the gulf
by Douglas Messerli
Abbas Kiarostami (screenwriter and
director) ライク・サムワン・イン・ラブ (Raiku Samuwan in Rabu)
(Like Someone in Love) / 2012,
USA (general release) 2013
When Howard asked me the other day what I was watching, I responded “A French-produced film in Japanese by Iranian director Abbas Kiarostami.” He simply shook his head, a bit in disbelief.
Despite the fact
that the director had to work with a series of translators, Kiarostami’s 2012
film, his final work, is quite convincing and moving. A bit like A Taste of Cherry, this work concerns
someone near death who discovers a final joy in living. In this case the
elderly hero is Takashi (Tadashi Okuno), a retired sociology professor, living
on the outskirts of Tokyo. He has lost his wife some time ago and is now good
to family members only for help in writing promotional fliers and other small
tasks; his neighbor, who has long been secretly in love with him, spies
constantly on his comings and goings. Just before the particular night with
which Kiarostami’s movie begins, he has met up with an old student, Hiroshi
(Denden), who now works as a kind of high-class pimp for several call girls,
and has promised his former mentor a young girl, who is also a sociology
student at the university, who works nights to bring in money to pay for her
education.
The poor girl, Akiko (Rin Takanashi), is not only attempting to balance
school with her nightly activities but is trying to break off a relationship
with her garage mechanic boyfriend, Noriaki
(Ryo Kase), who has become increasing controlling and is now demanding that
they be married.
Noriaki is
angry because, having not told him of her life-style, Akiko has obviously been
lying and turning off her cellphone during evenings so that he cannot reach
her. Indeed, the film begins with Akiko’s voice on her cellphone as she
attempts to convince Noriaki that she is in another establishment with her
friend Nagisa (Reiko Mori) instead of being in the café out of which Hiroshi
works. She is not very convincing, even though part of what she says, that her
grandmother is visiting and that she must cram for a test the following
morning, is true.
Now, having promised her to Takashi,
Hiroshi has entirely different plans for her, despite her insistence that she
is dead tired and has other obligations. In fact, it becomes immediately
obvious, in Kiarostami’s film, that Akiko’s entire life is being controlled by
men. Even a photo taken of her to attract clients has begun to show up all over
the city, allowing her no privacy in her life.
Hiroshi shuttles her off in a taxi, while Akiko plays back her cellphone
messages, most of them from her pleading grandmother waiting for her at the
Tokyo train station. Demanding the taxi driver take her past the station, she
spots her waiting grandmother, which brings tears to her (and our) eyes. There
is no place for family loyalty and love in her current life.
Falling asleep in the taxi, she finally shows up at Takashi’s small
apartment, on top of a small restaurant and bar where he is seen purchasing
food for a dinner the old man has planned for them.
The two fall
into a comfortable conversation, but soon after she retires to the bedroom
expecting him to join her. It is clear, however, that all Takashi has been
seeking is a dinnertime companion and conversation. He stays up alone, drinking
wine and listening to American love songs, including the film’s title-piece
“Like Someone in Love.”
Having little to do each day, he offers to take her to the university
(where he also taught) and even waits for her to finish her exam, so that he
might drive her to a bookstore for a new text.
Almost from the moment she leaves the car, he notices Noriaki coming out
of the shadows he trying to prevent Akiko from entering the building, a quite
violent encounter; but, fortunately, she escapes into the school building.
Observing the waiting elder, Noriaki
insists that he enter the car, where the two have a somewhat testy
conversation. Presuming that Takashi is his girlfriend’s grandfather, he
attempts to talk about his love for Akiko and asks, offhandedly, for permission
to marry her.
Without
revealing his true identity, Takashi attempts to dissuade him from the idea,
arguing that Noriaki does not yet know enough about love, suggesting that only
when he can stop demanding Takashi tell him where she is at all moments, will
he be truly ready for a relationship.
After finishing her test, Akiko,
obviously surprised by Norikai’s presence, joins them in the back seat, the
boyfriend saying he will get off along the way. Soon after, however, the boy
hears a ping in the steering mechanism, and asks the elderly man to pull over.
Looking under the hood he sees that the fan belt is about to break and argues
that he should stop by his garage so that he can immediately fix it.
Noriaki calls ahead to order up the
part, and expertly repairs the car, but at the last moment another customer
pulls up, recognizing Takashi has his former professor. Although Takashi can
assure Akiko that he has kept their secret, she cannot be certain that the
other man will not now explain to Noriaki who the driver of the car has really
been.
In fact, she has reason for fear, and
soon after, as she enters the bookstore she is confronted again by the angry
boyfriend, who this time brutally belts her in the eye. We do not see their
encounter, only observing a crying Akiko after the fact, who calls Takashi,
who, having just returned home, drives back into the city to pick her up,
taking her once again to his apartment for safety.
By this time, we certainly realize that,
if Takashi has not fallen in love with the young girl, he has most certainly
taken on the role of her protector, and proffers her a different kind of love
that she has apparently not had since she has left her small village.
Noriaki, in the meanwhile, has followed them to Takashi’s house and loudly demands that
Akiko come out. Takashi quietly locks the door, but hearing a loud noise
outside, goes to the window only to be hit by a missile Noriaki has hurled
through the window. The screen goes black.
Obviously, we cannot know what has
happened to the old man; has he simply been hurt or has he been killed? One
could argue that perhaps he deserved his fate, having procured the young girl
for his own selfish reasons and intruded himself on the lives a two younger
people who needed to work out the problems in their own lives. In a sense, his
behavior with Akiko has not been so very different from his neighbor’s constant
intrusions upon his own life. Yet we cannot but see the sad irony of the
situation, and certainly Akiko might now fear for her life.
If nothing else, the great director
reminds us, once more—both through the visiting grandmother and Takashi—that,
even with all their wisdom, the old cannot truly “help” the young after a
certain age. The problems they face will always be of another time, or, as one
of the Jets of West Side Story argues
against the ministrations of Doc, “You were never my age!”
This elegiac film reveals the gulf
between young and old, along with the helpless isolation and loneliness of the
individuals on both sides. Any attempt to reach out can only be perceived as a
simile, “like someone in love,”
instead of actually offering a direct commitment. As even Takashi realizes,
through the ridiculous sophistry of the famous Doris Day song, “Que sera sera /
Whatever will be will be.”
Los Angeles, November 26, 2013
Reprinted from World Cinema Review (November 2013).
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