Tag: fathers and daughters

The greatest love of all: Toni Erdmann (2016)

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Image via jvc (Flickr)

I’m reminded of the efforts to sell The Death of Mr Lazarescu as a comedy because it didn’t fit into any other marketable box. Toni Erdmann is not a comedy, and the ‘prankster’ father present in every synopsis barely resembles the Winfried/Toni Erdmann we meet in the film. No, this is a deeply depressed and bitter film, filled with frustration at what market forces and globalisation are doing to people of all ages and at all levels of society.

As the father and daughter, Sinonischek and Huller give us two of the saddest characters of 21st Century film. The seams that hold their lives could tear at any moment, and they can keep from falling apart for a while, but the time will come when they realise there is no point trying any more and they might as well have a full breakdown. Winfried is a failed husband and failed father, blundering through one encounter after another, his alienation becoming his defining characteristic. Ines is an exceptionally competent business consultant, capable of turning her own blunders into leverage in a heartbeat, and the fact that she is so good at her job has stripped away everything else, turned her into an emotional husk, alternately raw and unfeeling. They both need a hug.

Thankfully, director Ade has a lot of warmth towards these characters. Perhaps it would have been more of a comedy if she didn’t. But she works so hard to make you care about them, and the actors give all they have, especially Huller. You so want them to connect with each other, or with anything, really, and it’s so hard to see them keep missing. It’s a better, more excruciating film for that warmth.

Did I say it wasn’t funny? Oh, no, it’s funny. It’s piss-funny in places, especially in the final hour. The situations are funny, expertly written and performed to get the laughs, but you’re relieved as much as amused. A few moments are profoundly moving and funny at the same time.

Will they be okay, though? Probably not. The world isn’t getting any friendlier. Toni Erdmann is a remarkable film for our times, one that I may one day call great.

THE TALE OF PRINCESS KAGUYA: My little princess

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Kaguya-hime to sakura
(c) Hatake Jimusho – GNDHDDTK

THE TALE OF PRINCESS KAGUYA
Kaguya-hime no Monogatari
directed by Isao Takahata
Review: The Japan Times

A group of children, each aged somewhere between five and ten, call in unison to a toddler. They have just bestowed upon her the nickname ‘Takenoko’ (Li’l Bamboo) because of her freakishly rapid growth. “Takenoko! Takenoko!” they shout, and she starts wandering away from the front porch of the house where she lives and over to them, a grin on their face.

Her father notices her straying from home, so he calls after her with his own nickname: “Hime!” (Princess!)

She pauses halfway between the children and her father. The children shout louder. “Takenoko! Takenoko!”

“Himeee!”

“Takenokooo!”

It’s cute. There’s no danger; the kids, bred with the collectivist values of countryside life, pose no real threat to Kaguya. She is clearly not in any distress, just caught between two human forces eager for her attention.

The grin drops from her face as she looks from one group to the other in confusion. The calls grow and grow until they drown out the chatter of birds and rustle of nearby trees. The children point their heads to the sky and yell as loud as they can. Her father cranes his neck towards her and screams, his eyes closed and his cheeks red with effort. Finally, the smile returns and she starts toddling back to her father. The children give up and stop their bellowing.

You’d expect the father’s protective tension to dissipate, having won the vocal battle for his daughter’s affections. But it doesn’t. He yells even louder. He starts to cry. He can’t bear even to wait a few more seconds for his little princess to come to him, so he gets up from the porch and runs to her, taking her in his arms as tears stream down his face. It takes several seconds before the embrace starts to calm him down. His love consumes and overwhelms him to the point of delusion and toxicity, leading him — and her — into a mirage of happiness. It blinds him from the truth of his life.

This is just one scene from THE TALE OF PRINCESS KAGUYA, which is sad, contemplative, surprising, and indescribably beautiful. It’s also a bit longer than its thin story deserves, but that feels unfair in the face of such visual brilliance, which was a joy to behold from first minute to last. The animation resembles watercolours and charcoal drawings, and if ever there was a film from which you could print any frame and stick it on your wall, this is it.

I expected all that — just watch the trailer, for goodness’ sake — but I didn’t expect the story, and scenes like the one described above, to stay with me for so long afterwards. It touches on ecology, family relationships, parenting, and the folly of blindly following tradition. It reminds you to be true to yourself. A simple message, but one worth repeating — especially with such inspiration and beauty.