The Kodai Family (高台家の人々, Masato Hijikata, 2016)

kodai family posterFear of “broadcasting” is a classic symptom of psychosis, but supposing there really was someone who could hear all your thoughts as clearly as if you’d spoken them aloud, how would that make you feel? The shy daydreamer at the centre of The Kodai Family (高台家の人々, Kodaike no Hitobito) is about to find out as she becomes embroiled in a very real fairytale with a handsome prince whose lifelong ability to read minds has made him wary of trying to form genuine connections with ordinary people. Walls come down only to jump back up again when the full implications become apparent but there are taller walls to climb than that of discomfort with intimacy including snobby mothers and class based insecurities.

29-year-old Kie (Haruka Ayase) has a dull job as a regular OL in the successful Kodai company. A self-confessed shy person who finds it difficult to talk, Kei spends most of her time alone though she does have a few friends at work. Though Kei’s exterior life may appear dull she has a rich, even overactive imagination which she uses to entertain herself by heading off into wild flights of fancy guided only by a friendly (?) gnome.

Kei’s life begins to change when the oldest son of the Kodai family returns to the office after studying abroad. Mitsumasa (Takumi Saito) is a handsome, if sad-looking man who quickly has all of the office in a flurry of excitement thanks to his dashing good looks and confident stride. Mitsumasa, however, has a secret – the ability to read other people’s thoughts inherited from his British grandmother, Anne. Whilst walking down the corridor and trying to ignore the lewd and avaricious thoughts of some of the ladies (and the worried ones of some of the men now fearing more than one kind of competition), Mitsumasa is treated to one of Kei’s amusing fantasies and is quickly smitten.

For Kei who finds voicing her true feelings difficult, Mitsumasa’s ability seems like the perfect solution. Finally, someone who will just understand her without the need for conversation. However, what Kei hasn’t considered is that a deeper level of intimacy is being asked of her than she’d previously anticipated. From the merely embarrassing to the tactless and tasteless, it is no longer possible to withhold any part of herself other than by an exhausting process of trying to close her mind down completely. Mitsumasa is used to this particular phenomenon in which his enhanced powers of communication only result in additional barriers to connection. Somewhat closed off himself, resigned to the fact he’s going to “overhear” things he’d rather not know, Mitsumasa has made a point of keeping himself aloof from ordinary people who, once they know about his abilities, find him suspicious and threatening.

Yet Mitsumasa’s telepathic powers are not the only obstruction in this fairytale love story. Kei already can’t quite believe what’s happening is real and struggles with the idea someone like Mitsumasa might seriously be interested in her. Though Mitsumasa’s brother (Shotaro Mamiya) and sister (Kiko Mizuhara), who share his ability, are broadly supportive (and equally entertained by Kei’s innocent and quirky flights of fancy), his mother (Mao Daichi) is anything but. Kei’s prospective mother-in-law starts as she means to go on by mistaking Kei for a new maid and then proceeding to further erode her confidence by pointing out that she knows nothing about this upper class world of balls and tennis and horse riding.

When it all becomes too much, Kei does what she always does – retreats to safer ground. Papering over her cowardice with the weak justification that she thinks she’ll only make Mitsumasa miserable, Kei backs away from the idea of baring her whole, unfiltered soul even if she knows it will cost her the man she loves and the ending to her real life fairytale.

Though charming enough and filled with interesting manga-inspired effects, Kodai Family never makes the most of its interesting premise, falling back on standard romantic comedy tropes from parental disapproval to predictable misunderstandings. The irony is that Mitsumasa and his siblings are so busy listening to the thoughts of others that they often can’t hear their own and are so deep in denial that they need a third-party (telepathic or not) to push them into realising how it is they really feel. This is a world of double insulation, in which the walls are both thick and thin, but there is a way a through for those brave enough to kick them down by baring all for love, snobby mothers be damned.


Original trailer (English subtitles)

Beautiful World (任侠ヘルパー, Hiroshi Nishitani, 2012)

ninkyo helperIn old yakuza lore, the “ninkyo” way, the outlaw stands as guardian to the people. Defend the weak, crush the strong. Of course, these are just words and in truth most yakuza’s aims are focussed in quite a different direction and no longer extend to protecting the peasantry from bandits or overbearing feudal lords (quite the reverse, in fact). However, some idealistic young men nevertheless end up joining the yakuza ranks in the mistaken belief that they’re somehow going to be able to help people, however wrongheaded and naive that might be.

