to swallow – his ultra modern Tokyo apartment is total anathema to the Saiki family’s barely profitable electronic knick-knack emporium-cottage hybrid.

Like Father, Like Son captures a magic unique to its Japanese setting. A famously patriarchal society, as well as one traditionally obsessed with familial bloodlines, Japan is the ideal artistic soil for planting the seeds of a mismatched children story. Ryota is stereotypically onerous, forcing hated piano lessons on poor Keita and politely demanding dinner upon arriving home. While his archaic behaviour isn’t excused by the geography, it’s certainly contextual.

Mercifully, a vital sense of humour underscores the proceedings; a lack thereof would render Like Father, Like Son a very sombre affair indeed. The Saiki family’s whimsical, happy-go-lucky attitude is perpetually regarded with derision by Ryota, but Kore-eda shoots their personal scenes at home with a playful coyness that’s utterly charming. Rather, it’s Ryota’s insufferable snobbery that the movie lampoons, all the while championing diversity and unorthodoxy.

Spellbinding drama is a tough gig to maintain, and unfortunately Like Father, Like Son wavers and loses focus by the third act. Unnecessary distractions are peppered throughout, from aimless dialogue to gratuitously protracted ‘nothing’ scenes, which culminate in the last half-hour. The film infuriatingly delays the finale and drags out the runtime for no apparent reason other than arbitrary longevity. A generous 20-minute haircut would have really suited.

Whisperings of an upcoming Spielbergian remake of Like Father, Like Son seem somewhat counterintuitive. Although Kore-eda’s traditional ‘absent father’ yarn would place it in familiar Spielberg territory, the delicate finesse displayed here would likely be tarnished by the heavy-handed Hollywood movie-grinding machine. Lets leave the movie as it is – an overlong but gentle, intriguing and fabulously acted examination of Japanese social norms.

Simon says: finally, a refreshing change from the usual scares or cartoons of usual international Japanese cinema.

[Written for GCN]

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