Kobayashi Masaki, one of Japan's greatest directors, is internationally best known for his angry, gritty 60's output. Films like "Ningen no joken" (The Human Condition, 1959 - 1961), "Seppuku" (Harakiri, 1962), and "Jôi-uchi: Hairyô tsuma shimatsu" (Samurai Rebellion 1968) represent his classic style, but his filmography includes other kinds of films as well. Starting from "Kaseki" (1974), an existential three-and-a-half-hour film about death, Kobayashi experimented with even slower tempos and psychological narratives. He did not ditch the themes of guilt and remorse that were central to his older classics, but he viewed these themes from an older person's nuanced perspective.
I really like "late Kobayashi", even though these films are hard to come by. The director's final film "Shokutaku no nai ie" (The Empty Table, 1985) is no exception. The film draws inspiration from Japan's recent history of domestic terrorism in it's depiction of the Kidoji family. The eldest son Otohiko (Nakai Kiichi) has been jailed as a complicit of a terrorist kidnapping, that killed several people. Otohiko did not personally kill them, but took part in the events. Some of the events in the film are told in flashbacks, from the perspective of Otohiko's father Kidoji Nabayuki (Nakadai Tatsuya). The Japanese consider that fathers are responsible for the crimes of the sons. The fathers of the two other terrorists kill themselves, but Kidoji doesn't believe you can pass guilt on to someone else. Instead, he tries to keep his family intact and hopes his son will feel remorse for his actions.
The film depicts the gradual breakdown of the family. It is a sad and brooding film that paints a vivid portrait of an impossible situation. The existential questions tackled through the character of the father bring up interesting points about guilt and compassion. Even though he doesn't believe that he should commit suicide because of his son's actions, the father nevertheless sees, that he is the reason for his son turning out to be like this. Even though the film is pessimistic and lonely, the core questions about what it means to be in a family, find a possibility of emotional growth, and a glimmer of hope.
As the father is the central character of the film, it is also the most important role. Nakadai Tatsuya, Kobayashi's most famous and oft-used actor, returns for his mentor's final film to deliver a masterclass performance, that is minimalist, but full of layers, subtle, but emotionally intense, seemingly tranquil and silent, but still caring and intelligent. Nakadai is my favorite actor, so I really could not imagine anyone else pulling this role off nearly as well. Other actors are good too, and the peaceful way Otohiko is portrayed is quite memorable.
"The Empty Table" is a slow-burn. If you liked "Kaseki" you are probably going to like this one as well. Yet the intelligent subtlety of the film turns it into a philosophical document more than a drama narrative. I think the film marvelously brings together important core themes of Kobayashi's 30 year career, to which it serves as a fitting, fascinating closing chapter.
I really like "late Kobayashi", even though these films are hard to come by. The director's final film "Shokutaku no nai ie" (The Empty Table, 1985) is no exception. The film draws inspiration from Japan's recent history of domestic terrorism in it's depiction of the Kidoji family. The eldest son Otohiko (Nakai Kiichi) has been jailed as a complicit of a terrorist kidnapping, that killed several people. Otohiko did not personally kill them, but took part in the events. Some of the events in the film are told in flashbacks, from the perspective of Otohiko's father Kidoji Nabayuki (Nakadai Tatsuya). The Japanese consider that fathers are responsible for the crimes of the sons. The fathers of the two other terrorists kill themselves, but Kidoji doesn't believe you can pass guilt on to someone else. Instead, he tries to keep his family intact and hopes his son will feel remorse for his actions.
The film depicts the gradual breakdown of the family. It is a sad and brooding film that paints a vivid portrait of an impossible situation. The existential questions tackled through the character of the father bring up interesting points about guilt and compassion. Even though he doesn't believe that he should commit suicide because of his son's actions, the father nevertheless sees, that he is the reason for his son turning out to be like this. Even though the film is pessimistic and lonely, the core questions about what it means to be in a family, find a possibility of emotional growth, and a glimmer of hope.
As the father is the central character of the film, it is also the most important role. Nakadai Tatsuya, Kobayashi's most famous and oft-used actor, returns for his mentor's final film to deliver a masterclass performance, that is minimalist, but full of layers, subtle, but emotionally intense, seemingly tranquil and silent, but still caring and intelligent. Nakadai is my favorite actor, so I really could not imagine anyone else pulling this role off nearly as well. Other actors are good too, and the peaceful way Otohiko is portrayed is quite memorable.
"The Empty Table" is a slow-burn. If you liked "Kaseki" you are probably going to like this one as well. Yet the intelligent subtlety of the film turns it into a philosophical document more than a drama narrative. I think the film marvelously brings together important core themes of Kobayashi's 30 year career, to which it serves as a fitting, fascinating closing chapter.