There are many comparisons made between Hirokazu Kore-eda and one of
the Twentieth Century masters of Japanese cinema, the much lauded Ozu. With
each film that the modern-day equivalent makes, the comparisons will continue
to grow and grow, as his films maintain the theme of contemporary family life
in Japan.
Similar to the recent 'Kiseki (I Wish)', 'Like Father, Like Son'
focuses on the lives of two young boys and their unconventional relationships
with their parents. While, 'Kiseki' looked at the lives of two brothers,
separated by the parents' divorce, 'Like Father, Like Son' looks at the lives
of two unrelated boys who, after a hospital mix-up, were raised by a random couple.
The mix-up coming out years later, once the boys have started to develop,
leaves both sets of parents unsure as to how to proceed.
'Kiseki' looked very much at the lives of the young brothers and how
they work behind their parents' backs to be reunited, only to learn the hard
way that things have now changed. In his latest effort, Kore-eda focuses very
much on the parents, particularly the straight-edged, hard-working salary man, Ryota,
who is forever baffled by his son's meagre talent and work ethic in comparison
to his own. His equivalent, Yudai, raising his biological son, has a more
relaxed approach to life, raising his son in a loving, family environment.
Naturally, the polarised approaches of the two males to life and parenting
is a clear plot device to make the inevitable life-lesson learnt more poignant by
the film's conclusion, and perhaps a slightly more idealistic scenarios for the
story. However, much like his previous works, Kore-eda offers no easy
solutions. Torn between the boy he has raised and loves and his blood, Ryota
looks to all possible permutations for a solution to situation, but each
presents its own problems.
The family situation presented is one of blood versus upbringing, with
Ryota convinced that blood signifies everything - an important aspect of Japanese
culture, where blood-type can be thought to determine various aspects of one's
life - and as such looks at an interesting aspect of Japanese culture, and
while a strong effort, it never quite matches the nostalgia of 'After Life',
the detachment of 'Nobody Knows' or the coming of age of 'Keseki'. But here,
Kore-eda again affirms that there is a case for himself as the heir to Ozu's
title. Fifty years on since the latter's death, the former tackles the changes
of a different time, with more and more unconventional relationships and post-modern
family structures. Where Ozu looked at emerging female independence ('Late
Autumn'), Kore-eda looks at a love doll developing a soul ('Air Doll'). The
times have changed, but like father, like son.
