Japanese Story

I don't know what to expect when I went to see "Japanese Story" - I didn't read any review other than hearing Toni Collette did a terrific job and the trailer is interesting. I sensed that the element of 'death' could be part of the theme/plot as I noted at a beginning scene where Sandy (Collette's character) was sitting down reading papers in her Mum's kitchen and her Mum casually remarked that death is part of life. A brief notion and director Sue Brooks continues on letting us follow Sandy around: at her office, we see her modern geological double-monitor workstation; we hear her frustrated exchange with male business partner on 'dumping' her the task of handling business client arriving from Japan. We follow her home still vexed at the agonizing thought of accompanying a Japanese client - meanwhile we're shown how matter of fact she goes about getting her chow down, with new age gadgets like a self-rotating can opener. The screen cuts to a small airfield. We see an Oriental man (Gotaro Tsunashima) in suits steps off a plane. The air about him is detached. The contrast is felt when Collette arrives in a hurry, disheveled appearance and in casual slacks. So the journey of this odd pair begins. A fascinating one at that.

It may not be apparent immediately that you'd be experiencing an emotional ride. But I found the pace just right - right there in the outback environment with the two of them, day, night, very hot, shivering cold, sweating, digging. There's a certain atmosphere to the film - can't quite label it but definitely Australian geographical-oriented - land, nature and people. Thrown into the mix is the Japanese culture for added spice, thoughtfully put together. Hence the joy, jumping for joy, laughter, joking, gentleness, intimacy, we'd understand. The turn of events edifies how unexpected life can be - the yin and yang, the ecstasy and sadness, just at the change of a moment, a motion…stunned, numb. The mystery of life and death is utterly incomprehensible by man. The focus is not on grief or state of shock, nor simply on cultural differences, the aim seems further: it almost culminates in the words about the joy given to him, the chance to appreciate the vastness of the space (desert), and being able to open his heart.

The two Japanese roles were well cast: Gotaro Tsunashima as Hiro performed pitch perfect. The role of the wife by Yumiko Tanaka, though brief, is important to complement Collette's role. Both gave just the right dose and tempo to the characters.

The Australian landscape is simple yet breathtaking. Cinematographer Ian Baker and film editor Jill Bicock are both from Australia and had worked together on "IQ" 1994 and "A Cry in the Dark" 1988. Music by Elizabeth Drake and casting by Dina Mann both are former collaborators with the team of Brooks, Tilson and producer Sue Maslin in 1997 ("Road to Nhill").

The film reminds me of w-d Friðriksson's "Cold Fever" (1995) and w-d Clara Law's "The Goddess of 1967" (2000). The former is a road movie of a young Japanese businessman traveling to Iceland to observe tradition and honor his dead parents; the latter is an Australian made film with outback landscapes and an intriguing non-conforming story.

Kudos to Alison Tilson who has written an insightful script, and Sue Brooks who has confidently directed this film made in "forty days and forty nights in the desert." Production by Gecko Films, Australia, and distribution by Samuel Goldwyn Films, U.S., "Japanese Story" is a thought-provoking film to experience.

The best thing about `Japanese Story,' an Australian film directed by Sue Brooks and set almost entirely in the Outback, is its unpredictability. Just as you begin to think that the story, written by Alison Tilson, is headed in one particular direction, it does an amazing about-face and leads us down an entirely different, utterly unexpected narrative path.

The movie starts off as a fairly standard romantic comedy, involving two strangers who don't like each other very much yet who are forced to spend an inordinate amount of time together. Sandy is a geologist whose company, against her will and better judgment, has asked her to escort an important Japanese businessman through the wilds of the Australian desert on a sightseeing tour. The film even begins to seem a bit like a landlocked `Swept Away' for awhile, as these two headstrong people – he a Japanese traditionalist with male chauvinistic tendencies and she a no-nonsense, freethinking, independent woman (but both filled with doubts and insecurities beneath the surface) – find themselves stranded in a hostile and remote environment, fighting for survival. But then the first of the film's numerous plot reversals kicks in and we find ourselves in an entirely different situation altogether.

I certainly don't want to spoil anyone's experience of this film by revealing just what those plot twists are, so I will merely state that the film, in the second half, becomes a fairly profound meditation on the precarious nature of life and the almost lightning-paced speed with which tragedy can intervene to bring our worlds crashing down around us. Toni Collette is heartbreaking as the feisty yet warmhearted Sandy and Gotaro Tsunashima is both tender and stoic as the man from an exotic culture with whom she eventually falls in love.

