Journey to the Shore
A Japanese film of total originality which
undoubtedly impresses but also disappoints.
In
this country Kurosawa Kiyoshi is best known for Tokyo Sonata
(2008) but this new work of his is utterly unlike that and, indeed,
unlike anything else. The central characters are Mizuki, a piano
teacher (Fukatsu Eri), and her dead husband, Yusuke (Asano Tadanobu),
who turns up in her home three years after he committed suicide. That
description could suggest that this is a ghost story of a
well-established kind, but it is not. Instead Journey to the Shore
engages as a film about grieving portrayed through stylisation as
Mizuki is enabled to make peace with her past.
In
a director’s statement Kurosawa has explained the Japanese notion of
mitoru, a word that refers to watching over and thus accompanying a
dying person by being at their side. But he adds that he finds it easy
to believe that the death of the spirit – which he regards as the real
death – comes later than the physical death of the body. Thus his film,
based on a novel but with the feel of a work created specifically for
cinema, offers a flight of fancy built on that notion: we see the
couple supporting each other, facing up to facts that have made them
feel guilt, sharing secrets and working through loss: all this as they
journey together ahead of Yusuke’s spiritual death.
This
deeply contemplative work gains immensely from Kurosawa’s sensitivity
as reflected in his perfectly judged use of music. On several occasions
Mizuki is seen waking up, but this narrative suggest less a dream than
an internal emotional study given a stylised outer form. For at least
half of its length (the film runs for 128 minutes) this unique work
succeeds admirably on its own terms. But, as it develops, it
incorporates what emerge as distinct side-tales. These often involve
other tragedies that have left guilt in their wake and, indeed, other
figures who, like Yusuke who claims to be back to carry out unfinished
business, are also the dead still in human form. At least one of these
is depicted in sinister terms and the various elements (including,
briefly, one actual ghost figure) do not cohere to bring out any
consistent theme. Japanese audiences being better attuned may
understand what is being suggested more readily than I did, but I
certainly found greater unity and thematic sense in Koreeda’s After Life (1998)
which is the film that comes nearest to this in its preoccupations.
However, Journey to the
Shore
at its best is memorable and it invites investigation by any viewers
who are drawn to territory that blends the emotional and the
philosophical in a unique way.
MANSEL STIMPSON
Cast: Fukatsu Eri, Asano Tadanobu,
Komatsu Masao, Aoi Yu, Emoto Akira, Okunuki Kaoru, Muraoka Nozomi
Akahori Masaaki.
Dir Kurosawa Kiyoshi, Pro Endo Hitoshi,
Matsuda Hiroko and Sawada Masa, Screenplay
Ujita Takashi and Kurosawa Kiyoshi adapted from the novel Kishibe no Tabi by
Yumoto Kazumi, Ph
Ashizawa Akiko, Pro Des
Ataka Norifumi, Ed
Imai Tsuyoshi, Music
Otomo Yoshihide and Eto Naoko, Costumes
Ogawa Kumiko.
Showgate/Amuse/Wowow Films/Pony Canyon/Comme des
Cinémas etc.-Eureka Entertainment Ltd.
128 mins. Japan/France. 2015. Rel: 20 May 2016. Cert. 12A.