By Chlotrudis Independent Film Society
Rating: 5 cats
Director: Ryûsuke Hamaguchi
Starring: Dae-Young Jin | Hidetoshi Nishijima | Masaki Okada | Reika Kirishima | Satoko Abe | Sonia Yuan | Tôko Miura | Yoo-Rim Park
Original language title: Doraibu mai kâ
Country: japan
Year: 2022
Running time: 179
IMDB: https://www.imdb.com/title/tt14039582/reference
Michael says: “Sometimes a film receives so much critical praise because it just that good. DRIVE MY CAR, which writer/director Ryûsuke Hamaguchi adapted from a short story by Haruki Murakami with co-screenwriter Takamasa Oe is one such film. My experience watching the film was unusual to say the least, as two plus hours through the three-hour film the cinema lost power, and was unable to complete the film that night. I was able to return the following day to finish the film, but arrive about 30 minutes before the film had cut out the night before, and allowed me to really examine the subtleties and complexities of Hamaguchi’s filmmaking. I think it heightened the overall experience for me.
“The story revolves around successful stage actor Yûsuke Kafuku who enjoys a fulfilling relationship with his wife Oto, who writes television series. The two are comfortable together, and enjoy a unique sex life in which Oto relates complex stories as she nears orgasm that evolve into scripts for her shows when Yûsuke retells them to her the next morning. Five years after a startling tragedy that reshapes Yûsuke’s life, (and prompts the opening credits, 45 minutes into the film) he is invited to a theater festival in Hiroshima to direct Uncle Vanya, the play that found much success years earlier when he played the title role. Yûsuke has chosen to stay in a hotel an hour away from the theater so as to listen to the script being read while driving in his beloved red Saab. He is bewildered and put out to discover that contractually the theater festival must utilize a driver to chauffeur the director back and forth. Twenty-three year old Misaki Watari is the scrappy, young woman who works as Yûsuke’s driver, and gradually the two form a trusting bond that is unknowingly spurred on by their respective grief, each having undergone a traumatic family experience. The rehearsal process begins, and Yûsuke ends up casting Kôji Takatsuki, former TV star who worked on one of Oto’s series, and was her lover. Kôji is unaware that Yûsuke is aware of this fact, and the two form a rather interesting bond that informs each of their personal directions.
“There is so much that happens in this film, both story-wise and visually that it’s difficult to adequately review the film. but suffice it to say, the three hours go by easier than many films half its length. Cinematically, the scenes of Yûsuke and Misaki driving through Hiroshima and beyond are gorgeous, utilizing tunnels, bridges, intertwining highways and stunning landscapes to full affect. Hamaguchi even makes a massive garbage disposal plant a wonder to behold. I can’t really think of a category that I couldn’t nominate this film in, but I certainly won’t be neglecting the craft the films editing, use of music, sound design, and cinematography, as well as the acting. Misaki Watari is reminiscent of a young Bae Doo-na, and Hidetoshi Nishijima’s Yûsuke is stoic to the point of robotic, until that stifle emotion comes sputtering to the surface in a scene that is getting me choked up now just thinking about it. It’s sad that this film was released so late in the year and few Chlotrudis members got to see it so it will most likely be pushed to 2022. 5 cats”
Cheryl responds: “I saw this film last week and really enjoyed it too.”
Chris says: “The allure of this is that you don’t necessarily know where it’s going, but when it gets there, the impact is staggering without seeming showy or unearned. I look forward to carving out another three hours to watch it again. 5 cats”