Japanese director Kiyoshi Kurosawa, known until this point exclusively as a director of arty horror films, makes a major career detour with the family drama Tokyo Sonata. With this sudden shift in genre and ambition, though, he ends up delivering his best film yet. Telling an ensemble tale about a family’s attempts to navigate the economic and social landscape of modern-day
The underlying anxieties that fester throughout the first half of Tokyo Sonata manifest themselves in the second, through a series of subtly exaggerated, almost phantasmagoric, encounters that see the family placed in one improbable scenario after another, challenging and mocking their continued decorum. An unlikely kidnapping, an automobile accident, and an entry into military service expand the film’s emotional range and create palpably alien territory for Kurosawa to explore. It’s here, as the family’s lives threaten to unravel, that Kurosawa’s past as a director of scary movies pays the greatest dividends. He’s able to create a pervasive sense of unease, even as he sets up the film’s frequent comic moments, which often come at the expense of the hapless protagonists. The air of anxiety that floats throughout Tokyo Sonata ensures that when the film’s redemptive but ambivalent ending finally arrives, it feels like a genuinely cathartic sidestepping of the nuclear family’s inevitable extinction.
Rating: 63/100
Friday, August 01, 2008
Tokyo Sonata (Kiyoshi Kurosawa, 2008)
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment