Tokyo Sonata by the Film Director Kurosawa Kiyoshi - Movie Review Example

Tokyo Sonata Task: Tokyo Sonata Introduction The interesting question of how a woman can choose to be a wife and not a mother finds answer in Tokyo Sonata. Conceivably, Tokyo Sonata is one of the contemporary films attempting to reveal the dysfunctional families in the gated Japan community characterised by communication and interaction problems. The award winning film directed in 2008 by Kurosawa Kiyoshi, uses various narratives to put into perspective a family in turmoil and the struggle to find happiness and solace in the unfair life (Seret, 2011, pp. 91). Certainly, the breath taking film makes use both traditional initiatives and the fantastic contemporary events to ensure the main idea reaches light. In as much as an oversight view may ignore the mixed appearance of visual styles and genre, it is noteworthy mentioning the perfect emergence of diverse interests (Surhone, Tennoe and Henssonow, 2010, pp. 43). In this regards, the paper takes a deep insight on the extent to which Tokyo Sonata can be viewed as a home drama or a horror film with regards to narrative structure and visual style representation. Main essay Tokyo sonata as a home life drama Like any other family around the world, Kagawa’s family is amidst struggles to make ends meet. They make effort to ensure the children attend schools, get the best grades and interact with others in a fruitful manner. Centred in a Sasaki household deeply entrenched in a routine daily life, the middle class family is in a stagnant spate of events. Notably, when Ryuhei loses his position as an administrator because of outsourcing, he is unable to deliver the message to the family. He considers various consequences that awaits upon delivery of the heartening message hence decides to keep the circle of lies. Occasioned by redundancy and lack of purpose, he fears losing the confidence his family has entrusted in him as a primary breadwinner, family head and an authority figure (Surhone, Tennoe and Henssonow, 2010, pp. 44). As a result, he continues with the normal routine of waking up, taking breakfast and exiting nicely dressed with a briefcase in his hand. Very calm about his activities, he keeps a low profile ensuring that none of the family members suspects anything about the bad luck that has befell him. Certainly, the difficult life is shared among the Sasaki family but each strive to relieve the burden of life. For instance, Megumi Sasaki (Kyoko Koizumi) does not get much attention from the rest of the family members with his homemaking work. Perhaps it is the much problems or confusion in the family that has brought the limited interest on other family members. At this point, Kurosawa succeeded in bridging the theme to the characters. The confusion does not stop with Megumi but extends to the older son Takashi (Yu Koyangi) who also suffers from the emotional and psychological detachment. At a tender age, Takashi is already making plans for his exit from the family confines raising a lot of questions. Same to his father, he likes trying new opportunities, which ultimately lands him in a military job. Interestingly, his intention of joining the army is not to bring hope to his family but to bring peace and help Japan. In this respect, the director attempts to bring into light, the poor parenting roles found in the film that scuffles children instead of holding them together. In normal circumstances, such children can easily be misled through peer influence, as they need anything to relieve the pressure from the family. Tokyo sonata as a family narrative, therefore, not only has an intention of entertaining the audience but also to indirectly reveal the many problems accosting parenting. Arguably, the family has an overwhelming structure directed by rules beyond personal control (Seret, 2011, pp. 91). When the film begins by showing a typical Japanese office in the process of laying off employees to outsource cheaper options, the scene trigger many questions. Amazingly, he has choices for positions despite the status. He enjoys a corporate life but lines up in the free kitchen soup ventures to enjoy what low class individuals. They chaotically mill around places with suits as if to be in a business break while in real sense are in the process of buying time. Undeniably, Tokyo Sonata is a brilliant film that rewards audience with multiple viewings. The younger son to Sasaki’ family is not left out in the family’s misfortunes. Kenji (Inowaki Kai) faces more problems in school more than any other teenager. He does not follow the father’s direction instead making decisions that he regards fit for his future. For example, despite of his father’s disapproval to join piano lessons, Kenji decided to go proceed with his plans of joining piano lessons (Surhone, Tennoe and Henssonow, 2010, pp. 43). From this perspective, the family is full of antagonistic individuals each trying to pull in the direction the serve