LFF 2013: Like Father, Like Son *****
The dilemma facing two sets of parents in Japanese writer-director Hirokazu Kore-eda’s latest taut drama, Like Father, Like Son (Jury Prize winner at Cannes 2013), is the stuff of nightmares for any family: What if your child was not your biological child, and you knew where your real flesh and blood was – would you swap? Hirokazu Kore-eda’s story explores the possible next steps to resolving such a horror story, steeped in Japanese tradition and mentality. As a new father, Hirokazu Kore-eda puts a real emotional energy into his project that feels so draining in coming to its decision you want it to be the stuff of an urban myth, something that has never occurred in reality.
Successful, workaholic businessman Ryota Nonomiya (Masaharu Fukuyama) places emphasis in life on money, talent and stature, qualities he is trying to instil into his six-year-old son, Keita (Keita Ninomiya) when he sees him. A call out of the blue from the hospital where Keita was born brings horrifying news for Ryota and his wife (Machiko Ono): Keita is not their biological son – though Ryota admits he always had doubts due to Keita’s moderate talent and drive, and after a blood test.
Their ‘real’ son called Ryusei (Shôgen Hwang) who is living with the Seiki couple (Rirî Furankî and Yôko Maki) and their two children is, and Keita is actually this couple’s biological offspring. A disgruntled nurse at the time was responsible for the swap, and admits this in court. Economic worlds apart, hard-up repair shop owner Seiki San and Ryota eventually decide to swap sons but with harrowing effect.
Hirokazu Kore-eda sets the scene in the strict but affluent Nonomiya family, giving us enough crushing insight into Keita’s world to establish how traumatic being sent away from it all will be. At the same time, we are exposed to snippets of the fun-loving Seiki household, who act as the film’s moral reminder that money does not buy happiness – loving surroundings and quality parental attention do. The chalk-and-cheese couples, different in social status, do have common ground – wanting the best for their children, even if Ryota first believes Seiki San is a bad role model for Ryusei, due to his playful, childish nature. The film gives some pitch-perfect performances from adult and child actors alike, making proceedings feel very real.
The shock is how clinical the swap goes ahead, with the loving mothers reluctantly going along with the plan, packing away their child’s belongings like they never existed, and resolved to the fact that they will not be in contact with the child they have raised as their own ever again. This harsh reaction may well be a factor of Japanese culture and mentality, but it brings tears to the eyes all the same to witness.
It all boils down to the ‘nature or nurture’ argument: Logically, the child who has been with you for six years must surely be your child? Hirokazu Kore-eda explores this question through his character Ryota’s actions, said to be a loose self-portrait of the writer-director, in terms of his workaholic ethic. The whole project feels like a release of Hirokazu Kore-eda’s inner demons and is incredibly involving, especially when Ryota finds pictures taken by Keita on a camera, proving memories cannot be simply erased. The story’s outcome still feels ‘unresolved’ but as appeasing as it will get after such a distressing journey that will pull on the heartstrings in a matter-of-fact fashion, without any schmaltz accompanying events.
It is said Steven Spielberg wants to remake this story; let’s hope it translates well enough. Part of the fascination of Like Father, Like Son is the cultural aspects at play here in the big decision and the influences on this from other family members. That said Hirokazu Kore-eda’s riveting and deeply affecting drama is an absolute revelation alone, and good source material for any Hollywood remake.
5/5 stars
By @FilmGazer
by lgileskeddie
