Like Father, Like Son (Soshite chichi ni naru)
Directed by: Hirokazu Kore-eda
Written by: Hirokazu Kore-eda
Starring: Masaharu Fukuyama, Machiko Ono, Yoko Maki, Lily Franky, Jun Fubuki, Shogen Hwang, Keita Ninomiya
Drama - 121 min
Written by: Hirokazu Kore-eda
Starring: Masaharu Fukuyama, Machiko Ono, Yoko Maki, Lily Franky, Jun Fubuki, Shogen Hwang, Keita Ninomiya
Drama - 121 min
A little over a year ago, I would have seen Like Father, Like Son through completely different eyes. Parents, compared those without children, may be more likely to experience the film with both elevated emotions and a tendency to play the ‘what would I do in this situation’ game. I admit I consistently put myself in the lead character’s shoes and imagined my little boy throughout this predicament.
The problem is two babies were switched at birth six years ago in a Japanese hospital. Keita (Keita Ninomiya) went home with Ryota (Masaharu Fukuyama) and Midori (Machiko Ono), a well-off couple living in a tall, sterile glass tower in the city. Ryusei (Shogen Hwang) went home with Yudai (Lily Franky) and Yukari (Yoko Maki), a poor couple who live behind their meager electronic appliance shop.
Ryota is a no-nonsense, diligent taskmaster. As a successful architect, his long hours bring him home well past dinner, he works weekends, and his brief interactions with Keita involve instructions for more piano practicing, less Wii, and overriding discipline. Midori is in the background as the supportive wife and nurturing mother, a characteristic Ryota mocks her for; he believes Keita’s inherent kindness and tolerance of losing must come from her.
The top layer of Like Father, Like Son is structurally simple, but morally complex. What do you do when you learn your son is not your son? Do you exchange the children because blood comes first or is whatever child you happen to raise then your child? Dig a bit deeper though and you find director Hirokazu Kore-eda examines the culture of patriarchal Japan.
Ryota automatically assumes the decision maker role. Despite their many and long conversations about what to do, we never see Ryota ask his wife what she prefers. He knows what is best for the family and never expects a contrary opinion from Midori once he sets a course in action. The opinions of the children are never asked for either; they are just along for the ride at the mercy of the grown-ups. There are indications Ryota views his son as a status symbol or checkbox. Does he see Keita or does he see a small boy merely there to fulfill a role and therefore only logical for your true blood to assume that position.
Money and social status also play a role. Yudai frequently submits to Ryota’s opinion on what to do next, even if his inner self would rather run screaming in the other direction. Yudai believes being a father is the most important thing in life and notices his advice falls on Ryota’s deaf ears when he subtly critiques his lack of parenting. Why would Ryota listen to a shopkeeper? He earns far too much money to stoop so low.
Known for his examinations of various aspects of Japanese family life, Hirokazu Kore-eda notches another hole in his belt in this genre. His 2004 film, Nobody Knows, still feels fresh today about children abandoned in their apartment by their mother. Kore-eda is also noticeably adept at working with children. Keita has such wide and startling eyes it is hard not to over empathize with him in every scene.
Like Father, Like Son is a deceptively simple title for the subject matter. What could easily be an over-wrought and soap operatic tear-jerking melodrama in less capable hands, Kore-eda gently lets the audience observe the families and has us do the work. There is no hero or villain, nobody tells us who is wrong and who is right, that is for us to work out by ourselves. It boils down to one question, ‘what would you do?’
The problem is two babies were switched at birth six years ago in a Japanese hospital. Keita (Keita Ninomiya) went home with Ryota (Masaharu Fukuyama) and Midori (Machiko Ono), a well-off couple living in a tall, sterile glass tower in the city. Ryusei (Shogen Hwang) went home with Yudai (Lily Franky) and Yukari (Yoko Maki), a poor couple who live behind their meager electronic appliance shop.
Ryota is a no-nonsense, diligent taskmaster. As a successful architect, his long hours bring him home well past dinner, he works weekends, and his brief interactions with Keita involve instructions for more piano practicing, less Wii, and overriding discipline. Midori is in the background as the supportive wife and nurturing mother, a characteristic Ryota mocks her for; he believes Keita’s inherent kindness and tolerance of losing must come from her.
The top layer of Like Father, Like Son is structurally simple, but morally complex. What do you do when you learn your son is not your son? Do you exchange the children because blood comes first or is whatever child you happen to raise then your child? Dig a bit deeper though and you find director Hirokazu Kore-eda examines the culture of patriarchal Japan.
Ryota automatically assumes the decision maker role. Despite their many and long conversations about what to do, we never see Ryota ask his wife what she prefers. He knows what is best for the family and never expects a contrary opinion from Midori once he sets a course in action. The opinions of the children are never asked for either; they are just along for the ride at the mercy of the grown-ups. There are indications Ryota views his son as a status symbol or checkbox. Does he see Keita or does he see a small boy merely there to fulfill a role and therefore only logical for your true blood to assume that position.
Money and social status also play a role. Yudai frequently submits to Ryota’s opinion on what to do next, even if his inner self would rather run screaming in the other direction. Yudai believes being a father is the most important thing in life and notices his advice falls on Ryota’s deaf ears when he subtly critiques his lack of parenting. Why would Ryota listen to a shopkeeper? He earns far too much money to stoop so low.
Known for his examinations of various aspects of Japanese family life, Hirokazu Kore-eda notches another hole in his belt in this genre. His 2004 film, Nobody Knows, still feels fresh today about children abandoned in their apartment by their mother. Kore-eda is also noticeably adept at working with children. Keita has such wide and startling eyes it is hard not to over empathize with him in every scene.
Like Father, Like Son is a deceptively simple title for the subject matter. What could easily be an over-wrought and soap operatic tear-jerking melodrama in less capable hands, Kore-eda gently lets the audience observe the families and has us do the work. There is no hero or villain, nobody tells us who is wrong and who is right, that is for us to work out by ourselves. It boils down to one question, ‘what would you do?’
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