Be with You (지금 만나러 갑니다, Lee Jang-hoon, 2018)

be with you Korean posterWhen Nobuhiro Doi’s Be With You was released in 2004, it followed the even more popular Crying Out Love in the Centre of the World as the second in a wave of “jun-ai” or “pure love” romantic dramas in which the heroes and heroines struggle to move past romantic tragedy. Where Be With You differed from the genre norm was on its focus on a love that was already successful – the couple were older, had married, and even had a son before their happiness was taken from them by a cruel illness. Lee Jang-hoon, adapting the source novel by Takuji Ichikawa, shifts the setting to Korea but more or less follows Doi’s blueprint with a number of notable exceptions.

Rather than the framing sequence which kicks off the original, Lee opens with the beautifully illustrated picture book Soo-a (Son Ye-jin) made for her son shortly before she passed away. In the book a cute mummy penguin lives up above in Cloudland watching her baby through a crack in the clouds. When the rainy season arrives, the mummy penguin will be able to catch the Raindrop Train to come back to Earth, but before the summer ends she’ll have to return else she’ll lose her place among the clouds and won’t be able to watch over her son even from afar.

Little Ji-ho (Kim Ji-hwan) has taken the book to heart and really believes his mother will come back when the first rains fall. His father, Woo-jin (So Ji-sub), knows better but hasn’t the heart to tell his son that the book is just a story and that he will never see his mother again. Against the odds, Ji-ho and Woo-jin do indeed find a woman who looks exactly like Soo-a collapsed in an abandoned railway tunnel in the forest but she has no memory of her life as a wife and mother or of the family who’ve been patiently waiting for her return.

In contrast to her counterpart in Doi’s original, Son Ye-jin’s Soo-a is a much less passive presence, less inclined to simply go along with her new circumstances and keen to remind us that the decision to “work or lurk” is entirely her own. Likewise, Lee scales back on Woo-jin’s disability, rendering it far less visible than it had been in Doi’s adaptation. Bar some barbed comments from insensitive relatives at Soo-a’s funeral who question Woo-jin’s ability to raise his son alone, Woo-jin suffers little by the way of stigma regarding his medical condition though he does worry he might have embarrassed his son by pushing himself too hard at a school sports day and making himself ill in the process. Rather than the typical “jun-ai” selfish selflessness which caused the hero to breakup with his one true love out of a noble desire not to be a burden, Woo-jin’s decision is perhaps more out of pride and insecurity than it is out of misplaced consideration.

Nevertheless the timeless innocence of the couple’s early courtship (such as it was) retains its essential sweetness. As Soo-a can’t remember her romantic past, Woo-jin recounts his recollection of it to her in all its painful honesty, and in return later gets to hear her side of events thanks to the diary she left behind for him to read. Having met in high school, the pair entertained crushes on each other they assumed were unrequited, never quite working up the courage to declare themselves and squandering opportunities through nerves and awkwardness. Reliving their original romance the couple fall in love all over again only to be parted by a season’s end.

Yet it is familial love rather than the romantic which eventually takes centre stage as the love of Soo-a and Woo-jin envelops their son in something deeper and richer than your average tragic love story and becomes all the more poignant for it. Realising her time is short, Soo-a sets about teaching her husband and son how to live without her – showing Ji-ho how cook eggs, how to do the washing, how to keep the place tidy etc while giving them a few more happy memories to see them through and reminding them to take care of each other in her absence. Dreamlike and ethereal as Lee effortlessly blends one time period into another in a vast web of memory, Be With You is a heartbreaking drama in which a family must attempt to come to terms with irreparable loss through learning to treasure past happiness and living on in its memory.


Screened at the 20th Udine Far East Film Festival.

Also screened as the first in a series of teaser screenings for the upcoming London Korean Film Festival. The next screening in the series will be Memoir of a Murderer on 21st May, Regent Street Cinema.

International trailer (English subtitles)

Be With You (いま、会いにゆきます, Nobuhiro Doi, 2004)

be-with-youWhen it comes to tragic romances, no one does them better than Japan. Adapted from a best selling novel by Takuji Ichikawa, Be With You (いま、会いにゆきます, Ima, ai ni Yukimasu) is very much part of the “Jun-ai” or “pure love” boom kickstarted by Crying Out Love In the Center of the World released the same year but taps into Japan’s long history of supernaturally tinged love stories, filled with the weight of impending tragedy and the essential transience of the human experience.

Like many such tales, Be With You begins with a framing sequence set 12 years after the main events, but unusually it’s directed from the point of view of the soon-to-be 18 year old, Yuji (Yuta Hiraoka). Receiving a birthday cake from a bakery which has apparently only stayed open because of its promise to deliver birthday cakes to him every year until he turns 18, Yuji begins to reflect on the “miracle” which he and his father experienced all those years ago.

Yuji’s mother passed away at the age of 28 when he was only 5 years old. However, before she died, Mio (Yuko Takeuchi) had prepared a special picture book for Yuji to try and help him process what was happening. In the book, Mio has gone to a place called “Archive Star” and will return for the first rainy season a year after her death. Improbable as it is, Yuji and his father Takumi (Shido Nakamura) discover a woman who looks exactly like Mio lost in the forest during the first rains. Stunned the pair take her home but Mio has no knowledge of her former life as a wife and mother. Gradually, Mio begins to fall in love with her husband all over again whilst bonding with her young son, but their happiness is short lived as Mio realises her time with them is limited.

Because Mio can’t remember, we experience the love story between the teenage Takumi and Mio firstly through his eyes as he tells her of his unrequited high school crush when she sat at the desk across from him for two years during in which he was too shy to say anything. Later we hear the same story again from Mio’s perspective through her diary where we learn, not altogether surprisingly, that she felt the same way. The pair mirror each other throughout their courtship, wanting to say something but lacking the courage and looking for excuses to try and push the situation in a better direction. Other than the mutually unresolved attempts at phone calls and an unreturned pen, Mio and Takumi essentially relive their original romance in the brief time they are able to share together from repeated motifs of untied shoelaces and clumsiness with a bicycle, to innocent in pocket hand holding.

Takumi has an ongoing medical condition which interferes with his motor functions, slowing him down and giving him an air of soulful melancholy later compounded by his romantic tragedy. Having been a champion runner on a sports scholarship to college, the diagnosis causes extreme disruption to his life and leads him to the typically jun-ai decision to break up with Mio because he feels as if he’d be a burden to her. A year after Mio passed away, Takumi is doing his best to bring up his son but is a little distant and struggling to take care of the domestic environment. When Mio realises that she can’t take care of them forever, she switches her focus to trying to prepare her husband and son for life alone – teaching Yuji how to fry eggs and do the laundry, whilst renewing her emotional bond with Takumi. There’s no happy ending in store for Mio, the loss cannot be avoided and perhaps it might even be worse to have had this brief respite from the ongoing pain, but the six week rainy season does, at least, provide an opportunity to say those things that might have otherwise gone unsaid.

Nobuhiro Doi films in a typically elegant fashion making great use of the area’s natural beauty to create a fairy tale atmosphere from the mysterious, life giving forest. The poignancy of the tale is all the deeper knowing that Mio eventually understood what would happen to her, but chose a brief life with Takumi and her son over the possibility of a longer one without them. Heartbreakingly sad, yet a testament to the importance of appreciating the present which all too soon becomes the past, Be With You is a genuinely romantic love story, not only between a husband and a wife but an entire family carrying the weight of a tragic loss but easing the burden by treasuring the memory of the intense love shared between them.


Original trailer (no subtitles)