That, of course, is the predictable part. But if you think you know where this story is going, you will be pleasantly surprised at how wrong you will be.

I think it's one of those memorable movies you'll think about for a long time, but it also seemed to go on for a long time while you're watching it. I think Americans aren't all that comfortable with the very leisurely pace of a lot of foreign films, and that may have been part of the problem -- but there's only so long you can watch someone expressing an emotion before you want to say "I get it, I get it -- can we move on to what happens next?" The plot involves a headstrong young Japanese businessman's visit to the most desolate part of Australia -- a rather tough geologist played by Toni Collette (Muriel's Wedding) is his tour guide. He doesn't quite understand how different Australia is from Japan, and Collette has her hands full trying to chauffeur him around. The movie centers around the relationship that develops between these two very different people, set in the mind-bogglingly desolate Australian outback.

If your idea of a great movie involves car chases, this is definitely not the movie for you. If you like slower and more nuanced movies, then this one is definitely worth seeing.

This is as much an Australian story as a Japanese one. We are not about to turn Japanese, but our close economic relationship over the last 50 years has to some extent transcended the cultural gap that divides us, and the bitterness of World War 2. On one level, this is a very personal story of two people from different cultures who become closer than they might have imagined. On another level it examines two very different cultures tied together by economic necessity. These themes are played out in a truly awe- inspiring ancient landscape, which, as others have remarked, is a character on its own.

I've not been to the Pilbara, but I've been to places like it elsewhere in Australia, and they tend to have the effect of reminding you of the fragility of your existence. The Aborigines (represented here by only a gas station attendant) regarded themselves as belonging to the land and here you can see why. It's not clear what Tachibana Hiromitsu, the rich businessman's son, is looking for in the desert, but he certainly feels its power. Just why Sandy the tough female geologist comes to harbour tender feelings towards him is not evident either; perhaps it's the mothering instinct at work- he's not an adaptable kind of guy and perhaps she senses his vulnerability.

Apart from the firm refusal to turn this film into a romantic comedy, despite some `When Harry Met Sally' moments, there are several other things going for it. First there is Toni Collette's entirely convincing performance which overcomes some weaknesses in the storyline (and improbabilities in her character). She has a lot of ground to cover, from boredom to hilarity, from dislike to intimacy, and from terror to melancholy.

Second, the cinematography fully exploits the scenery without detracting from the story. Much of `Japanese Story' was filmed around Port Headland in the Pilbara, but it's not a tourist brochure. Third, even the minor parts are played with precision (eg John Howard as the BHP man and Yukimo Tanaka as Tachibana's wife). It's difficult to judge just how effective Gotaro Tsunashima is – you'd need to be Japanese, I guess, and anyway the script is from an Australian, Alison Tilson. To my eyes he seems real enough, if we accept he's from a very privileged and sheltered background. It's interesting that Sandy seems to be the initiator of their intimacy (he doesn't resist!).

I think this film would hold up well anywhere. It has more than the usual emotional content for an Australian film, an intriguing and poignant story, good acting, and it's not too long. The admission price is also considerably cheaper than an air ticket to Port Headland.

"Japanese Story" is a fascinating exploration of gender and cultural roles, with a more incisive take on the contrasts than "Lost in Translation," let alone than in the simplicity of "The Last Samurai."

The Australian outback is a harsher but beautiful landscape of blokes and sheilas than the Manhattan of "Sex and the City" but it brings into relief similar questions of expectations of guys and gals in life and sex.

Toni Colette's "Sandy" is one tough geologist required to guide Gotaro Tsunashima to his father's company's environment-destroying mining businesses. Each suspiciously views the other through narrow stereotypical lenses that block out the complexities of their real lives and potential.

They very gradually adapt to each other, opening each other up to new experiences in quite unexpected ways, even though their language and life communication is still limited. She is the shaggy, physical, confident one; he is the smooth, intellectual, diffident one. "Sandy" is aggressive in a way much more typical of males in U.S. movies, while "Tachibana" is redolent of the farm wife in "The Bridges of Madison County."

The third act is even more startling in its catharsis for "Sandy" as she finds inner strengths and vulnerabilities to deal with her responsibilities across the cultural chasm.