Film review: ‘DRIVE MY CAR’ by Nick Gardener from ‘Built For Speed’
Japanese drama Drive My Car, which is based on a short story by Haruki Murakami, has been one of the most lauded films of the year. Nominated for both the Best Picture and Best International Feature Oscars and Best Director for Ryûsuke Hamaguchi, it marks the continued ascent and recognition of films from outside Hollywood and the west, particularly from Asia.
This film sits alongside Jane Campion’s The Power of the Dog as the most arthouse of this year’s Oscar nominees; it’s not as immediately accessible as a big-hearted drama like Belfast. Instead, this is a very long mood piece that explores themes of grief, guilt, resentment, regret and the attempt to heal from personal trauma. Consequently, it requires a little more commitment from the audience than many might be used to.
Hidetoshi Nishijima stars as middle-aged actor and theatre director Yusuke Kafuku who is still trying to reconcile his wife’s sudden death and the revelation that she was having multiple affairs. A year after her death, Yusuke accepts the job as director of a production of Chekhov’s Uncle Vanya in Hiroshima, one in which actors from different countries will perform in their native tongue, including sign language. Yusuke’s told, however, that, due to glaucoma, he’s not allowed to drive anywhere and must rely on a young woman Misaki Watari (Toko Miura) as his chauffeur. Their unusual relationship, forged over their journeys around Hiroshima, forces both to confront painful realties about themselves and their loved ones.
To say this is a slow-burn film would be a major understatement. At three hours and with events unspooling at a rather leisurely pace, this film will test the resolve of many audiences and will feel like an eternity to those who believe a film should feature at least one flying robot and muscly superhero. Still, for those who surrender to this film, the lengthy journey will be worth it.
This is a moving meditation on the redemptive power of art and the importance of forgiveness. It’s also a potent examination of the way trauma can resonate across time. While the Second World War is only briefly mentioned, the setting in Hiroshima adds a sombre historical backdrop to the characters’ personal trials. The film also intertwines the Chekhov play with events in Yusuke’s life and through its unusual tower of Babel multiple language approach, explores the necessity but also the painful difficulty of communication.
Without being overly clinical, Hamaguchi, who also co-wrote the script, constructs each scene with meticulous care. Not surprisingly for a three-hour film, he gives just about every scene plenty of time to breathe and for characters to develop. Aided by moody cinematography from Hidetoshi Shinomiya, Hamaguchi also delivers a striking vision of the suburbs and countryside around Hiroshima and of everyday Japanese life.
While the entire cast deliver compelling performances, most impressive is Toko Miura as the young chauffeur. Her initially expressionless, surly and aloof manner hides a torrent of emotion and the film gains considerably in power as she becomes more prominent in the story.
Trying to hold an audience for three hours, particularly for a sombre film like this, is a Herculean task and some viewers will fall by the wayside. Still, for most audiences this highly intelligent humanist drama will prove one of the most intriguing and touching movie experiences this year.
Nick’s rating: ****
Genre: Drama.
Classification: MA15+.
Director(s): Ryûsuke Hamaguchi.
Release date: 10th Feb 2022.
Running time: 179 mins.
Reviewer: Nick Gardener can be heard on “Built For Speed” every Friday night from 8-10pm right here on 88.3 Southern FM. Nick can also be heard on “The Good, The Bad, The Ugly Film Show” podcast. http://subcultureentertainment.com/2014/02/the-good-the-bad-the-ugly-film-show