the intended interest. Interestingly, Kurosawa uses salient expressions to reveal the problems in the best way. As compared to other family narratives, which relegate the themes to audience, the director offers a step-to-step introduction to the problem. In this respect, Tokyo Sonata remains one of the interesting films in history. Evidently, the film revolves around the hidden pain people experience, but cannot articulate to change their experience. The feeling is depicted by Ryuhei when he meets an unemployed man at free food line. For example, the man is able to maintain the figure of an important man by faking calls of business nature. In the film, the most tragic events appear as funny but tragic in the hindsight analysis. Like any other family narrative, Kurosawa have each character giving an optimum performance to radiate the beam of hope with humour amidst misfortune and tragedies. Despite the deep unhappiness each member of the family is to some extent compelled to a degree of appearance (Seret, 2011, pp. 91). The strict social codes although unrewarding attracts frustration among the family members bringing into light how societal standards can influence the behaviour of employees, wives, children and other community members. Needless to say, an array of visual styles qualifies Tokyo Sonata as home drama topped by the art house dramatic genre pattern. Arguably, the film has recurring dialogue and camera shots that contribute to emotional intensity and deeper meaning. The simple gestures including “welcome home” have hidden meanings with the changing situations in the film. Kurosawa employs inferred off screen action, which ensures a dramatic effect is merges with the anticipated cultural turmoils in the society. In as much as his visual styles can be compared to Yasujir Ozu with regards to themes, the outstanding stylistic devices in the home drama introduces creativity and good mastery. The film has detailed close-ups constituting artefacts of subtle mannerisms to a domestic life. Notably, the film has small details with great messages (Surhone, Tennoe and Henssonow, 2010, pp. 44). For instance, in the episode where Mugumi has his arms stretched in the sofa, the wife waits for her husband to lift up his hand oblivious of her heart-breaking state. Despite the low moments, Tokyo Sonata has an uplifting ending that certainly makes it a masterpiece in the modern production industry. Tokyo sonata as a horror film Despite the lack of ghosts, monstrous features or supernatural elements, the film is one of the terrifying works of Kurosawa. Indeed Kurosawa’s obliqueness in Tokyo Sonata creates a floating visual impression loaded by generational anxiety. Primarily, Tokyo Sonata is about Rhuhei, Kenji and Mugumi’s younger son. In the first appearance, Kenji archetypical reveals an antihero in the process of meandering through life in a rebellious life. Nonetheless, the surface family revelations conceal many horrific events of humiliation and fear in the revolutionary world. The film’s foreground has various scenes with elusive questions of how people compete for destined places. The convulsive crises appear in the film when each character seem to be tracing misfortunes to certain people. Tokyo Sonata is an expression of the ultimate quality of Kurosawa’a cinematic qualities. Without a doubt, the film brings into perspective the different atrocities that awaits people in the normal life despite following the right channel. Many people get terrified at the first instance when the main character loses his job and cannot deliver the situation to his family. At this instance, the emotional and psychological elements of viewers are put into test. The question of moral judgement arouses the interest of readers on there of cruel world. In as much as Kurosawa’s film “cure” presents a number of activities, which might appear terrifying physically, Tokyo Sonata captures emotional, psychological and physical components. It keeps viewers guessing the next possible event as each character pursues the line of interest. The film talks about friend, family members, colleagues and most importantly influence from the neighbours. The horror in the film emerges when people realise how cruel the world that surrounds everyday activities. It is a world without mercy and favour where everybody strives to reach personal goals. The horrific environment disregards hierarchy whether a parent or a child with preference to interest. It is a world of antagonistic human beings where everyone is dehumanised be it a housewife, breadwinner or a high school student. When Kagawa loses his position as an administrator, he topples from the very own foundation that has taken him time to build. The bottle of dinner during dinner, authority, self-worth and the family head roles are all threatened. For a man who have not taken time to scrutinize his interests or desires, the world appears to be driven by somebody destined to take everybody’s position. The many family