Kabei - Our Mother (Japan)(Variety, Screen Daily Reviews)

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Kabei – Our Mother

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

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.

http://www.variety.com/index.asp?layout ... 36205&cs=1

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Kabei - Our Mother

Dir: Yoji Yamada. Japan 2007. 132 mins

In Kabei – Our Mother, Yamada's 80th film to date, the veteran Japanese director offers a sweet, gentle, weepy recollection of Japan on the eve of the Second World War (1940-41), based on the autobiographical story by Teruyo Nogami.

An out-and-out melodrama, the picture tells the story of a Japanese scholar of German literature who is sent to prison for committing 'thought crimes'. His wife and two daughters are left behind at home to cope with increasingly difficult conditions (both material and political) as the ruling regime introduces repressive laws to stifle opposition.

Given Yamada's vast experience, Kabei is unsurprisingly polished and solid, and as such could easily draw large audiences at home. It has little new to say abroad, though, where each territory has its own tale of woe from that time. Festivals may think twice before selecting such a conventional tearjerker – although it's entirely respectable, Kabei doesn't have much to offer in the way of artistic originality.

Shigeru Nogami (Bando) teaches German literature at the university and writes anti-war texts. Despite his efforts to make them appear blameless, he provokes the wrath of the authorities and is thrown in jail indefinitely, leaving behind his wife Kayo (Yoshinaga) and his two daughters, Hatsuko (Shida) and Terumi (Sato).

Yamazaki (Asano), one of Nogami's former students, immediately dedicates himself to helping out the family, almost becoming one of them in the process. As the political climate deteriorates, with vigilante committees patrolling the streets to make sure all luxuries are sacrificed for the good of the homeland, a number of new characters enter the picture. These include Nogami's sister Hisako (Dan), who moves in and helps with the housework; loutish uncle Senchiki (Tsurube Shofukutei) who can't keep his mouth shut; and Kayo's father, Hisataro (Umenosuke Nakamura), a caricature of a fierce Japanese nationalist.

Kabei is undoubtedly a sincere and accurate chronicle of those bitter times. The overall tone is one of melancholy earnestness. Alternating between dignified resignation and tearful sadness, his characters are appropriately sensitive, although with the direction being so sentimental, it can all occasionally feel a little over-the-top.

Veteran Yoshinaga offers a noble, touching performance as the unassuming mother who is saddled with unexpected responsibilities. Asano, one of the best known young Japanese actors at the moment (Zatoichi, Café Lumiere, Last Life In The Universe), is again chameleon-like as the fiercely faithful Yamazaki. Handsomely shot and smoothly edited, this is nothing less than a professional melodrama by a respectable veteran. And nothing more either.

Production companies
Kabei Film Partners

Worldwide distribution
Shochiku
00 81 3 55501654

Producers
Hiroshi Fukasawa
Takashi Yajima

Screenplay
Yoji Yamada
Emiko Hiramatsu
Based on Requiem for a Father by Teruyo Nogami

Cinematography
Mutsuo Naganuma

Art director
Mitsuo Degawa

Editor
Iwao Ishii

Music consultant
Isao Tomita

Main cast
Sayuri Yoshinaga
Tadanobu Asano
Rei Dan
Tusrube Shofukutei
Mitsugoro Bando

http://www.screendaily.com/ScreenDailyA ... ryID=37340