The hero of Hiroshi Nishitani’s Beautiful World (任侠ヘルパー, Ninkyo Helper) is just one of these world weary idealists turned cynics. We find him working a low rent convenience store job where he fills the shop with the kind of intensity that only a disappointed former yakuza can generate. Hikoichi (Tsuyoshi Kusanagi) was trying to make a go of things in the regular world, but when a sad little old man comes in with armed robbery on his to do list, Hikoichi shows his yakuza stripes by easily beating him down in front of his stunned colleague.

This might have earned him some brownie points at work, but overcome by pity for this pathetic old man reduced to robbing corner shops for petty change, he gives him the cash and tells him to run. The police soon turn up and arrest them both – during the robbery Hikochi’s colourful tattoos were caught on security camera and no one wants a yakuza working here, even if he did volunteer to pay back the tiny sum of money the old guy got from his own wages.

Meeting up in prison, Hikoichi and the armed robber eventually become friends and after his release, Hikoichi ends up in the old guy’s home town where he joins his former clan as an enforcer. Extremely bitter by this point, Hikoichi has decided to play the modern yakuza game to the max so when he finds out his assignment is running a dodgy “care” home which gets its residents by extorting old people through outrageous loans which send them bankrupt, he only briefly pauses.

The idea of a yakuza running a care home is a strange one. The Uminoneko residential care facility is far from what one would want from a old people’s home – there are no doctors, or even carers, the entire home is run by one nurse, herself an elderly woman who got her nurse’s certification and eldercare qualifications back in 1943!

With a rapidly ageing population, eldercare is a big topic in Japan as the birth rate has progressively fallen while lifespans have increased leaving many older people without family to look after them. With the nature of the family unit also changing, it’s become much harder to care for elderly relatives at home especially if they need around the clock attention. There are simply not enough facilities available to cope with the increasing needs of the older generation leaving families struggling to cope and social services overwhelmed. It’s not surprising that the yakuza have picked up on this as a growth area.

When Hikoichi arrives at the Uminoneko facility, which is just really a prefab shed with some futons in it, he finds a hellish place filled with unstimulated old people left on their beds to die. The place is filthy, and about the only attention the guests receive is the occasional offering of food to keep them alive so that the clan can keep claiming their pensions and welfare payments. Though Hikoichi goes along with this to begin with, it’s not long before his idealism rears its ugly head and he hits on the idea of reforming Uminoneko by turning it into a kind of old person’s commune in which the residents themselves will help out with the running of the place. What was a sad and gloomy prison of exploitation suddenly transforms as the older generation rediscover a place that they can belong, working together to build their own community. However, this of course means less money for the clan and more trouble for Hikoichi.

The clan aren’t his only problems as the town also has a progressive mayor who made a commitment to wipe out organised crime and turn the area into a tourist hotspot with a special focus on caring for the older generation. Teruo (Teruyuki Kagawa) has is own stuff going on which again causes a problem for Hikioichi as he also has a long standing crush on the older yakuza’s daughter, now a single mother with two young children and a mother of her own with senile dementia who needs expensive medical care. Yoko (Narumi Yasuda) has a grudge against yakuza after enduring decades of stigma and eventual abandonment by her father but is willing to deal with them if it will enable her to help her mother. Predictably she begins to develop a better understanding of her father as she bonds with Hikochi and warms to his noble tough guy ways.

Directed by Hiroshi Nishitani and inspired by a TV show (though functioning as a standalone movie), Beautiful World is a finely plotted drama which explores both the roles of the ageing population and eldercare explosion in Japan, and the conflicting role of the yakuza who seek to exploit those who are arguably the weakest in society. Hikoichi makes for a very Takakura-like, brooding presence as his innate idealism and desire to help those around him conflict with his experiences as a yakuza which teach him to distrust everyone and expect betrayal and exploitation at every turn. Resolving in an unconventional and unexpected way, this otherwise mainstream, if  beautifully photographed, drama develops into one of the more interesting character driven pieces of recent times.


Unsubbed trailer: