By 1981 Japan’s economic recovery was more or less complete and the consumerist future had all but arrived. Based on the novel by Wahei Tatematsu, Distant Thunder (遠雷, Enrai) is the story of impending doom staved off by those clinging fast to the their ancestral traditions even whilst the modern world threatens to engulf them. Kichitaro Negishi already had a long career directing Nikkatsu’s Roman Porno, but made his mainstream debut with this quietly affecting social drama for Art Theatre Guild which relies on the strong performances of its cast to convey the subtitles of youth caught between past and future.
In the contemporary world of 1981, 23-year-old Mitsuo (Toshiyuki Nagashima) is a tomato farmer stubbornly hanging on to his family’s ancestral land which happens to be inconveniently placed in the middle of a modern housing complex. Women from the estate sometimes pop round to ogle Mitsuo under the pretext of buying super fresh tomatoes. Mitsuo is happy for them to enjoy the fruits of his labour, but refuses to accept them as “neighbours” lamenting the death of the village in which he grew up.
It transpires that Mitsuo’s father (Casey Takamine) sold off most of the farmland without consulting the rest of the family and used the proceeds to open a bar with the hostess he ran off with. Mitsuo hasn’t forgiven him for this and continues to work the tomatoes alone while his older brother is married and living a modern salaryman life in the city. At 23 it’s high time Mituso got himself a wife, but a flirtation with a barmaid, Kaede (Rie Yokoyama), who claims to be a divorced single parent proves diverting enough for the time being. Mitsuo knows being a farmer’s wife is no prize, so when his mother comes up with a possible match Mitsuo thinks it’s worth a try even if she’s probably none too pretty.
An old soul in many ways, Mitsuo wants to hang on to his family’s farm despite the constant offers he gets from salesmen at the door who want him to sell. Where once there was a village, now there are high rise apartment blocks. Mitsuo misses the world he grew up in where farmers helped each other out in difficult times and wandered in and out of each other’s houses like one big happy family. Not content with ruining his own, it’s also this wider concept of community as family that Mitsuo’s father has ruined for him in rejecting his traditional responsibilities for the irresponsible pleasures of taking up with a fancy woman and starting again as a bar owner.
Sadly, the bar hostess really does seem to love Mitsuo’s feckless father, perhaps seeing him as her last chance for happiness. Kaede, by contrast, is looking for something far less permanent. She claims to be divorced but is married to a mild-mannered man (Keizo Kanie) with a tattoo poking out of his collar who accepts her need for new conquests but would rather they not become regular arrangements. Kaede whips up more potential destruction when she comes between Mitsuo and his childhood best friend, Koji (Johnny Okura), who also likes her and has been led to believe Kaede’s relationship with Mitsuo was not altogether consensual. Meanwhile, Mitsuo’s blind date went far better than expected and it looks like he’s on course to find a wife in petrol station assistant Ayako (Eri Ishida).
Ayako, like Mitsuo, is a more old fashioned sort though she’s no prude and is of an earthier yet somehow “purer” nature than the comparatively urban Kaede. Mitsuo finds himself pulled in different directions – Ayako and the tomato farm, or the freely given pleasures of Kaede who threatens to burn everything to the ground with her mysterious, self destructive lifestyle. Mitsuo doesn’t want to be like his dad – a philanderer who runs out on his responsibilities and makes a fool of himself in the process, cosying up to local politicians and playing fast and loose with the law, but he’s late to see the danger a woman like Kaede might cause him. His friend, Koji, is not quite so perceptive and naively falls for her charms. Mitsuo knows deep down that his friend has in a sense saved him from making a ruinous life decision and helped him rediscover the happiness of his traditional, simple way of life.
Filming in 4:3, Negishi’s camera is soft and unobtrusive yet pointed, capturing the minor details of the everyday with a poetic beauty. Filled with realistic detail and anchored by strong performances, Distant Thunder is both a picture of innocents battling the inevitable death of their way of life with determination and purity, and a document of changing times in which the confusions of the modern world threaten to destroy those who cannot reconcile themselves to their fated paths.
Short clip from the ending (English subtitles)