Survival Family (2017) [Film Review]

Survival Family; or, Apocalypse Vacation

     The things humans need for survival. The first is to maintain body temperature. The second is shelter. Third is water. The food is behind these things.

We live through our daily existence without really taking into consideration small, yet grand facilitations of our civilisation. Power outages and water shortages may occur from time to time, but usually such incidents don’t last long and are limited to a small area. However, what would happen if the world’s electricity suddenly went off and never came back? Let’s find out by dusting off our bicycles and embarking on an adventure with the Survival Family.

Release Info

Directed by: Shinobu Yaguchi Starring: Fumiyo Kohinata, Eri Fukatsu, Yumi Izumisawa, Wakana Aoi

Language: Japanese Original Title: サバイバルファミリー Runtime: 117 min

 

Plot

Meet the Suzuki family. There’s nothing out of the ordinary about them. Head of the family, Yoshiyuki (Fumiyo Kohinata), is an average salaryman in a corporate company. His wife Mitsue (Eri Fukatsu) is taking care of home and does everyday household chores. Their children, Kenji (Yuki Izumisawa) and Yui (Wakana Aoi), and typical modern teenagers, glued to their phones and computers. All of a sudden, a power outage sweeps across Tokyo. Everyone thinks that it’s only a temporary inconvenience, but the power does not come back. As days go by, Tokyo becomes a dangerous place to live in, due to shortening food and water supplies. The Suzuki family eventually decides to travel to Kagoshima where Mitsue’s father lives, hoping to be able to survive in the countryside. The family sets out on a journey across Japan that will change their lives.

 

Survivor: Japanese Edition

Survival Family is the latest movie from Shinobu Yaguchi, the creator of such Japanese classics as Waterboys (2001) and Swing Girls (2003). The progression of heroes appears to be the prevalent theme in his movies, and Survival Family is no exception from it. An ordinary Japanese family is taken out of the metropolitan safe zone and put to the trials and tribulations in true Bear Grylls’ style.

 

The already mentioned what if scenario with power outage is the driving vehicle of the story. What caused the outage on a global scale? How come the power cannot be restored? These questions are irrelevant as the movie is not a horror-thriller like The Road (2009) or The Happening (2008), but rather a comedy drama. Thus, instead of people becoming cannibals, we get Fumiyo Kohinata and Eri Fukatsu on the road to nowhere. The movie tries to stay objective in its examination of a possible apocalypse, but at the same time sways into Kikujiro’s optimistic feel as the Suzukis encounter a variety of positive characters along their way.

 

In view of this, Survival Family attempts to get across the message that modern conveniences are just distractions when not used properly. The fault is at the parents, not their reliance on technology. This is especially visible in the scene where the Suzukis meet a different family (parents played by Saburo Tokito and Norika Fujiwara ;) ) who treat the whole situation as an opportunity for healthy vacation. Nevertheless, the survival skills are also important and the family acquires those during their stay on Mr Tanaka’s farm (Yasuo Daichi). It is only when they reach Mitsuo’s father (Akira Emoto) that the family finally learns how to live together and love each other.

 

With regard to performances, Fumiyo Kohinata and Eri Fukatsu definitely carry the weight of the picture. Knowing the actors from their previous works, they convincingly played a father and a mother who undergo an emotional change along their way. Also, the children did well in their roles. The movie is also filled with many small parts done by well-known actors (apart from those already enumerated, Eri Watanabe and Shin Takuma deserve a mention). In addition, the locations used in the film feel very much like a separate character. The filmmakers did a great job with finding picturesque places to shoot at.

 

Recommendations

I recommend Survival Family to every family who seeks to spend an enjoyable afternoon. This film is a definitive highlight among other Japanese releases of 2017 and one of my personal favourite movies by Shinobu Yaguchi. I liked it so much that now I want to go back and rewatch Yaguchi’s older works. Maybe it’s time for Yaguchi month on the blog? I’ll see. In the meantime, I have to check on my bicycle in case of any unexpected power outage.

Overall score: 9/10

Shall We Dance? (1996) [Film Review]

Shall we Dance?; or, How to find a hobby and overcome shyness

     Dance is more than the steps. Feel the music and dance for sheer joy.

Following New Year’s cheerful aura of hope and optimism, I wanted to check out something more light-hearted in tone this time and, quite unexpectedly, Shall We Dansu? popped out on TV. Not having seen it earlier, I gave the film a go and... it pleasantly surprised me.

Release Info

Directed by: Masayuki Suo Starring: Kōji Yakusho, Tamiyo Kusakari, Hideko Hara

Language: Japanese Original Title: Shall we ダンス? Runtime: 136 min

 

Synopsis

Shohei Sugiyama (Kōji Yakusho) is an ordinary accountant worker, an exemplary husband, and a loving father. He seems to have accomplished everything in life: a well-paid job, a family, and a house in the suburbs; yet, there seems to be something lacking. Sugiyama slowly falls into depression without even noticing. One night, when coming back from work on the subway, he notices a woman looking out from a window of dance school. Sugiyama becomes enchanted by her appearance and melancholic posture. He observes her attentively each night as the train stops under the school, until one day, he finally decides to go in and enlist himself for lessons. Initially, Sugiyama comes every week just to be a little bit closer to inaccessible Mai Kishikawa (Tamiyo Kusakari), a famous ballroom dancer, but, as time goes by, he discovers an immense pleasure in his new undertaking. He is determined to learn under watchful eye of his mentor (Reiko Kusamura) and classmates. Eventually, Suigiyama decides to take part in an amateur competition, but what about his wife, whom he has not told anything about?

 

Dansu, Dansu, Dansu

Shall We Dansu? comes off as a heart-warming story about motivation, confidence, friendship, and love. Director (and writer) Masayuki Suo did a great job by setting the theme of ballroom dancing (for stereotypicality of this phenomenon please refer to Strictly Ballroom (1996) and Shall we Dance remake (2004)) in a rigid Japanese context. The result? Lots of laughs. It’s hilarious to see the character of Shohei Sugiyama (magnificently played by the great Kōji Yakusho) as he struggles to master the basic steps of various dancing styles and to hide his hobby from his family as well. As a result, the act of dancing is elevated to the symbol of a forbidden fruit.

 

Apart from this, dance serves as the means to socially open up for Sugiyama as he befriends his fellow classmates. We see him interacting with people who he probably would have never approached in different circumstances. For instance, he hits it off quite easily with a fellow office worker, Aoki (Naoto Takenaka), who turns out to be a rumba-obsessed maniac. In addition, Hattori (Yu Tokui) is there because of his wife, whereas Masahiro (Hiromasa Taguchi) due to his doctor’s suggestion. Not forgetting about Toyoko (Eriko Watanabe), who has a rough demeanour, but is very kind at heart. To each of these individuals dance has a different meaning. It becomes a tool with which they change their lives.

 

Of course, when discussing a film about dancing, its music can’t be overlooked. The original score composed by Yoshikazu Suo is a real treat and a definite highlight of the picture. Apart from this, such songs as (obviously) Shall We Dance from The King I musical and Save the Last Dance for Me perfectly fit the film’s tone and complement it (especially during “training montages”).

 

Naturally, the movie has a great cast. Kōji Yakusho shines on the screen and makes the character of Sugiyama believable. Other actors don’t lag behind, especially Naoto Takenaka, Eriko Watanabe, and Tamiyo Kusakari. Hideko Hara deserves an honourable mention as Sugiayama’s wife. Even Akira Emoto (known for Dr. Akagi) has a small supporting role.

 

A word of caution. Be careful which version of the film you are watching, because there are two. The original Japanese cut (136 minutes) and the Miramax cut for the American release (114 minutes). Allegedly, Miramax decided to shorten the film just to squeeze in some extra featurette on the vhs. (Like... really?) From the stuff that got cut out, there was more background of Mai’s character, extended flashbacks from Blackpool, and more of Toyoko’s personal story.

 

Recommendations

Thankfully, the film is not a standard romance flick. Even though the affection to Mai was Sugiyama’s primary drive to sign up to dancing classes, the adultery never came to fruition. Instead, the hero found a new thing in life, which changed him profoundly. Highly recommended to anyone who is not all too crazy about romantic flicks, but wants to experience something simply joyful and heart-warming. Shall We Dansu? will definitely uplift your mood and leave you in good spirits.

Overall score: 9/10

The Lunchbox (2013) [Film Review]

The Lunchbox; or, A Stroke of Luck
     Somewhere I read that the wrong train can lead you to the right station...
Has it ever happened to you that you opened your lunchbox and were surprised by its content? This week’s review will cover the troubling topics of depression, letters, unexpected friendship, refuel of faith, and pursuit of happiness. Obviously, I want to discuss the 2013 international hit film The Lunchbox with Irrfan Khan and Nimrat Kaur in the leading roles.

Release Info

Directed by: Ritesh Batra Starring: Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui

Language: English, Hindi Runtime: 100 min

Synopsis
Mr Saajan Fernandes (Irrfan) is a widower who is trying to get by at his accounting job. Illa (Nimrat Kaur) is a housewife who is hopelessly attempting to get the attention of her busy husband. The wife even prepares a special meal which she sends via the food delivery system of Mumbai’s “dabbawalas”. Unfortunately, some kind of a mix-up happens en route and the lunchbox ends up on Mr Fernandes’ desk. Illa discovers that the meals are not reaching her husband and writes a letter to the unknown receiver of her dishes. Saajan responds and, in consequence, a long-lasting correspondence ensues. The unexpected communication through the lunchbox irreversibly changes the two strangers.

The way to a man's heart is through his stomach
The first thing I would like to say about this movie is that I deeply regret not seeing it at the cinema. I picked it up on DVD a week ago (Indian food and Irrfan Khan on the cover did the trick) and, after watching it, I complained to myself: How could I miss such a gem on the big screen?! (Release date: February, 2014 in my country). Indeed, The Lunchbox is a shining gem polished with an enormous amount of noticeable love and patience from the cast and crew. What initially appears to be yet another romantic flick pleasantly surprises its viewers by becoming a warm-hearted story about regaining self-confidence and living life to the fullest.

The core of the film is transgressing cultural differences. The eponymous lunchbox is the inanimate facilitator that establishes a connection between people from totally different backgrounds. Mr Fernandes is a Scrooge-like character (living in painful solitude after the loss of his wife) who wants to be left alone. Illa, on the other hand, is a young housewife and a mother who seeks to renew the relationship with her husband. As the two start to exchange recipes, pieces of advice, daily anecdotes, and personal confessions, they get closer to each than they would ever be in reality. This shift in attitude is especially visible in Saajan who transforms from a recluse into a dreamer. He even befriends an outgoing office apprentice Shaikh (played by Nawazuddin Siddiqui) and eventually becomes an important part of his life as well. This is the paradox that the director Ritesh Batra draws before us. Mumbai is the cultural melting pot of people always in a rush. Serendipity in the form of the lunchbox makes two of those people: a Christian (Fernandes) and a Hindu (Illa) stop and think for a moment.

However, there is still one more issue to be mentioned and it is the one of love. Namely, Saajan changes not just because of the excellent food he receives, but because of Illa herself. This is an impossible love story: a 52-year-old Christian falling for a married Hindu. Yet, the two try to find each other. Illa sets up a meeting in a cafe, but Saajan never approaches her, because he is aware of the social gap between them. Still, Illa eventually tracks down his office address, but he has already retired.

This leads us to the real villain of the piece, and no, it’s not Illa’s husband (though it is implied that the man is cheating on her). The true enemy of our characters is time. The Lunchbox touches upon a very universal problem of busy lifestyle in a metropolis. Mumbai workers need to be on time at work, but they prefer home-cooked meals for lunch. Thus, the “dabbawalas” came to existence in order to save the time (of housewives and workers). Yet, time is an obstacle for Saajan and Illa to be together, not only in terms of age difference, but also quite literally.

In the ending scene (which I liked very much, though it sparked many negative comments on the web) we see Saajan travelling with “dabbawalas” on a train. By doing so, Mr Fernandes hopes to find Illa during the process of returning the lunchbox (in the afternoon). However, on the same day, Illa decided to sell her jewellery and escape from her husband as soon as her daughter gets back from school. Will Saajan find her before she leaves? This is the question to which the viewers have to answer on their own. Personally, I believe that even the wrong train can lead you to the right station...

Irrfan Khan gives a superb performance and, out of his cinematic creations, the character of Mr Fernandes instantly became my second favourite (right after Ashoke Ganguli from The Namesake (2006)). Nimrat Kaur is convincing as Illa and handles the character with confidence. Nawazuddin Siddiqui is a wonderful addition to the film as Shaikh. The subplot about this sympathetic extrovert is another advantage of the movie.

Recommendations
If you’re not into romantic films, that’s okay. If you’re not into colourful Bollywood love flicks, it’s also fine. The Lunchbox is neither of these and does not pretend to be. It takes an accident that may well occur in real life and turns it into a wonderful tale about the meaning of life. It’s been quite a while since a movie managed to set me in a positive mood. Maybe I’m being slightly too subjective about this film, but I can’t help to look at it from my personal experience of having a pen friend. Nevertheless, The Lunchbox is a moving and memorable story, which makes you root for its protagonists. I’ll certainly be revisiting it every now and then.
Overall score: 10/10 (Deservedly Earned)