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Like father like son movie

In a series of beautifully calibrated scenes, Kore-eda explores not just the nature of parental love but of filial love, and as the painful alienated past of Ryota comes to light, his stiffness and lack of empathy become more comprehensible but no less kind of infuriating. A successful architect with a go-getter attitude, Ryota shrinks from the feckless attitude of his own somewhat fey son, who he views as being more than a little bit of a disappointment. Imagine the way that a typical Hollywood film about this story would make a deliberate burlesque of it. Obviously a swap has to be made, eventually. When he gets the chance to swap him for a more likely heir, it serves as a confirmation of his own sense of himself, an acknowledgement that he has actually sired someone more worthy of his lineage. With this business out of the way, though, the film unfolds among fairly ordinary lines, hitting all of the expected moments, and simply waiting out the time until Ryota realizes the inevitable folly of his decision. Six years into raising their only child Keita, whose birth left the young mother unable to have any more children, young couple Ryota and Midori are told that the child is not, in fact, theirs at all: that a hospital error switched two baby boys at birth. Whatever the thematic implications of this setup, the film ultimately faltered in shifting its emphasis to critiquing a situation that could never actually exist. A movie whose title translates into "Gone, With The Wind? Initially the clash of classes seems a little schematic. Advertisement As would not be unexpected in a domestic melodrama, the two families could not be more different.

When he gets the chance to swap him for a more likely heir, it serves as a confirmation of his own sense of himself, an acknowledgement that he has actually sired someone more worthy of his lineage. Obviously a swap has to be made, eventually.

Tweet Too soon! Tweet Although by no means the method Hirokazu Kore-eda employs on every movie, a common strategy of the Japanese auteur is to create a self-contained, occasionally fanciful situation, then allow the setup to play out in all its manifold narrative and ethical possibilities.

Popular Blog Posts. But is that conclusion really so obvious? This approach found its most obvious formulation in his film After Life, in which a group of newly dead people were asked to choose one memory from their life which would be reenacted by a group of actors and which the person would then watch over and over for all eternity.

A movie whose title translates into "Gone, With The Wind? But in all seriousness, the not inapt but too on-the-nose English language title of "Soshite chichi ni naru" which, Google Translate tells me, works out to something like "And I Will Be His Father" is the worst thing about this movie.

Similarly, the film shows a divide among gender lines on the question of biological parentage, with the female characters suggesting the rather obvious supposition that what matters is who raises a child and not who birthed it, while the male characters cling to the supremacy of bloodlines.

While Ryota Masaharu Fukuyama is a cold-to-icy ambitious salaryman, next to whom Midori Machiko Ono sometimes looks resentfully dutiful, their biological son, named Ryusei, has been growing up with two young siblings, in a cozy raucous household whose tinkerer dad Yudai Lily Franky and ramen-restaurant-server mom Yukari Yoko Maki dote on their kids despite their limited means.

With this business out of the way, though, the film unfolds among fairly ordinary lines, hitting all of the expected moments, and simply waiting out the time until Ryota realizes the inevitable folly of his decision.

hirokazu kore-eda

Initially the clash of classes seems a little schematic. Soon the couple are meeting their biological child for the first time, along with the family that raised him.

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Whatever the thematic implications of this setup, the film ultimately faltered in shifting its emphasis to critiquing a situation that could never actually exist.

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