Yusuke Kafuku, a stage actor and director, still unable, after two years, to cope with the loss of his beloved wife, accepts to direct Uncle Vanya at a theater festival in Hiroshima. There he meets Misaki, an introverted young woman, appointed to drive his car. In between rides, secrets from the past and heartfelt confessions will be unveiled.
"Go on living."
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CinemaSerf
3/27/2022
7 / 10
"Kafuku" (Hidetoshi Nishijima) is an accomplished stage actor who is directing a performance of Chekhov's "Uncle Vanya" with a group of young actors. He arrives at the venue in his red Saab motor car, determined that only he will drive himself. That's not the policy of the theatre, though, and soon he is placed in the capable hands of the somewhat laconic "Misaki" (Tôko Miura) and as the two start to get used to one and other, and he starts to get to know his new cast, the story unfolds revealing his past - his marriage to a famous playwright that ended in tragedy, and of his driver's own demons as the pair - entirely platonically - begin to fill the gaps left in each other's lives by times gone by. I did quite enjoy this, there are quite a few quirks to the story, not least from the handsome and curiously enigmatic 'Kôji" (Masaki Okada) whose storyline intertwines intriguingly with that of his mentor, and the film adopts a pace of it's own which you will appreciate right from the start (or not!). The dialogue is sparse though, perhaps a little too much so at times, and at almost three hours long it can feel like a bit of a slog at times. Director Ryûsuke Hamaguchi has possibly over indulged himself a little with the style of the film, it dawdles, cinematographically speaking, and I suppose at the title suggests, there are quite a few scenes suggesting that more of a road trip movie might be in order. It is still a very easy film to watch, it requires concentration and somehow the fact that it's that Chekhov play seems apposite, too. I would see it on a big screen if you can - I suspect on television even the most focussed of us might find our attention wandering after a while.
I find this film to be a near perfect drama. I understand that most Americans and perhaps younger viewers everywhere will not appreciate the pacing of the movie. There are two things about this movie that make it an actor's movie.
First is the play within the play: the play within is Chekhov's Uncle Vanya, and, like most Russian classics, it's about the human condition and the response to suffering. It's the play within the play because the film slowly reveals a mirror of Chekhov's play itself.
Second, some playwrights have the gift of writing dialog that leaves the real storytelling to the unspoken dialogue - Shakespeare, Pinter, Stoppard - they all had this gift, and I nominate Hamaguchi to this list. It is amazing to watch this kind of production because it only survives with the richness and depth of the acting. It is the sole reason that theater companies can do these kind of plays and each version is completely unique. Even if you are not aware of this aspect of a play, Lee Yoo-na (Park Yu-rim) pointed out that her silence allowed her to see the deeper dialogue more clearly.
As to the pacing? It's a brilliant reflection of the way Kafuku (Hidetoshi Nishijima) was directing Uncle Vanya.