frustration and repressions during dinner sessions attempts to place Tokyo Sonata in a horror position. Evidently, the way the mother serves the countless dishes, father pours beer, and the younger child asks for permission for piano lessons, not forgetting how the elder son does not capture attention attracts much attention. The scenes do more than bringing to the attention of readers various family ills that surround everyday activities. apart from the untamed future, which appears to squandering each person’s destiny in the film a number of mundane incidents also makes Tokyo Sonata a horror film to some extent. For example, scenes from the mall and walk in the parks introduce a power of distress that is easily consuming the world (Seret, 2011, pp. 91). Incidentally, the film denounces the world that has gone astray, where every individual has a responsibility of erective protective barriers. However, based on the films plot, formidable forces appear to be circumnavigating the protective barriers to consume the protective gears. Home life drama and/or horror film In many instances of production, people regard horror films to have ghosts, supernatural beings or extraordinary elements that possess frightening behaviours (Kawin, 2012, pp. 61). According to ordinary assertions, horror films possess characters of unique appearance such as ogres with an eye, a devil with a burning body or a snake with human ability. Additionally, horror films also feature imaginary things including flying vehicles and motorcycles or people with the ability to fly to other places without using the natural means of transport. Nonetheless, horror films have experienced an expansive coverage in the production industry. In the contemporary film industry, horror films do not include the physical manipulation but also emotional and psychological aspects. On the other hand, a home life drama is story that mainly captures the different dramatic events that surround normal livelihood of a family. A home life drama often attempts to generate a problem, enlists intrigues, and provides progress into the existing problem (Edgley, 2013, pp. 43). Additionally, a home life drama takes into account current events focusing on family themes in many instances to not only entertain the audience but also pass moral lessons. The vitality of a home life drama furthermore constitutes to antagonistic behaviours in schools, home or church. In as much as many end up in a victorious tone, however some conclude in a sad mood with death or loss of a key aspect of the film. In as much as Tokyo Sonata is more of a home life drama, it is also a horror film to a lesser extent. From a home life drama perspective, Tokyo Sonata brings into light a family who previously enjoyed life with the head employed as an administrator. However, this changes with a certain swift in company operations to outsource cheaper services. In the process of economising functions, the breadwinner and head of Kagawa’s family remains a victim hence losing position. He is unable to face the family with the disappointing news for fear that they might lose faith in his authority. Therefore, he keeps his routine of gong to a fictional work ending up in free food kiosk. Back home the elder son has interest of joining the military after trying different venture and registering failure. Against, the father’s objection, the younger son has registered in a piano class while the mother seems to be distancing herself from the motherly role. In this respect, Tokyo sonata is a home life drama. The film is also a horror film considering the emotional and psychological effects it derives on viewers. Through the film, one pictures the world full of unfairness and horrific events. Kurosawa succeeds in shifting focus from the family roles to life fears hence creating a horrifying and frightening film full of uncertainties. Conclusion In conclusion, Tokyo Sonata remains one of the greatest works of Kurosawa Kiyoshi. Evidently, the complementary work brings into light a home life drama and a horror film full of unpredicted events. Additionally, the film has an articulate composure of visual elements in an art house dramatic pattern. Moreover, the film has recurring dialogue and camera shots that contribute to emotional intensity and deeper meaning. Notably, Kurosawa employs inferred off screen action, which gives a dramatic effect. Last but importantly, the creativity facilitates production of a screenplay similar to Nicole Garcia’s The adversary (2002) and Laurent Cantet’s Time out (2001). References Edgley, C., 2013, The drama of social life: a dramaturgical handbook. Burlington: Ashgate. Kawin, B., 2012, Horror and the horror film, London: Anthem Press. Kurosawa, K., Tokyo Sonata 2008, www.youtube.com/watch Seret, R., 2011, World Affairs in Foreign Films: Getting the Global Picture, New York, NY: McFarland. Surhone, L., Tennoe, M., and Henssonow, S., 2010, Tokyo Sonata, Rockhampton: Betascript Publishing, 2010 Read More